© Jack Smethers, 2022

Simon Roberts (b.1974) is a visual artist based in Brighton, UK. Widely recognised for his large-format, tableaux photographs of the British landscape, his practice also encompasses video, text and installation work, which together, interrogate notions of identity and belonging, and the complex relationship between history, place and culture.

He has exhibited widely and his photographs reside in major public and private collections, including the George Eastman House, Deutsche Börse Art Collection and Victoria & Albert Museum. In 2010 he was appointed the official British Election Artist by the House of Commons Works of Art Committee to produce a visual record of the General Election on behalf of the UK Parliamentary Art Collection; and in 2014 he represented Britain during the UK-Russia Year of Culture. He has been commissioned to make several large-scale public artworks and recognised with numerous awards including an Honorary Fellowship to the Royal Photographic Society, the Vic Odden Award and grants from Arts Council England and the John Kobal Foundation.

Author of several critically acclaimed monographs including Motherland (Chris Boot, 2007), We English (Chris Boot, 2009), Pierdom (Dewi Lewis Publishing, 2013) and Merrie Albion – Landscape Studies of a Small Island (Dewi Lewis Publishing, 2017), his work has also been profiled and published widely including in the New Yorker, Granta, National Geographic, ArtForum, Wallpaper, amongst others.

Roberts holds a BA Hons in Cultural Geography from The University of Sheffield, and is a regular public speaker and visiting lecturer. He is currently a Visiting Research Fellow at University of Cumbria – Institute of the Arts. Outside of his own professional practice he is involved with several not for profit organisations having formerly served as a trustee of Photoworks and currently working as an ambassador for FotoDocument and the Ian Parry Scholarship.


For more information, interviews and downloads, please select from the drop-down menus below.

Selected Solo Exhibitions


Former H&M – Grosvenor Shopping Centre (Chester, UK): How did we get here? Where do we go now?, May – June 
Fotografia Europea
 (Reggio Emilia, Italy): Merrie Albion & The Brexit Lexicon, April – June (link)


Flowers Gallery (London, UK): Beneath the Pilgrim Moon, September – November (link)


Château de Flamanville (Flamanville, France): Normandy – Nos Jours De Fêtes, June – September (link)


The Container (Tokyo, Japan): Brexshit Machine|Complex States, December – January 2021 (link)
The Art Foundation (Athens, Greece): The Brexit Lexicon|Complex States,  October – December (link)


Pallant House Gallery (Chichester, UK): Inscapes, June – October (link)
Format Festival (Derby, UK): The Brexit Lexicon , March – April (link)


Flowers Gallery (New York, USA): Homeland, December – January 2019 (link)
Regency Town House
 (Brighton, UK): The Brexit Lexicon, October (link)
Brighton Photo Fringe
(Brighton, UK): Between the Acts, October (link)
Cortona on the Move (Cortona, Italy): Inizio, July – September (link)
Hiroshima City Museum of Contemporary Art (Hiroshima, Japan): Sight Sacralization: (Re)framing Switzerland Part 1 & Part 2, May – July (link)
Zeitgeist Art Gallery
 (Nashville, USA): Public Performance, May – June (link)
Heinzer Reszler (Lausanne, Switzerland): New Vedute, May – June (pdf)
Flowers Gallery (London, UK): Merrie Albion, January – February (link)


Visionarea (Rome, Italy): New Vedute, November – January 2018 (link)
Abbaye aux Dames
(Caen, France): Normandy, October – January 2018 (link)
Centre Photographique
– Pôle Image Haute-Normandie (Rouen, France): Normandy, June – September (link)
Robert Morat Galerie
(Berlin, Germany): Public Performance, May – September (link)
Italian Cultural Institute (London, UK): New Vedute, May – June (link)
FotoHof (Salzburg, Austria): Landscape Studies of a Small Island, March – April (link)


Museo d’Arte Contemporanea di Roma (Rome, Italy): New Vedute – Alternative postcards from Rome, October – December (link)
Hastings Pier (Hastings, UK): Pierdom, September – November
Festival Images Vevey
(Vevey, Switzerland): The Last Moment, September – October (link)


Baker Mamonova (St. Leonards, UK): Polyarnye Nochi, November – December (link)
Brighton Museum & Art Gallery
(Brighton, UK): Pierdom, October – February 2016 (link)
Flowers Gallery (London, UK): National Property – The Picturesque imperfect, July – August (link)
Photofusion (London, UK): The Election Project, April – May (link)
Verey Gallery (Eton, UK): Landscapes of Innocence and Experience, January – April (link)
Galerie Heinzer Reszler (Lausanne, Switzerland): The Last Moment, January (link)


Towner Gallery (Eastbourne, UK): Land and Sea, September – January 2015 (link)
BredaPhoto (Breda, Holland): Pierdom, September – October
Pallant House Gallery (Chichester, UK): Pierdom – National Exhibition, July – October
Grundy Art Gallery (Blackpool, UK):Pierdom – National Exhibition, July – September (link)
Quay Arts (Isle of Wight, UK):Pierdom – National Exhibition, July – September
SeaCity Museum (Southampton, UK):Pierdom – National Exhibition, July – August
Towner Gallery (Eastbourne, UK):Pierdom – National Exhibition, July – August (link)
Brighton Museum & Art Gallery (Brighton, UK):Pierdom – National Exhibition, July – August (link)
Kirkleatham Museum (Redcar, UK):Pierdom – National Exhibition, July – August
Aberystwyth Arts Centre (Aberystwyth, UK):Pierdom – National Exhibition, July – August (link)
Teign Heritage Centre (Teignmouth, UK):Pierdom – National Exhibition, July
Burgh Hall (Dunoon, UK):Pierdom – National Exhibition, July
Turner Contemporary (Margate, UK):Pierdom – National Exhibition, June – September
Multimedia Art Museum (Moscow, Russia): Landscape Studies of a Small Island, April – May (link)


