The critical backlash to Ronnie Wood’s art exhibition shows how addiction remains deeply misunderstood

It’s tempting to mentally construct a showreel of highlights. Romanticised rock’n’roll snippets of a life of chaos. But as any addict knows, with the light, inevitably comes the dark

This week, Rolling Stones guitarist Ronnie Wood unveiled a collection of original artworks – and the critical reception was largely negative. Many critics had expressed their predictable takes on the work before they had even seen it. “Stick to the music, Ronnie,” they callously wrote. Whilst exploring the exhibition with Ashridge House’s events team, I was informed that none of these disparagers had even bothered to journey to the venue to view the work that they chose to thoughtlessly disregard.

In previous reviews, I noticed that some critics were narrow-minded about the reference in Wood’s work to Picasso’s Guernica, imagery typically regarded as a symbol of the atrocity of war. These critics were outraged, remarking that nothing Ronnie Wood has experienced in his supposedly “gilded existence” could reflect such massacre.

Standing in front of the piece that caused the most controversy, a shiver ran down my spine. I was stunned at the obvious parallels between the devastation of the Spanish town and the torture of addiction, a disease that has plagued Wood’s career and personal life, and the lives and families of millions of others.

One particular piece of coverage read: “The Rolling Stones were only ever bombed out on drugs.” This statement appals me. After decades of active addiction, Ronnie Wood got clean in 2010. Despite the immense commitment required to get clean, and stay clean, for such an admirable length of time, ignorance of this level shows that recovering addicts remain trapped in a stigma, and that a large portion of society continues to deem addiction as a personal failure and weakness.

Ronnie Wood’s art collection is deeply personal, and it was a privilege to witness what I suspect was never intended for public consumption. “There were definitely levels of insanity,” Wood has previously said about his days of active addiction. “You could see it all around you.”

Later in the exhibition, I observed Wood’s haunting self-portrait, created at the early stages of his recovery. For me, Wood’s evocative self-perception at this time confirmed that art has been a large part of his recovery journey.

It’s tempting, when speaking about the colourful life of an addict, to mentally construct a showreel of highlights. Romanticised rock’n’roll snippets of a life of chaos. But as any addict knows, with the light, inevitably comes the dark. Paintings and images capturing active addiction may sound intoxicating or exciting, especially where the world of music and celebrities is concerned. But lurking under the superficially glamorous surface is a darkness that is far from exciting.

Untreated addiction kills. Addicts use drugs and alcohol to alter their consciousness. To silence a brain-chatter, emptiness and unease that only an addict can truly understand. If an addict does not treat their illness before it is too late, they will inevitably face devastating consequences.

The number of lives lost at Guernica is catastrophic, but it is important to remember that the disease of addiction kills millions of people around the world every year, and this is on the increase. Many of these deaths are not reported as drug or alcohol related, unless directly related to drug overdose. Frequently, users are involved in road traffic accidents, fall down flights of stairs, or injure themselves in other ways, whether intentionally or unintentionally. In 2014, the World Health Organisation stated that the risk of suicide could be as much as eight times greater when an individual is abusing alcohol. Alcohol, and other drugs, can lower a person’s inhibitions enough for them to act impulsively on suicidal thoughts during times where, if sober, they may have sought help. Still, these tragic deaths are recorded as suicides, rather than a result of untreated alcoholism or drug addiction.

Many addicts have suffered tenfold during the Covid-19 pandemic. Meetings such as Alcoholics Anonymous have been moved to Zoom, which have excluded those without the required technology or internet access. Fellowship and connection with other recovering addicts can be lifesaving for addicts trying to get clean, or at risk of relapse. In short, isolation for those in recovery can kill. Without intervention, it is near impossible for an addict to stop their illness progressing. Despite the remarkable increase in mental health awareness, drug and alcohol addiction commonly remain an exception, which swathes of society still refuse to accept as a valid mental illness.

A particularly powerful piece at the exhibition read: “If I take care of myself, anything can happen.” This highlights the importance of self-care, which is at the heart of many addiction recovery programmes. After all, if Wood had not chosen the path of recovery and remained clean, would the Stones still be making music and touring? Considering the statistics, this question deeply unnerves me.

For Wood, I hope that his artwork served as a private and personal relief from his demons. But after the harsh backlash, will he feel it was worth revealing to the public? The NHS, receiving the donations of the proceeds, probably will. Personally, I feel incredibly grateful to have witnessed such a moving and inspirational insight into Ronnie Wood’s life and recovery, and I hold great hope that true fans, and those in active addiction or recovery, will feel the same.

Ronnie Wood x Ashridge House is at Ashridge House, Hertfordshire, until 27 August