Review
Addiction
Art
Culture
Masculinity
Trauma
5 min read

To the abyss and back. The art of Peter Howson

Painter Peter Howson captures personal conflict, toxic masculinity and horrific wars. Alastair Gordon reviews his work. Part of the Problem with Men series.

Alastair Gordon is co-founder of Morphē Arts, a painter and art tutor at Leith School of Art. He works from his studio in London and exhibits across the UK, Europe and the US. 

A painting shows a group of refugees waiting behind a barrier across a road, the background is intense yellow.
Barrier Sunset; 1995; oil on canvas; 122 x 183cm.
Flowers Gallery, London; © the artist; photograph Antonio Parente.

“Everybody’s capable of doing wild things,” says artist Peter Howson, scratching his head as he looks pensively over his paintings.  He is talking about the events of his youth and how experiences of trauma, addiction and childhood bullying have influenced the way he paints the misfits, non-conformists and the overlooked.  

Howson is one of those rare breeds of artist who garners both public adoration and critical acclaim, an achievement celebrated in his recent retrospective at Edinburgh City Art Centre, an ambitious show spanning four floors and four decades of the painter’s career.  

I asked curator, David Patterson why Howson’s work continues to draw public interest. “People can see in every brush stroke how he pours his heart and soul into it,” he replies. “A lot of people are commenting on his honesty. He’s brutally honest and speaks what he feels in his heart.”  

Howson rose to public attention shortly after his graduation from Glasgow School of Art in the 1980s with a public commission for a series of wall murals for the Feltham Community Association in London. He became known for his visceral depictions of men caught in contradictory states often painted in monumental scale with his particular style of raw, fleshy realism, an approach influenced by his interest in German Expressionism. It was his tutor, Alexander Moffatt who first introduced Howson to the work of Otto Dix and Max Beckmann, their brutal exposition of the German bourgeoises clearly making an early impact. From the hulking boxers and football hooligans of his early career to the bullish vulnerability of soldiers currently fighting in the Ukraine war, his characters are rendered with a raw realism, matched only by the brutal honesty of the artist himself.   

People misunderstand the meaning: they think that I’m making (those men) into heroes, when it’s not that at all. 

Howson was part of a group of male figurative painters known as the New Glasgow Boys, alongside Adrian Wiszniewski, Ken Currie and Steven Campbell, who studied at the Glasgow School of Art at a similar time in the 1980s. Later artists such as Jenny Saville and Alison Watt would continue the Scottish figurative tradition.  

It might be easy to misread his early work in particular as a kind of ode to masculine swagger but when Howson speaks of his work it becomes clear his intentions are more to dispel such toxic masculinity. “I was bullied a lot at school,” he reflects. “I felt so emasculated when I was young, I tried to build myself up: I became a bouncer and wanted to exact revenge on my bullies and I joined the army. All these things that are really not me. People misunderstand the meaning: they think that I’m making (those men) into heroes, when it’s not that at all. It’s a contradiction: I’m trying to get power into my work at the same time as taking the mickey. But some of the Bosnian work is my freest.”  

In 1993 Howson was appointed as official war artist to the Bosnian conflict where he witnessed first-hand the atrocities of conflict. This work culminated in a solo exhibition at London’s Imperial War Museum with some of the most harrowing and empathetic works of his career so far. Barrier Sunset, painted in 1995, shows a line of Bosnian refugees, emaciated and restrained by a blockade that bars entry to safe land. Behind them, a burning sky speaks to the ravages of war.   

Howson is an artist who wears his past on his sleeve, speaking openly about his autism, childhood traumas, recovery from addiction and unnerving experiences serving in the army which he describes as “hell on earth”. Rather than dismissing these traumatic experiences, Howson finds way to manifest them in paint, a process that demonstrates profound empathy with his subjects, both villain and victim.  