Klompching Gallery (New York, USA): Pierdom, November – December (link)
Robert Morat Galerie (Hamburg, Germany): Pierdom, November – December (link)
North East Photography Network (Sunderland, UK): The Social: Landscapes of Leisure, October – November (link)
Flowers Gallery (London, UK): Pierdom, September – October (link)
Format Festival (Derby, UK): Let This Be a Sign, March – April
Flowers Gallery (London, UK): The Election Project, February – April (link)
Phos Fotografia (Chieri, Italy): We English, January – March (link)
MC2 Gallery (Milan, Italy): Pierdom, January – February (pdf)


Galerie Heinzer Reszler (Lausanne, Switzerland): We English, December – January (link)
The Photographers’ Gallery, Print Sales (London, UK): Pierdom, July – September (link)
Third Floor Gallery (Cardiff, UK): We English, July – August (link)
Swiss Cottage Gallery (London, UK): Let This Be a Sign, May – June (link)
Light House (Wolverhampton, UK): We English, January – March (link)
Pluie d’Images (Brittany, France): We English, January – February (link)


Centro Brasileiro Britânico (São Paulo, Brazil): We English, November – February
Hereford Photography Festival (Hereford, UK): When did you last cry?, November (link)
Flowers Gallery (London, UK): We English, October – November (link)
Photaumnales Festival (Beauvais, France): We English, September – November
SIFEST Photography Festival (Savignano, Italy): An Italian Story, September – October (link)
UH Galleries, St Albans Museum (St Albans, UK): We English, July – September
Brighton Museum & Art Gallery (Brighton, UK): We English, May – August
mac Gallery (Birmingham, UK): We English, May – July
mac Gallery (Birmingham, UK): When did you last cry?, May – July
mac Gallery (Birmingham, UK): The Election Project, April – June
New York Photo Festival (New York, USA): When did you last cry?, May
MC2 Gallery (Milan, Italy): We English, April – May (link)
Robert Morat Galerie (Hamburg, Germany): Motherland & We English, March – April (link)
DMB Project Space (London, UK): Polyarnye Nochi, January – March
Spazio Labo’ – Centro di Fotografia (Bologna, Italy): We English, January – February (link)


Clocktower Gallery (Croydon, UK): We English, November – February (link)
Robert Morat Project Space (Berlin, Germany): We English, October – December
EX3 Centro per l’Arte Contemporanea (Firenze, Italy), Motherland/Homeland, October – November
Brighton Photo Fringe (Brighton, UK): The Election Project, October
SIFEST Photography Festival (Savignano, Italy): We English, September – October
House of Commons (London, UK): The Election Project, September – December (link)
Burgh Hall, (Dunoon, UK): We English, April – July
Bank Street Arts (Sheffield, UK): Motherland, May – June
National Media Museum (Bradford, UK): We English, March – September (link)
Bonington Gallery (Nottingham, UK): Motherland/Homeland, February – March (link)
Crane Kalman (Brighton, UK): Polyarnye Nochi, January – February (link)


South Hill Park Arts Centre (Bracknell, UK): We English, November – January
The Photographers’ Gallery (London, UK): We English, September – November
Klompching Gallery, (New York, US): We English, September – October


Blank Gallery (Brighton, UK): Motherland, October
Belfast Exposed (Belfast, N.Ireland): Motherland, January – March (link)


Klompching Gallery (New York, US): Motherland, October – December
Lodz Foto Festiwal (Lodz, Poland): Motherland, May
Photofusion (London, UK): Motherland, April – May
Pushkin House (London, UK): Motherland, March
The Photographers’ Gallery, Print Sales (London, UK): Motherland, February – April

Selected Group Exhibitions


Museo Nacional de Bellas Artes (Havana, Cuba): Where are you from? Cuba Photography Mission, November – January 2024
Saatchi Gallery
(London, UK): Civilization – The Way We Live Now, June – September
Imperial War Museum North (Salford, UK): Generations: Portraits of Holocaust Survivors, January – July


Les Rencontres De La Photographie (Arles, France): Songs of the Sky – Photography & the Cloud, July – September
Mönchehaus Museum Goslar (Goslar, Germany): Facing Britain, February – May
Cultuurecentrum Mechelen (Mechelen, Belgium): Where are you from? Cuba Photography Mission, February – March
Royal Photographic Society
(Bristol, UK): Generations: Portraits of Holocaust Survivors, January – March
(Paris, France): Generations: Portraits of Holocaust Survivors, January – February


MC/O Berlin (Berlin, Germany): Songs of the Sky – Photography & the Cloud, December – March 2022
Royal Academy (London, UK): The Summer Show, November – January 2022
Imperial War Museum (London, UK): Generations: Portraits of Holocaust Survivors, August – January 2022
Croft Castle (Herefordshire, UK): All Alone – Contemporary Art and Aloneness, July – October
Bristol Museum (Bristol, UK): Island Life – Photographs from the Martin Parr Foundation, May – October
CiCLO Bienal (Porto, Portugal): The Horizon is Moving Nearer, May – June
MuCEM (Marseille, France): Civilization – The Way We Live Now, February – June


