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.

Review
Books
Culture
Digital
Leading
5 min read

How a card game, going off-grid, and a great teacher, shaped Bill Gates

A new biography explores the man who shaped the digital decades

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Bill Gates talks from behind a table with a small sign bearing his name.
Bill Gates.
European Parliament, CC BY 4.0, via Wikimedia Commons

It is hard to find Bill Gates the man behind Bill Gates the tech billionaire. The founder of Microsoft is consistently portrayed in the media solely through the lens of wealth, influence and innovation, and with good reason. For decades he has ranked one of the richest men in the world with a net worth of around $113 billion, and his most recent operating system running on over 400 million devices around the world.  

But in the first instalment of his planned three-volume biography Bill Gates reveals something of his personal story - of the rituals, coincidences and relationships that have shaped the man who, like it or not, is shaping all our lives

As someone who grew up riding the wave of the technological revolution of the 1970s, 80s and 90s, I found Bill Gates’ deeply personal portrait particularly fascinating. But the themes of his book resonate even wider - the way he talks about relationship and risk, inclusion and inspiration, memory and morals, are poignant however much time you spend on your computer and however much money you have in your pocket.  

Hearts with Grandma shaped Gates’ childhood 

The powerful influence of Gates’ family, particularly his grandmother, is unmistakable. The biography opens and closes with the woman who called him “Trey,” recognizing his place as the third William Henry Gates in the family. Their close bond developed over the card table, where Gates sat in awe of her mental sharpness. Even into old age she regularly beat him at her favourite game, Hearts. It’s likely not a coincidence that this game made it into Microsoft’s early operating systems: Gates’ way of sharing something of his grandmother with the world. But Hearts was more than a card game. It symbolises the space Gates was offered to learn strategy, logic and focus. It was a levelling of the playing field across generations and an opportunity to discover and refine his sense of identity, competition and connection.  

I found myself reflecting on my own childhood, and those long dark evenings playing Carrom and Rummikub with my mum, at least until I was seduced by Pacman and Elite on my microcomputer. Then I thought about how that played out with my own children who I once taught to play Uno and Connect 4 and who have subsequently introduced me to the challenges of Catan, Carcassonne, Codenames, Ganz Schon Clever, and so on. Card and table games have had their own mini-revolution since the days of Hearts and Patience: they continue to be the school where early learners develop strategy, connection, and identity.  

Off-grid and online life shaped Gates’ young adult life  

Gates’ childhood, as portrayed in his biography, feels like it belongs to a completely different era. It makes me feel uncomfortable as he describes the way he used to disappear as a teenager on a nine-day hike through the Cascade Mountains in Washington State with friends—no mobile phones, no contact with home. In one remarkable story, his parents managed to reach him by phoning a random stranger in a town along his route. That stranger successfully relayed the message that his family’s planned rendezvous had changed. It’s an image from a different world, one of off-grid trust, risk, and adventure—far from the always-on, hyper-connected digital culture Gates would go on to help create. How ironic that the skills Gates needed to become one of the central architects of digital transformation were formed in the middle of nowhere. The infrastructure of today’s information age—its fluidity, reach, and depth—was birthed in mountain walks, wild camping and lake swimming. 

The image of a young Bill Gates forging resilience and perspective far from the digital world is both nostalgic and instructive. Perhaps the next great innovators won’t emerge from the data diet or coding camps but from tents under the stars and homes where screens are conspicuously absent.  

Gates’ neurodiversity is his superpower 

One of the most important influences that emerges during Gates’ school education was Mrs Blanche Caffiere, the school librarian at View Ridge Elementary in Seattle. She not only managed the library but also invited young Gates to work as her assistant—a role that empowered him, nurtured his curiosity, and profoundly shaped his sense of belonging at school. Socially awkward but intellectually gifted, Gates was given a position of responsibility, and that act of trust and inclusion gave structure to his experience of school as well as a place where he could flourish. It’s a powerful reminder of the transformative role teachers can play—especially those who go beyond the curriculum to draw out the unique gifts of each student.  

In the book’s epilogue, Gates reflects on his neurodiversity:  

“If I were growing up today, I probably would be diagnosed on the autism spectrum… During my childhood, the fact that some people’s brains process information differently from others wasn’t widely understood.” 

 His parents seemed to respond to his difference with patience and ingenuity. While they clearly struggled, they also invested in his education and in supporting his mental health. Instead of framing neurodiversity as a deficit, Gates’ family recognised it as a form of untapped potential. And, on reflection, Gates agrees. Seeing the world differently, he has said, is something he wouldn’t trade. 

These three themes come together in one story that really struck home to me. As a child Bill Gates attended church with his sister, and on one occasion this church issued a challenge: any young person who could memorize the entire Sermon on the Mount would earn a meal at the city’s iconic Space Needle in its lofty rotating restaurant. With his agile brain, his family relationships and his growing resilience Gates memorized the entire passage verbatim, passed the test, and earned his reward.  

Memorising 150 verses is no mean feat, but it wasn’t the end of the story. That challenge sparked a deeper interest, and Gates went on to read the entire Bible from cover to cover. He recognized that discovery as a vital part of his journey toward adulthood, forming part of the moral and intellectual foundation that would shape his later life. 

Gate’s story, as told in this first volume, isn’t just a biography of a tech mogul - it is a window into the formation of a complex human being. What emerges is not just a tale of one success, but a testament to the quiet, often overlooked forces that shape a life, a community, and a moral framework. The time spent with a grandmother, the vision of a school librarian, the stillness of a night spent under the stars, the power of a sacred text:  perhaps here is the true source of the man who is Bill Gates.  

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