“You’re always walking a tightrope and I always say I’m walking on the edge of the cliff,” says Howson as he reflects on the influence of traumatic memories. “The trick is not to fall off. But you can go to the edge and look over into the abyss and the abyss is frightening.” Howson takes us to the abyss and brings us back again. Like Dante, a key influence on the artist, Howson doesn’t shy away from the more macabre, morbid and sinister subjects of the human experience yet refuses wallow. His recent ink paintings depict the effects of corona virus and atrocities of the war in Ukraine. Rendered with biblical intensity, bodies writhe in a mass of human flesh pulling and straining as in battle or torment.  

His faith is as sincere as his painting, neither dogmatic or didactic, worn on his sleeve along with his experiences of trauma and addiction 

Unusually in British art, Howson also speaks openly about his faith, having converted to Christianity later in life. Indeed, a whole floor of the exhibition is dedicated to his religious paintings.  “There’s a part of me that wants that peace” he says. “It’s why I’m not frightened of the death thing. The real life is yet to come.” Howson acknowledges the unusual nature of his belief, not least in an art world where sincere religious faith is something of a novelty. 

“There’s hardly anyone believes these days but I don’t care if I’m wrong anyway because I’ll never know it anyway.” Even his faith is expressed with honest cynicism. “Religion in art is unfashionable,” he says yet Howson seems unfazed by fashions. His faith is as sincere as his painting, neither dogmatic or didactic, worn on his sleeve along with his experiences of trauma and addiction.  

Prophecy 

2016; oil on canvas; 183.5 x 245cm; private collection; © the artist; photograph Antonio Parente.

A painting of a melee of many people across Christ on the cross.

This exhibition laments the broken nature of our world yet offers glimpses of hope in human empathy, compassion and ultimately in a redemptive God. In this way Howson describes his painting as “a warning of what’s to come”.  Howson refuses to be defined by his traumatic past and it seems evident he now sees the world through the lens of his Christianity, a perspective that clearly defines his understanding of human nature, masculinity and redemption. Whilst we might consider Howson a chronicler of our times his painting are more than reportage.  He looks into the very soul of humanity, finding hope in the horror, making visible the invisible and giving voice to the unheard.

Explainer
Attention
Care
Culture
Psychology
5 min read

How to help someone with ADHD to live well

Overstimulation, inner critics, and the quiet power that restores balance
An emoji-style brain divided in two with active emojis one side and calm ones the other.
Nick Jones/Midjourney.ai.

This week’s headlines about ADHD in the UK paint a troubling picture. NHS England commissioned an ADHD Taskforce which has warned that waiting lists for assessment and support are “unacceptably long”, with services buckling under the pressure of rising demand. In some areas, including Coventry and Warwickshire, NHS boards have even paused new adult referrals to prioritise children. Charities are already preparing legal challenges. 

Among the Taskforce’s key recommendations is a call for general practitioners to take on a bigger role. Rather than referring every suspected case to specialist services, GPs are to receive training to recognise and manage ADHD within primary care – a shift intended to relieve the enormous strain on the system. But this raises a human question as well as a policy one: while people wait (often for months or even years) what can families and friends do to help? And might some of these strategies reduce the need for crisis-level specialist support in the first place? 

Around  five per cent of the population is thought to have ADHD, though the true figure may be higher. Rising diagnosis rates have prompted some scepticism: are we simply getting better at recognising the condition, or is something new happening in our overstimulated modern world? 

Psychiatrists Edward Hallowell and John Ratey suggest that many of us now live in an attention environment that mimics ADHD. They call this phenomenon VAST: Variable Attention Stimulus Trait. VAST is not a disorder, and it is not “ADHD lite”; rather, it’s a product of neuroplasticity, i.e., the brain’s capacity to adapt to its environment. ADHD, by contrast, is neurodevelopmental – it is part of how a person’s brain is wired from the start. ADHD can’t be “undone” – nor would many want it to be. ADHD is a way of being that entails many strengths as well as struggles, as I have written about before. But where there are struggles, both ADHD and VAST respond to similar strategies for living well. 