Houston Center of Photography (Houston, USA): Keeper of the Hearth: Picturing Roland Barthes’ Unseen Photographs, September – January 2021
Flowers Gallery (London, UK): Small is Beautiful, July
Galerie Heinzer Reszler (Lausanne, Switzerland): Summer Exhibition, July – September
Flowers Gallery (London, UK): 50×50, February – March
R K Burt Gallery (London, UK): Sixteen, January – February


Belfast Exposed Gallery (Belfast, UK): Sixteen, November – December
National Gallery of Victoria
(Melbourne, Australia): Civilization – The Way We Live Now, September – February 2020
Oakland University Art Gallery (Oakland, USA): Your Very Own Paradise, September – November
Museum of Contemporary Photography (Chicago, USA): What Does Democracy Look Like?, July – September
Format Festival (Derby, UK): Sixteen, March – April
Museum of Rome (Rome, Italy): Commissione Roma 2003 – 2017, March
Ullens Center for Contemporary Art
 (Beijing, China): 
Civilisation – The Way We Live Now, March – May (link)
Flowers Gallery (London, UK): Flowers Contemporary II, January – February


National Museum of Modern and Contemporary Art (Seoul, South Korea): Civilisation – The Way We Live Now, October – February 2019 (link)
King’s Cross (London, UK): Another Europe, July – August
Side Gallery (Newcastle, UK): About the North – Imagined Dialogues, June – September
Photobastei (Zurich, Switzerland): Bben Drauf – On Top: Four photographic perspectives with Bernd & Hilla Becher, Matthias Koch, Simon Roberts and Peter Hebeisen, April – June (link)
Hepworth Wakefield (Wakefield, UK): Modern Nature: Photography that explores the merging of urban and rural landscapes in Britain, July – April 2019 (link)
Grundy Art Gallery
, (Blackpool, UK): Neither Land Nor Sea, March – June (link)
National Maritime Museum (London, UK): The Great British Seaside, March – September (link)


Musée de l’Elysée (Lausanne, Switzerland): Unfamiliar familiarities: Outside Views on Switzerland, October – January 2018 (link)
Galleria Ramo
(Lugano, Italy): The Nostalgic and the New, October 2017 (link)
Towner Gallery
(Eastbourne, UK): A Green and Pleasant Land, September – January 2018
Deutsche Börse Photography Foundation (Frankfurt, Germany): Work & Leisure, May
Saatchi Gallery
(London, UK): From Selfie to Self-Expression, March – May
(Rome, Italy): Coliseum. An Icon, March – January 2018 (link)
Aperture (New York, USA): Collective Thinking, For Freedoms, February
Fotostiftung Schweiz (Winterthur, Switzerland): Unfamiliar familiarities: Outside Views on Switzerland,  February – May (link)
Musee d’art de Pully
(Pully, Switzerland): Evidences of reality, photography facing its shortcomings, February – April (link)


Graves Gallery (Sheffield, UK): Street View – Photographs of Urban Life, October – March 2017 (link)
Three Shadows Gallery (Xiamen, China): Work, Rest and Play: British Photography 1960s to Today, August – October (link)
PondyPHOTO (Pondycherry, India): The Kitchen Sink, August – September (link)
Beetles & Huxley (London, UK), An Idea of Living, July – September (link)
SIA Gallery (Sheffield, UK): Northern Light: Landscape Photography and Evocations of the North, July (link)


Mall Galleries (London, UK): Discerning Eye, November
People’s History Museum
(Manchester, UK): Show Me The Money, July – January 2016
Minsheng Art Museum (Shanghai, China): Work, Rest and Play: British Photography 1960s to Today, July – August (link)
OCT-LOFT (Shenzhen, China): Work, Rest and Play: British Photography 1960s to Today, May – July (link)
NRW-Forum (Düsseldorf, Germany): Human Nature, January – April (link)


Klompching Gallery (New York, US): About Land: The Landscape In Contemporary Photography, November – December
Flowers Gallery (New York, US): Small is Beautiful, November – December
Deutsche Börse AG (Frankfurt, Germany): Human Nature, October – December (link)
John Hansard Gallery (Southampton, UK): Show Me The Money, October – November (link)
Aberystwyth Arts Centre (Aberystwyth, UK): I Like This Place, July – September (link)
The Photographers’ Gallery (London, UK): Didn’t We Have A Lovely Time, July – August
Northern Gallery for Contemporary Art (Sunderland, UK): Show Me The Money, June – August (link)


Flowers Gallery (London, UK): Small is Beautiful, November – December
The Nelson-Atkins Museum of Art
(Missouri, USA): Making Pictures of People — Recent Perspectives on Photographic Portraiture, August – January 2014
Museum of London Docklands (London, UK): Estuary, May – October
Somerset House (London, UK): Landmark: The Fields of Photography, March – April (link)
Format Festival (Derby, UK): Piece of Cake, March – April (link)


