Eugene Doyen, whose photographs of Billy Childish and Tracey Emin are now on show at Pure Gallery in London, was their close friend in the 1980s, when the pictures were taken. He is their friend still, albeit separately. The scenes he captures are thus open and free even when they are carefully staged, often by Billy as studies for his paintings. The forty odd photographs, taken from 1982 to 1986, show one Billy and very many Traceys. Here she is glamorous, there she is pitifully plain. In one picture she cackles toothlessly like a bargain whore, in the other she reclines innocently and lovingly in Billy’s arms. Wearing now this and now that garish outfit, she is trying on a whole range of personas, most of them on the indelicate side. But on a few occasions she truly shines. Her raw power, her audacity, and her lust for life, as well as for limelight, come through in a couple of photographs in the nude. Her fine eyebrows, high cheekbones, feline eyes, full lips, and strong chin work in concert, exposing a mighty woman, not only a comely one. For some reason, it is a relief to see that Tracey also. It is a relief to catch a glimpse of the star yet to be born.