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.

Interview
Care
Change
Community
Masculinity
5 min read

There’s a simple solution to society’s lost boys

Mentoring the fatherless helps and heals

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A teenager slumped against a sofa plays a video game
Zach Wear on Unsplash .

What if nearly every major social pathology could be halted upstream? What if there was evidence to suggest that they commonly flow from one singular factor? What would we do – would we sit back and wait for the State to intervene, pointing to where we know the problem is beginning? Or would we wade up that stream ourselves, and start damning up the current?  

Richard Kay and Robert Mansel Lewis have chosen the latter option. They are the founders of Chapter2, a charity that offers mentoring for boys aged seven to 16. And they have identified fatherlessness as the factor that is linked to many major social pathologies to be found in Western society today. 

Earlier this year, the Centre for Social Justice brought out a report called Lost Boys. It found that2.5 million children in the UK do not live with a father figure, and that just under half of young Britons grow up with one biological parent, more often than not their mother.; 

Back in 2013, the numbers were strikingly higher in low-income areas, with 65 per cent of children aged 12–16 in the bottom 20 per cent of income households not living with both birth parents – this was 26 per cent higher than in better-off households. What’s more, when children were aged three, the chance of them being in the bottom income quintile was 21 per cent if their parents were married, and a massive 81 per cent if they were in lone-parent families.  

So, we can already see a clear line drawn between fatherlessness and poverty,. Chapter2 (informed by the work of psychologist, Stephen Baskerville) also point out that fatherlessness is linked to alcohol abuse, drug abuse, truancy in school, incarceration, and mental health difficulties – all among young boys, in particular.  

There’s a smorgasbord of factors and influences that are making it increasingly complex to be a ‘healthy’ and ‘happy’ man right now. “You don’t even need to put the word ‘toxic’ in front of ‘masculinity’ anymore, Kay points out. “It’s just assumed. If we need to ask what healthy masculinity is, people really don’t know.” 

As I’m writing this, I’m sitting in a coffee shop with ‘boys will be... what we teach them to be’ emblazoned on the side of it. It feels as though multiple destructive forces are making a beeline for young men right now, and we’re panicking. We’re manically trying to halt a fast and violent flow - but what if we waded upstream? 

That’s what Kay and his colleagues are trying to do. The charity’s mission is to  

bring good men into the lives of young boys who are living without a father. These men – all volunteers (?) - are committed to being there for the long term (two years, minimum) and to build a trusted friendship. That’s it: the beginning, middle, and end of the mission.  

I was struck by the radical simplicity of it. Young boys get referred to Chapter2 through social services, schools, and by family members or guardians – they told me that referrals have never been something they’ve had to work hard to gather. Which is pretty heart breaking in itself. 

The reality is, the fatherlessness crisis isn’t going to be solved by State-led intervention, and nor should it be. The solution lies in community living as it should do. It can be helped by the smashing down of hyper-individualism and the dismantling of our obsession with the nuclear family. It can be eased by reminding ourselves that it really does take a village to raise a child. Oh, and that we’re the village. When we spoke, Kay talked about his initial reluctance to found a charity that does this work, weary that it somehow relieves us all of our responsibility to live wide-open lives. Chapter2 is working toward a world in which the mentoring of young, fatherless, boys is normal, not a last resort.  

I like that. 

The longevity of Chapter2’s goal is pretty counter-cultural, isn’t it? We’re a commitment-phobic-culture. That’s pretty anti-love-your-neighbour, right? But the only way to respond to the wound of abandonment is by showing up – relentlessly, consistently, self-sacrificially. It’s the art of staying – come what may.  

I was told that this takes the boys a little getting used to; that Kay and Mansel Lewis warn the men they’re training that there will come a point when the boys will try and push them away, assuming they’ll leave sooner or later and feeling more comfortable having that happen on their own terms. It’s a symptom of the abandonment wound, I guess. But the men stay, and the boys begin to trust them.  

And here’s the other biggie for Chapter2: there’s no agenda. No goals. No solutions. No fixing. Just presence - consistent presence.  

Again, I was struck by how foreign that must feel to the boys. Everybody else in their life needs and wants something from them – better school attendance, better behaviour at home, less trouble with the police – and rightly so. But the Chapter2 mentors are only interested in the boys’ company and trust. They’re not trying to fix them, they’re just trying to know them – if there are no measurable changes, they’ll still show up. Zero conditions.  

The poet, rapper, author, and pastor, Joshua Luke Smith, often talks about a father as being someone who will  

‘bind up your wounds and catch you when you fall’,  

because that that’s what every young man needs – someone to care enough to do those two things. Because hurt people tend to hurt people. So, wounds need to be bound before they become ‘an excuse to wound others’. Again, it’s all very upstream, don’t you think? It’s very Chapter2-esque.  

One Chapter2 mentor recently received a Father’s Day card from a boy he’d built up a relationship with. Another young boy who’d been arrested twenty or so times in twelve months eventually realised, thanks to his mentor, that it’s not worth getting into trouble. His mentor, he said, ‘is someone he can trust, he’s consistent and he knows he cares about him’.  

This is community living as it ought to. Is this also the solution to the pandemic of fatherlessness?  

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