Munich Stadtmuseum (Munich, Germany): Fotodoks: Let This Be a Sign, October
Galeria de Arte SESI
(Sao Paulo, Brazil): Observers: British Photography and the British Scene (From the 1920s to Now), September – December
Museo d’Arte Contemporanea Roma (Rome, Italy): Camera Work / FOTOGRAFIA – Festival, September – October
Internazionale di Roma, September – October (link)
Belvedere Museum (Noorderlicht Photofestival, Netherlands); Terra Cognita, September – October (link)
Sifest (Savignano, Italy): Sin_Tesis, September – October
Flowers Gallery (London, UK): Uncommon Ground, July – September
White Cloth Gallery (Leeds, UK): The Great British Public, July – September
Victoria Park (London, UK): The World in London, July
Dog Eared Gallery (London, UK): The Great British Public, June
Aubin Gallery (London, UK): The English Way, May – June (link)
Australian Centre for Photography (New South Wales, Australia): Hijacked III, June – August (link)
Griffith University Art Gallery (Brisbane, Australia): Hijacked III, April – June
Quad (Derby, UK): Hijacked III, March – May
Perth Institute of Contemporary Arts (Perth, Australia): Hijacked III: Contemporary Photography from Australia & UK, February – April


National Library of Ireland (Dublin, Ireland): Martin Parr’s Best Books of the Decade, July (link)
Klompching Gallery (New York, US): Land, June – July (link)
Down Stairs Gallery (Madley, UK): Heartlands, May – July (link)
Coutts Bank (London, UK): Everyday Extraordinary, January – December


Host Gallery (London, UK): Pieces of a song, December
Carrousel du Louvre (Paris, France): Electric Vision: BMW Paris Photo Prize, November
The Photo Gallery (Bristol, UK): Landscape, November
Corcoran Gallery of Art (Washington DC, USA): 100 Portraits / 100 Photographers, November
George Eastman House (Rochester, USA): What We’re Collecting: Art/Not-Art, August – October (link)
360 degrés (Quebec, Canada): Festival of Contemporary Landscape Photography, August – October
Kaunas Photo Festival (Kaunas, Lithuania): Duets and Duels – Night of Photography, September
Krakow Photomonth (Krakow, Poland): Aktualizacja UK, May


House of Sweden, FotoWeek DC (Washington, USA): What Lies Beneath- Nature & Urban Landscape in EU Photography, November (link)
Paris Photo, Carrousel du Louvre (Paris, France): We English, November
BALTIC Centre for Contemporary Art (Gateshead, UK): Parrworld, October – December
Noorderlicht Photo Festival (Groningen, Netherlands): War Machines, September – October (link)
3 White Walls Gallery (Birmingham, UK): Photography is dead: 10 years of Rhubarb-Rhubarb, July
Royal Academy (London, UK): Summer Exhibition, June – August
C/O Berlin (Berlin, Germany): Visions of Our Time, Deutsche Börse Art Collection, May – July
New York Photo Festival (New York, US): Home for Good, May
Klompching Gallery (New York, US): Splash!, April – June
Shinjuku, (Tokyo, Japan): This Day of Change, April – May
Format Festival (Derby, UK): Polyarnye Nochi, March – April


Month of European Photography (Berlin, Germany): Blurring the Lines, November
Vanderbilt University Law School (Nashville, Tennessee): Dialogues, October – December
Pingyao International Photo Festival (Pingyao, China): Motherland, September
Royal Academy (London, UK): Summer Exhibition, June – August
Lumix Festival (Hannover, Germany): Motherland, June
New York Photo Festival (New York, US): Portraiture, May
Zeitgeist Art Gallery, (Nashville, Tennessee): Dialogues, May – June
Museum of Contemporary Photography (Chicago, US): This Land Is Your Land, February (link)
Museum of Contemporary Art (Shanghai, China): Unseen, January – March


Association Of Photographers Gallery (London, UK): Polyarnye Nochi, August
Les Rencontres D’Arles (Arles, France): Motherland – Evening Projection, June
Photo London, Old Billingsgate (London, UK): Motherland, May
Deutsche Börse Art Collection (Frankfurt, Germany): New Acquisitions, March – September (link)
Royal Photographic Society (London, UK): 150th International Print Exhibition, May – June


Lianzhou International Photo Festival (Lianzhou, China): Motherland, December
Lennox Contemporary Gallery, (Toronto,Canada): Flash Forward, November (link)
Paris Photo, Carrousel du Louvre (Paris, France): Motherland, November
Kaunas Photo Days Festival (Kaunas, Lithuania): Motherland, September – October
PHotoEspaña Festival (Madrid, Spain): Descubrimientos PHE, June – July

