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.

Article
Comment
Feminism
Migration
Trauma
6 min read

“Defending our girls” is less about safety, more about scapegoating

The men who finally care about violence against women — just in time to blame immigrants for it

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

A protestor holds a blue smoke canister towards the camera lens.
An asylum hotel protester, Epping.

Something has profoundly shifted in the way we are speaking about male violence against women and girls. Or perhaps I should say, the shift is precisely that we are speaking about male violence against women and girls.  

Wait.

Would you allow me to slightly amend that statement once more?

I say ‘we’ are talking about it, what I really mean, if I may be so blunt, is ‘men’. Men are talking about male violence against women and girls.  

Therein lies the shift. 

Women have been speaking about this epidemic of violence for years, they have been having endless conversations about the complexities of their own sense of sexual safety, relentlessly sounding the alarm. And, all too often, being ignored. It has so commonly felt as though women could scream about this topic at the top of their lungs and be met with an exasperated eyeroll. Perhaps that’s ungenerous of me, maybe the lack of political interest has been more about despondence than disbelief. Either way, it has continually appeared as though male violence against women and girls has sat, slumped and hopeless, at the bottom of the political agenda.

Until now, that is. Now, it is the crux of many campaigns, sitting right at the forefront of multiple political conversations. One conversation, in particular.  

Earlier this year, Conservative MP, Robert Jenrick, wrote an article in which he stated that he fears for his daughters’ safety, not wanting them to live near ‘men from backward countries who broke into Britain illegally and about whom you know next to nothing’. Political party Reform UK has a concern for women’s safety sitting at the forefront of their campaigns; again, Nigel Farage (leader of Reform UK) has continually suggested that it is the immigrant communities in the UK who are posing the threat. Signs that read ‘defend our girls’ have been ever-present at many of the anti-immigration protests that have happened throughout the summer months, the same phrase was chanted by those taking part in the ‘Unite The Kingdom’ march, organised by far-right activist, Tommy Robinson.  

So, we have a direct line being drawn between immigration and the epidemic levels of violence against women and girls. A common enemy is a powerful thing, isn’t it? A uniting thing? An energising thing, even? This line from A to B (‘A’ being the violence and ‘B’ being people who have come to this country from another) is one that I cannot draw myself. I find no biblical nor sociological justification for doing such. In fact, I’m hit with quite the opposite. 

I’ll get biblical, but shall we start with the sociological?  

Violence against women – be that physical, verbal, sexual, financial, or any other nuanced kind – is a tragic reality here in the UK, as well as globally. We know this and there can be no denying it.  

One in three women will experience domestic abuse.  

A woman is murdered by a partner/ex-partner every four days.  

One in two rapes against women are carried out by a partner/ex-partner.  

More than 90 per cent of perpetrators of rape and/or sexual assault are known to their victims.  

One in three adult survivors of rape experience it in their own home.  

These facts are heartbreaking, stomach-churning, worthy of our indignation and fury. They do not, however, imply that the dominant threat to women are strangers who have come to UK from other countries. Such claims, while being spoken of loudly and continually, are unfounded.  

There’s almost an ‘if-only-ness’ about such claims, isn’t there? And so, if I lower my hackles, I can sympathise with wanting such claims to be true, albeit momentarily - if only we could solve male violence against women and girls so easily.  

If only it were so neat.  

Instead, we have to sit in the utterly overwhelming, and often debilitating, reality that violence is being carried out against women in every age group, every socioeconomic group (although it must be acknowledged that women who can’t access public funds, such as welfare support or housing assistance, are three times more likely to experience violence), every ethnic group, and in every corner of the country. As a woman, if a man is shouting at me while I’m alone – it makes no difference what language he’s shouting at me in, tragically, I’ve learnt to be scared regardless.  

The notion that it is an imported problem that can therefore be a deported problem, is wrong. And, dare I say it, undergirded by racism.  

It’s perhaps also worth mentioning that there is footage from the recently held ‘Unite the Kingdom’ march, during which the mandate to ‘defend our girls’ was continually chanted, of men chasing female counter-protesters down the street. While a call to defend women was chanted one minute, a call for women to expose themselves was chanted the next. Furthermore, it has been reported that 40 per cent of those arrested during the 2024 anti-immigration protests had previously been reported to the police for domestic abuse. In my home city of Bristol, it was two-thirds of those arrested.  

So, while women’s safety seems to be at the forefront of political and social movements right now, I can’t help but be deeply suspicious of the intentions behind it. It seems to me that the same people who have spent the last five-or-so years responding to women’s pleas for help with an irritated ‘not all men’ chant, are now more than happy to point at a marginalised group of people and declare ‘but probably all those men’.  

But this isn’t simply sociological, nor is it purely political. For me, there are theological reasons why I can’t help but wince at what is happening.  

I simply don’t think the Bible gives us the option of pitting one marginalised group against another; it’s clear on the fact de-humanisation can never be a tool in our societal toolbox. In fact, if we’re going to get biblical with it, vulnerable women and ‘migrants’/’foreigners’/’strangers’/’sojourners’ – they’re always on the same list.  

‘He defends the cause of the fatherless and the widow, and loves the foreigner residing among you, giving them food and clothing’ – that’s the book of Deuteronomy. And this – ‘Do not oppress the widow or the fatherless, the foreigner or the poor. Do not plot evil against each other.’ – is the book of Zechariah.  

I could go on.  

We have a shared humanity and, therefore, a sacred responsibility to protect both the women and girls who are facing unspeakable injustice, and those who are being unfairly scapegoated for it. It’s an uncomfortable tension, I can’t deny it. It refutes quick-fixes, it raises its eyebrows at cheap blame, and it absolves any comforting notion that the problem flows from elsewhere - Christianity simply does not offer such a luxury. Compassion cannot be finite, love – as Graham Tomlin has argued – cannot be a limited commodity. 

And this is precisely why such things being increasingly carried out in the name of Christianity makes no sense to me. Surely, this cannot be espoused in the name of the Jesus who destabilises the boundaries between ‘Our Sort of People' and 'Those Others Over There?’ (to quote Francis Spufford)  

We cannot be fooled, fear and distrust on the basis of someone being different from ourselves is not – I repeat, not - a Christian value. One vulnerable group’s pain being unjustly weaponised against another vulnerable group has no hint of Jesus about it. Plus, doing so knowingly compromises the care we can offer to both groups. 

I’m getting a little weary of being told that, as a woman, this hate will ensure my safety. Both sociologically and biblically, I’ve found the grounds to call time on such a claim. 

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