Bryan Charnley (1949-1991) was a British artist who lived with schizophrenia from adolescence until his death. His self-portraits offer a powerful and unflinching look into the experience of living with this chronic and severe mental disorder, which affects how a person thinks, feels, and behaves. Charnley used visual metaphor and symbolism to vividly illustrate the physical experience of schizophrenia.

Bryan Charnley

Charnley’s artistic journey began with more traditional styles, but in 1982, he began to use schizophrenia as his subject. This shift was influenced by the paintings at the Bethlem Museum of the Mind. From 1987, he drew on Sigmund Freud’s theories and used symbolism to convey his mental state.

The Self-Portrait Series

In 1991, Charnley embarked on his final and most powerful project: a series of self-portraits chronicling his experience as he reduced his medication. Marjorie Wallace, CEO of SANE, encouraged him to keep a diary to document his progress. The resulting “Self Portrait Series” consists of seventeen paintings, each accompanied by Charnley’s diary notes explaining the imagery and describing his state of mind.

  • The series captures Charnley’s steady decline as he experimented with varying dosages of his medication.
  • The portraits graphically display the terrible suffering he endured.
  • The diary entries provide valuable insight into the artist’s internal experience, revealing his paranoia, alienation, and loneliness.

Key Themes and Imagery

Charnley’s self-portraits are rich in symbolism, reflecting the complex and often disturbing nature of his schizophrenia. Recurring themes and images include:

  • Thought broadcasting: Charnley believed his private thoughts were public knowledge. In his paintings, he depicted his brain as an enormous mouth broadcasting his thoughts.
  • Ego crucifixion: Charnley felt his ego was being crucified, and that he was a target for people’s cruel remarks. He often used the image of Christ on the cross to represent this feeling.
  • Loss of control: Charnley felt he was losing control over his mind and body. He depicted himself as a transparent figure, with a man holding a control stick attempting to manage an impossible situation.
  • Spiders legs: Representing inhibition, social and otherwise.

The Final Portraits

As the series progresses, the portraits become increasingly abstract and disturbing. The diary entries cease, and the final two paintings are dominated by the colours red and yellow, which James Charnley, Bryan’s twin brother, associates with acute mental anguish. Charnley committed suicide in July 1991, with his final self-portrait still on the easel.

Legacy

Charnley’s “Self Portrait Series” is a powerful and important contribution to the art world and to the understanding of schizophrenia. The series was exhibited at the National Portrait Gallery in 1995. Charnley’s work continues to be exhibited and studied, offering viewers a glimpse into the mind of a man struggling with a devastating illness. His art serves as a reminder of the importance of empathy, understanding, and support for those living with mental health conditions.

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