Awards & Grants

Artist in Residence, Guernsey Photography Festival (Guernsey), 2022
Developing Your Creative Practice Grant, Arts Council England (UK), 2020
Best Photography Book of the Year of PHotoEspaña​, Shortlisted for Merrie Albion (Spain), 2018
Arts Council England Grant (UK), 2018
PWA Photobook Dummy Award, Nominated for New Vedute (Denmark), 2018
Thames Tideway Tunnel, Public Arts Commission (UK), 2017
Rome Commission / British Council Grant (Italy), 2016
Artists’ International Development Fund, Arts Council England (UK), 2016
ING Discerning Eye, Selected Artist (UK), 2015
Deutsche Börse Photography Prize, Longlisted for Pierdom monograph (UK), 2014
UK-Russia Year of Culture / British Council, Selected Artist (Russia), 2014
Source-Cord Prize, Shortlisted (UK), 2014
Arts Council England Grant (UK), 2014
Honorary Fellowship, Royal Photographic Society (UK), 2013
North East Photography Network Commission (UK), 2013
Above&Beyond Public Arts Commission, Bristol Royal Infirmary (UK), 2013
BNL – BNP Paribas Group Award, MIA Art Fair, Finalist (Italy), 2012
Deutsche Börse Photography Prize, Longlisted forWe English monograph (UK), 2011
Creative Review Photography Annual (UK), 2011
IPA Awards, First Prize – Political (USA), 2011
Arts Council England Grant (UK), 2011
BMW Paris Photo Prize, Shortlisted (France), 2010
British Election Artist Commission, House of Commons Works of Art Committee (UK), 2010
PDN Photo Annual, Best Photography Book – We English (USA), 2010
World Press Photo Award, Daily Life Stories, Third Prize (Netherlands), 2010
Arts Council England Grant (UK), 2010
Royal Photographic Society Fellowship Distinction (UK), 2009
New York Photo Festival, Best Photography Book – We English (USA), 2009
KLM Paul Huff Award, Shortlisted (Amsterdam), 2009
ArtSlant Showcase Winner (USA), 2009
Creative Review Photography Annual (UK), 2009
Deutsche Börse Photography Prize, Longlisted for Motherland  exhibition (UK), 2008
John Kobal Foundation Grant (UK), 2008
PDN Photo Annual, Best Photography Book – Motherland (USA), 2008
American Photography 24 Annual (USA), 2008
National Media Museum Bursary (UK), 2007
Arts Council England Grant (UK), 2007
Vic Odden Award (UK), 2007
Les Rencontres d’Arles Contemporary Book Award, Shortlisted for Motherland (France), 2007
PHotoEspana Year’s Best Photography Books, Shortlisted for Motherland (Spain), 2007
Lodz Foto Festiwal Special Prize (Poland), 2007
AOP Document Award (UK), 2007
Lange–Paul Taylor Prize, Finalist (USA), 2007
Getty Grant (USA), 2007
Photography Now – One Hundred Portfolios (USA), 2007
Bright Spark Award, Magenta Foundation (Canada), 2007
Alexia Foundation Grant, Highly Commended (USA), 2007
AOP Open Award, Best In Show (UK), 2005
Photo District News PDN30 Emerging Artist (USA), 2004
Joop Swart Masterclass, World Press Foundation (Amsterdam), 2003
Ian Parry Award (UK), 1999

Public Collections

Art Collection Deutsche Börse, Frankfurt, Germany (link)
Birmingham Central Library, Birmingham, UK (link)
Collezione Taurisano, Naples, Italy
Croydon Museum, Croydon, UK (link)
Eton College, Windsor, UK (link)
Fotostiftung Schweiz, Winterthur, Switzerland (link)
George Eastman Museum, Rochester, USA (link)
Grundy Art Gallery, Blackpool, UK (link)
Martin Parr Foundation, Bristol, UK (link)
Museum of Contemporary Photography, Chicago, USA (link)
Museum of Sheffield (via V&A Acquisition Fund), Sheffield, UK (link)
National Media Museum, Bradford, UK (link)
National Museum Cardiff, David Hurn Collection, UK (link)
Nelson-Atkins Museum of Art, Missouri, USA (link)
Pallant House Gallery, Chichester, UK (link)
Parliamentary Art Collection, UK (link)
Royal Museums Greenwich, London, UK (link)
Royal Photographic Society, UK (link)
Sir Elton John Photography Collection, Atlanta, USA (link)
Swiss Cottage Gallery/ London Borough of Camden, UK (link)
The Hyman Collection, UK (link)
The Incite Project, UK (link)
Towner Gallery, Eastbourne, UK (link)
University of Warwick Art Collection, Warwick, UK (link)
V&A Collection, London, UK (link)
Wilson Centre for Photography, London, UK (link)


Cathedrals Are Built in the Future. Photographs by Simon Roberts. Essay by Ossain Raggi. Another Place Press, 2022. (link)

The Brexshit Times. Photographs by Simon Roberts. PAO Projects, 2021. (link)

The Brexshit Machine. Photographs by Simon Roberts. Essays by Catherine Harrington, Vassiliki Tzanakou and Shai Ohayon. The Container Gallery, 2020. (link)

New Vedute. Photographs by Simon Roberts. Essay by Emanuelle Trevi. Minimalist Works, 2019. (link)

Green Lungs of the City. Photographs by Simon Roberts. Editions Bessard, 2018. (link)

Merrie Albion – Landscape Studies of a Small Island. Photographs by Simon Roberts. Essay by David Chandler. Text contributions by A.L. Kennedy, Alex Vasudevan, Carol Ann Duffy, David Matless, Frank Cottrell-Boyce, Ian Jeffrey, Irenosen Okojie, Nikesh Shukla and Tristram Hunt. Dewi Lewis Publishing, 2017. (link)

Landscapes of Innocence & Experience. Photographs by Simon Roberts. Essay by Martin Caiger-Smith. Verey Gallery, 2015. (link)

Pierdom. Photographs by Simon Roberts. Essay by Francis Hodgson. Dewi Lewis Publishing, 2013. (link)

This is a Sign. Photographs by Simon Roberts. Self published: London, 2012. (link)

The Election Project. Photographs by Simon Roberts, Essays by Greg Hobson, Sean O’Hagan & Peter Wilby. Self published: London, 2010. (link)

We English. Photographs by Simon Roberts. Essay by Stephen Daniels. Chris Boot: London, 2009. (link)

Motherland. Photographs by Simon Roberts. Essay by Rosamund Bartlett. Chris Boot: London, 2007. (link)


Pandemic Objects. Architectural Association, 2024 (link)

Leave to Remain – A Snapshot of Brexit. Lund Humphries Publishers, 2023 (link)

About England. Reaktion Books: London, 2023. (link)

A Therapeutic Atlas. The School of Life: London, 2022. (link)