Hallowell and Ratey describe the brain as operating through a set of overlapping neural networks. Two of these, the Task Positive Network and the Default Mode Network, play a key role in attention and focus. The Task Positive Network switches on when we’re engaged in a clear, structured activity: writing an email, cooking dinner, solving a problem. When it’s active, we’re absorbed and unselfconscious. The Default Mode Network, by contrast, takes over when we’re not focused on a specific task. It’s the realm of daydreaming, reflection, and big-picture thinking – reviewing what we’ve done, imagining what comes next. 

For most people, the brain glides between these two states smoothly. But in today’s hyperconnected, screen-saturated culture, many of us – especially those with VAST – flicker between them too quickly, never giving our Default Mode Network enough time to process what has just happened. The result is stress, restlessness, and mental exhaustion. 

In ADHD, though, the problem is different and deeper. Brain scans suggest that both networks may be running simultaneously, and the Default Mode Network in particular has a knack for interrupting. Imagine trying to finish a task while a running commentary in your head constantly questions its worth, urgency, or achievability. That’s the ADHD experience: the Default Mode’s chatter makes tasks hard both to start and to finish. 

But the Default Mode Network isn’t all bad. It can be a source of creativity, moral reflection, and meaning. It’s the voice that tells you a task matters, that something is worth your effort. Hallowell and Ratey liken it to the classic “angel and devil” on your shoulders – but the devil often shouts louder. That’s partly because the human brain is wired to prioritise threat. We remember criticism more vividly than praise, and replay social embarrassments more easily than successes. For people with ADHD, this negativity bias can be overwhelming. As Hallowell and Ratey put it: 

“People who have ADHD or VAST are particularly prone to head towards gloom and doom in their minds because they have stored up in their memory banks a lifetime of failure, disappointment, shame, and frustration. Life has taught them to expect the worst.” 

This relentless inner critic drives many ADHDers to self-soothe – ideally through human connection, but too often through less healthy means: food, alcohol, drugs, or risky behaviours. Statistically, people with ADHD are ten times more likely to develop an addiction, and their average lifespan is at least 13 years shorter than that of the general population. 

So how can friends and family help? Is there a way to interrupt the drive to self-medicate in self-destructive ways? The answer, remarkably, is so ancient and simple as to almost seem facile: it is love. 

When the Default Mode Network first hits upon a negative self-judgement, its instinct is to reach outward – to seek comfort and belonging. If connection is unavailable, the “devil voice” finds substitutes in addictive or numbing behaviours. But when real, safe relationships are present, they act as a protective buffer. Studies show that people with ADHD who experience strong, consistent love from partners, friends and family have lower addiction rates, better health, and longer lives. 

Of course, loving someone with ADHD can sometimes demand extra patience. Your ADHD friend or family member is likely to be the most creative, empathetic, and generous person you know, yet also the one who forgets your birthday, arrives late, or leaves your message unanswered. None of this is intentional neglect; it is the Default Mode’s interference – the whisper that says, “They probably don’t like me that much anyway.” Understanding this dynamic transforms frustration into compassion. It helps us see that behind the missed text is someone fighting an invisible cognitive tug-of-war – a loved one who needs reassurance, not reprimand. 

Even for those without ADHD, our era of constant notifications and information overload is training our brains toward VAST-like patterns. We’re pulled between self-judgment and self-justification, between doing and ruminating, with little space for rest. Learning to quiet the inner critic and nurture connection is good for all of us. 

When we tune into the gentler side of our Default Mode Network – the voice that says “You are valuable to the people around you” – mistakes lose their sting, and perfection ceases to be the price of self-worth. 

The NHS may take years to fully resolve its ADHD backlog. But in the meantime, there is meaningful work that families, friends, and communities can do. We can offer the connection that helps quiet the inner storm by being the person who reaches out, forgives the lateness, and replies with warmth even when the other couldn’t. 

This may not shorten the waiting list, but it could lengthen lives. For the millions with ADHD, and the millions more living with VAST, love is not a sentimental afterthought – it is the neurological antidote to despair. 

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