I  am pleased that my paper A Visual Response to the Siege of Sarajevo has been published in the Journal of Visual Art Practice. To read the paper please use the following link.


A Visual Response to the Siege of Sarajevo

My paper, A Visual Response to the Siege of Sarajevo has been accepted for publication in the Journal of Visual Art Practice where it should appear later this month.


This paper considers art works made by the author over a gap of twenty years in response to the siege of Sarajevo (1992-1996). The first works were inspired by the then BBC War Correspondent, Martin Bell in his radio broadcast of 1996 in which he reflected on the tragedy of the Bosnian War. The second group of works were made as part of the AHRC funded project Art & Reconciliation and were the result of visiting Sarajevo for the first time in 2018. For this the author drew upon his experience of using collections and archives as source material, here drawing from the collection of the Museum of History in Sarajevo where the final exhibition was staged. The author reflects on the role of the artist in tackling issues of conflict when not an eyewitness and draws parallels with examples such as MichaelTippet’s oratorio A Child of our Time and Bob Dylan’s The lonesome death of Hattie Carroll. The paper also considers how knitting can be used to construct a form of alternative memorial how his own personal experiences and memories can form the foundations for new work.i

In the current issue of Art in Print (Jan-Feb 2019) i have a review of the Krakow Triennial which was staged in the summer of 2018. in addition I have a review in Print Quarterly of KP Brehmer’s monograph, Real Capital-Production produced in relation to the exhibition of his work at Raven Row Gallery and i review the works on paper of the sculptor Tony Cragg.

The Printed Line

6 April 2019 – 15 November 2020

This exhibition will consider how artists have used a variety of printmaking techniques to exploit the potential of the printed line, from the thick velvety line of drypoint and the heavy cross-hatching of etching to delicate wood engraving and boldly coloured screenprints and lithographs. Spanning the 20th century and up to the present day, the exhibition will include Walter Sickert‘s masterly cross-hatched etching The Old Middlesex (c.1910), Ben Nicholson‘s rich drypointHalse Town 1949 (1949), Eduardo Chillida‘s bold etchings and David Hockney‘s pared down linear etchings in Illustrations for Fourteen Poems from C. P. Cavafy (1966-67). The use of colour will be explored in screenprints by Bridget Riley and Kenneth Martin, as well as Simon Patterson‘s witty lithograph reworking the lines of the London tube map. The exhibition includes one of my recent photo-etchings and i provide the commentary for a film which accompanies the touring show.


6 April – 2 June 2019, Torre Abbey Museum, Torquay

6 July – 8 September, Dick Institute, Kilmarnock

21 September – 10 November, Rugby Art Gallery

16 Nov 2019 – 5 Jan 2020, Aberystwyth Arts Centre

11 January – 1 March, Burton Art Gallery, Bideford 

7 March – 26 April, The Beaney, Canterbury

25 July – 5 September, Kirkby Gallery, Knowsley

19 September – 15 November, City Museum & Art Gallery, Worcester

Reconciliations: The Evidence  of the Visible

Reconciliations: The Evidence of the Visible is one of an ongoing series of  exhibitions of art work produced in response to a call to artists to investigate the concept and practice of reconciliation, specifically, in this case, in relation to the Siege of Sarajevo and the Srebrenica massacre of July 1995. This exhibition explores how visual evidence of past crimes can play a role in post conflict remembrance, reconciliation and rebuilding. A fundamental question for art is how it should relate to and engage with the broader social, political and economic climate of the times, and how far the artist should concern themselves with the world they inhabit. These questions are particularly troubling in those parts of the world that have endured the scars of war, where artists and arts organisations have to deal with the complex and problematic issue of whether the past should be remembered and commemorated, or whether such attention is actually counterproductive in imagining how in the future further conflicts might be prevented. curated by Dr Paul Lowe

4-15 March. Parc Space LCC-UAL

Artists included:

Paul Coldwell, A Life Measured: Seven sweaters for Nermin Divović

Ziyah Gafić: Quest for Identity

Milena Michalski: In/Visible War Crimes

Vladimir Miladinović: Memoria Bosniaca

Armin Smailović: Testimony Portraits

Print Quarterly

In the current issue (Dec 2018) I have a review of ‘Picasso; Minotaurs and Matadors’ staged at Gasgosian Gallery London in 2017.

Museum of Art & History-Geneva


La Société suisse de gravure fête ses 100 ans

19 octobre 2018 – 3 février 2019

My work is included in this 100 year celebration of the Swiss Graphic Society. I was commissioned this year to produce a print for their membership and this work features in this current exhibition. i have donated the wood blocks to the museum for their archives.



Patrick Caulfield-Jules Laforgue

I have written about Caulfield’s bookwork, Some poems of Jules Laforgue in the current issue of Art in Print (Nov-Dec 2018). This special issue is dedicated to poetry & print and includes amongst other essays Deryn Rees-Jones’ collaboration with the painter Charlotte Hodes.

AHRC Network Grant

I am delighted that I have been awarded an AHRC Network Grant with Professor Ruth Morgan (UCL) as co-applicant to explore the idea of Picturing the Invisible. This network consisting of senior academics  across a wide range of disciplines will result in a conference to be held at Chelsea College of Arts Autumn 2019 and a major publication. Details of the Website and events to follow.

Woolwich Print Fair

I have been invited to show some new prints at the Woolwich Print Fair

22 – 25 November 2018

Building 17, Cartridge Place,

Royal Arsenal, Woolwich, London, SE18 6ST