Sussex Landscape: Chalk, Wood and Water. Pallant House Gallery: Chichester, 2022. (link)

Another Country- British Documentary Photograpy Since 1945. Thames&Hudson: London, 2022. (link)

Flora Photographica: The Flower in Contemporary Photography.Thames&Hudson: London, 2022. (link)

Cuba Photography Missions – Where Are You From? Stockmans Art Books: Belgium, 2021. (link)

Songs of the Sky: Photography & the Cloud. Spector Books: Leipzig, 2021. (link)

Facing Britain. IKS Photo: Dusseldorf, 2021. (link)

Ivon Hitchens: Space Through Colour. Pallant House Gallery: Chichester, 2019. (link)

The Great British Seaside – Photography from the 1960s to the Present. National Maritime Museum Greenwich: London, 2018. (link)

Unfamiliar Familiarities: Outside Views on Switzerland. Lars Müller Publishers: Switzerland, 2017. (link)

1001 Photographs: You Must See Before You Die. Cassell: UK, 2017. (link)

Landscapes of the National Trust. National Trust Books: UK, 2015. (link)

Landmark: The Fields of Landscape Photography. Thames & Hudson; UK, 2014. (link)

Flash Forward Tenth. Magenta Foundation: Canada, 2014. (link)

Show Me The Money – The Image of Finance. Manchester Uni Press: UK, 2014. (link)

The Photobook: A History Volume III. Phaidon: UK, 2014. (link)

Contatti – Provini D’Autore Volume II. Postcard: Italy, 2013. (link)

Hijacked Vol 3 – Australia & UK. BigCityPress: Australia, 2012. (link)

Flash Forward – 5th Anniversary. Magenta Foundation: Canada, 2009. (link)

This Day of Change. Kodansha Limited: Japan, 2009. (link)

XL Photography 3. Hatje Cantz: Germany, 2007. (link)

Flash Forward. Magenta Foundation: Canada, 2006. (link)

Granta 94: On the Road Again. Photoessay by Simon Roberts. Granta: London, 2006. (link)

Eyes Wide Open. Chris Boot: London, 2004. (link)

Joop Swart Masterclass 10 Years. World Press Foundation: Amsterdam, 2004. (link)


Chester Live, “Empty H&M store in Chester houses new exhibition looking at state of the British high street”, 02 June 2023, Ferguson, Angela (link)
1000 Words
,”Fotografia Europea 2023 Top three festival highlights”, June 2023, Clark, Tim. (link)
FT Weekend Magazine
, “Gallery”, June 2023, Lustig, Josh. (pdf)
The Guardian
, “Kiss fans, Poundland and Grenfell Tower: modern Britain – in pictures”, May 2023 (link)
Art UK
, “Ten artists to follow on Instagram in 2022”, January 2022, Figes, Lydia. (link)
V&A Museum,
 “Pandemic Objects- The Sea”, December 2020, Kaluznick, Hana. (link)
The Critic
, “Election Artists”, December 2019, Prodger, Michael. (pdf)
iO Donna Magazine
, “Cartoline dalle Italia”, June 2019, Scaraffia, Giuseppe. (link)
, “Best Shots”, June 2019, Padley, Gemma. (pdf)
, “Photograph is 30”, January / February 2019, Schmerler, Sarah (pdf)
Blouin ArtInfo,
“In New York, Peering Through Simon Roberts’ Eyes”, 04 December 2018, Goodwin, Connor (pdf)
Albion Magazine Online,
 “Simon Robert’s Merrie Albion: Landscape Studies of a Small island,” Summer 2018, Taylor, Isabel. (link)
Conscientious Photography Magazine,
 “Merrie Albion,” 30 April 2018, Colberg, Jörg. (link)
The PhotoBook Journal, “Simon Roberts – Merrie Albion,” 16 June 2018, Stockdale, Doug. (link)
Delicious Line
, “Simon Roberts: Public Performance,” 17 May 2018, Molloy, Audrey. (pdf)
, “A Discontented Land,” Issue 93 / Spring 2018, Denison, Simon. (pdf)
The World of Interiors
, “Books Review – Merrie Albion,” May 2018, Elborough, Travis. (pdf)
Photo District News
, “Simon Roberts’ Landscape Photos Illuminate Post-Brexit Britain,” 11 April 2018, Risch, Conor. (link)
Amica, “So British,” April 2018, Ferri, Renata. (pdf)
Artforum, “Simon Roberts – Flowers Gallery exhibition review,” April 2018, Serafinowicz, Sylwia. (pdf)
Amateur Photographer
, “Between the acts,” 7 April 2018, Atwell, Oliver. (pdf)
, “Merrie Albion book review,” March 2018, Clarke, Stephen. (link / pdf)
Black & White Photographer
, “On the shelf – Merrie Albion,” March 2018, Roberts, Elizabeth. (pdf)
Shutter Hub, “Photo Books – Our Latest Favourites,” 15 March 2018, Lloyd, Jane. (link / pdf)
Pro Photographer
, “Brit Crit,” Issue 21 / 2018, Davies, Lottie. (pdf)
1000 Words
, “Simon Roberts’ Merrie Albion,” Issue 27 2018, Chandler, David. (link / pdf)
, “The London art exhibitions to see,” 27 February 2018 (pdf)
L’oeil de la Photographie, “Simon Roberts: landscapes of Albion,” 15 February 2018 (link / pdf)
Studio International, “Merrie Albion: Landscape Studies of a Small Island,” 14 February 2018, Spicer, Emily. (link)
RPS Journal, ‘What to see this month – Merrie Albion,” Issue 158 / January 2018 (pdf)
The New European
, “You Blighted Kingdom,” 25 January 2018, Burnham, Adrian. (pdf)
The Guardian
, “The new-look Britain – in pictures,” 17 January 2018, Stone, Mee-Lai. (link)
BBC News Online
, “Merrie Albion – Photo Gallery,” 16 January 2018. (link)
Town&Country, “Simon Roberts’ iconic photographs of British life,” 15 January 2018, Hedges, Francis. (pdf)
Sunday Times Magazine, “Meet the flockers,” 14 January 2018 (linkpdf)
FT Weekend, “Snapshot – Merrie Albion,” 13 January 2018, Grady, Kitty. (link / pdf)
Elephant, “Toolbox: Simon Roberts’s Camper Van,” 9 January 2018. (link)
Aesthetica, “5 to See: This Weekend,” 9 January 2018. (link / pdf)
Hackney Citizen, “East End exhibitions – five of the best,” 4 January 2018. (link)
1000 Words, “Top 10 Photobooks of 2017 – Merrie Albion,” December 2017, Clark, Tim. (link)
Design Art Daily, “Top Photo Books for the Holidays – Merrie Albion,” 20 December 2017, Roalf, Peggy. (link / pdf)
The Guardian, “Sean O’Hagan’s best photographs books of 2017 – Merrie Albion,” 17 December 2017. (link / pdf)
The Independent, “Coffee Table Choice – Merrie Albion,” 1 December 2017. (jpg / pdf)
Kunst Berlin, “Unfamiliar Familiarities,” 1 December 2017. (pdf)
Luxury Files, “Photographs of man,” Winter 2017, Lurich, Veronica. (pdf)
Photomonitor, “Paris Photo review – Merrie Albion,” November 2017, Bowcock, Simon. (link)
It’s Nice That, “Simon Robert’s photographs create a portrait of Britain over the last ten years,” 16 November 2017, Rebecca, Fulleylove. (link / pdf)
British Journal of Photography, “Studies of a small island,” Issue 7865 / October 2017, Grieve, Michael. (link / pdf)
Hotshoe, “London – Portfolio by Simon Roberts,” Issue 200 / October 2017. (link / pdf)
Internazionale, “Tutti all’aria aperta,” 01 September 2017. (pdf)
Wired, “The Alps’ Most Epic Photo Ops and the Tourists Ruining Them,” 06 March 2017, Mallonee, Aura. (link)
Vice, “So sehen international Nachwuchsforografen die Schwiez,” 15 February 2017, Sadecky, Vanessa. (pdf)
Necsus: European Journal of Media Studies, “Pierdom by Simon Roberts,” Autumn 2016, Brydon, Lavinia and Jenzen, Olu. (link)
Guardian Weekend, “Hitting it out of the park,” 13 August 2016, Pim, Keiron. (link)
National Geographic, “Urban Park,” April 2016, Otterbourg, Ken. (link / pdf)
Idee e Lifestyle del Sole 24 ORE
, “Please don’t go,” April 2016, Pistolini, Stefano. (pdf)
Guardian Guide, “Exhibition pick of the week- Pierdom,” 16 January 2016.
Photomonitor, “Pierdom exhibition review,” 11 January 2016, Gavin, Miranda. (link)
South Korea Photography, “ Simon Roberts, National Property,” January 2016, Kim, Minjung. (link)
El Pais, “Piers of the UK,” 30 November 2015, Jimenez, Lorena. (link)
Brighton Source, “Great British Piers,” 20 October 2015, Bedson, Amie (link)
Culture 24
, “Simon Roberts’ Pierdom,” 19 October 2015, Bowe, Rebecca (link)
L’Oeil de la Photographie
, “London: Simon Roberts, National Property at Flowers gallery,” July 2015 (link)
Fortune Magazine China, “We English,” July 2015 (pdf)
BBC Online, “In pictures: National Property,” July 2015 (link)
Walk to Free Art London, “361 Trough House Bridge, Eskdale by Simon Roberts,” July 2015 (link)
Lens Culture, “National Property: The Picturesque Imperfect,” July 2015 (link)
BA High Life Magazine, “Simon Roberts: social landscapes of England,” July 2015, Sufi, Noor.
City Am, “Little Britain,” July 2015, Dymoke, Alex. (pdf)
FT Weekend Magazine, “Figures in a landscape,” July 2015, Daniels, Stephen. (pdf)
Time Out, “Take a stately Brit tour in Cork Street: Simon Roberts: National Property,” July 2015, Coomer, Martin. (pdf)
Wall Street International, “Simon Roberts. National Property,” July 2015. (link)
Von, “Anthropology of ourselves,” Vol. 35 / May 2015, Huh, Sooky. (pdf)
Archivo, “The Social: Landscapes of Leisure,” Issue 11/ Winter 2014, Pinho, Ana Catarina. (pdf)
New York Times T Magazine, “Higher State of Being,” November 2014, Rosen, Jody. (pdf)
Guardian Weekend Magazine, “The After Life,” November 2014, Hodal, Kate. (pdf)
FT Weekend Magazine, “A walk with the FT,” 25/26 October 2014, Beckerman, Hannah. (pdf)
Amica, “Pierdom – Sul Mare,” No.10/ October 2014, Jacobson, Howard. (pdf)
The Journal, “Artists flash the cash in exhibition about finance” 15 July 2014, Whetsone, David. (pdf)
EXIT, “The Social: Landscapes of Leisure,” Issue 54 / July 2014, Olivares, Rosa. (pdf)
The Morning Star, “Show Me The Money – exhibition review,” 28 June 2014, Quille, Mike.
New York Times Style Magazine, “A Passage of India,” 11 May 2014, Synder, Michael. (link)
CityZine Magazine, “Simon Roberts,” Issue 352 / May 2014, Fu, Joanna. (pdf)
Geo France, “Bristol – La Petite Anglaise Ecolo,” Issue 421 / March 2014, Maillard, Adrien. (link)
The Sunday Times Magazine, “After the storm,” 16 February 2014. (link)
Coast, “Pierdom – Walking on Water,” February 2014.
The Photo Book, “Pierdom: review,” 2 January 2014, Stockdale, Doug. (link)
RPS Contemporary Photography Magazine, “Simon Roberts: Travelling with others,” Issue 54 / Winter 2013, Clarke, Stephen. (pdf)
Source, “A Grey Day Out,” Issue 77 / Winter 2013, Evans, David. (pdf)
Hotshoe, “Pierdom book review,” Issue 186 / Winter 2013. (pdf)
Collector Daily, “Simon Roberts, Pierdom @Klompching,” 13 December 2013, Knoblauch, Loring. (link)
Lens Culture, “Pierdom Review,” December 2013, Strecker, Alexander. (link)
Slate, “Britain’s Beloved Victorian-Era Pleasure Piers,” 9 December 2013, Teicher, Jordan. (link)
PhotoEye, “Book Review: Pierdom,” 3 December 2013, Jenkins, Karen. (link)
Outside Magazine, “The Zoich Olympics,” December 2013, Funk, McKenzie.
Photography & Architecture, “Pierdom review,” 27 November 2013, Graham, Julie. (pdf)
, “Pierdom review,” November 2013, Atwell, Oliver. 
Slow Wear Journal
, “Victorian Remains,” 18 November 2013.
Klat Magazine, “Simon Roberts, Pierdom” 11 November 2013, Severo, Fabio. (link)
New York Times Style Magazine, “Tblisi, Georgia,” 1 November 2013, Levine, Joshua. (link)
Amateur Photography Magazine, Book Review, 7 October 2013, Stapley, Jon.
Zoom, “Art of Sport – Simon Roberts’ Olympiad,” October 2013, Namias, Sara. (pdf)
Gup Magazine, “Pierdom- Book Review,” 30 September 2013, Giostrelli, Sofia. (link)
, “Art Stuff on a train #21: Pierdom,” 24 September 2013, Carey-Kent, Paul. (link)
One Stop Arts
, “Simon Roberts: Pierdom at Flowers Gallery,23 September 2013, Harbour, Stacey. 
The Telegraph
, “Review: Pierdom by Simon Roberts,” 29 October 2013, Newman, Cheryl. (link)
Wallpaper* Magazine
, “Top shelf: 10 new books to flick through this autumn,” 28 October 2013, Bell, Jonathan. (link)
Independent on Sunday, “Photography book review: Pierdom,” 15 September 2013. (link)
Morning Star, “Pier Pressures,” 14 September 2013, Hodgson, Francis. (pdf)
BBC News Online, “Britain’s Piers in Focus” 10 September 2013, Coomes, Phil. (link)
Time Magazine Lightbox, “The Victorian Pleasure Piers of a British Summer” 10 September 2013, Harris, Katie. (link)
Architects’ Journal, “Welcome the onset of autumn with this seaside exhibition,” 9 September 2013, Pallister, James.
The Observer, “Pierdom: photography book of the month,” 1 September 2013, O’Hagan, Sean. (link)
Colors, “Protest – A Survival Guide,” Issue 88 / Autumn 2013. (link)
Aesthetica Magazine, “Iconic Britain – Pierdom at Flowers Gallery,” Issue 54/ August – September 2013. (link)
RPS Journal, “Cultural Geography,” September 2013, Land, David. (link)
Camden Review, “Art Diary: Sea here,” 29 August 2013, Smith, Amy.
FT Weekend Magazine, “Piers of the realm,” 24 August 2013, Hodgson, Francis. (link)
Sunday Times Magazine, “Is Cameron On The Right Track?” 28 April 2013, Mills, Eleanor. (link)
The Guardian, “My Best Shot,” 21 March 2013, Phillips, Sarah. (link / pdf)
Distorted Arts, “England Revisited,” 14 March 2013, Conery, Megan.
The Nation, “My Best Photo From Russia,” Issue 2/ March 2013. (link)
Vignette, “Star Chambers,” Issue 7 / Spring 2013, Nobes, Sam. (link)
Wall Street International, “Simon Roberts: Pierdom,” 26 January 2013, Composti, Claudio. (link)
Saturday Telegraph Magazine, “The year in pictures- 2012 from A to Z,” 29 December 2012. (link)
Colors Magazine, “Going to Market,” Issue 85, Fall 2012. (link)
Source, “This Is A Sign – Publication Review,” Autumn 2012, Jewesbury, Daniel.
Viva Brighton, ”Focus On: Simon Roberts,” October 2012, Leith, Alex. (pdf)
Prism, “We English: Simon Roberts ,” Issue 07, 09-10 2012. (link)
Lemonde, “Un musée et son espace : une Tate bien faite,” 24 August 2012, Lequeux, Emmanuelle. (link)
China Life Magazine, “Muse: We English,” Issue 81, August 2012, Tingting, Sun. (link)
FT Weekend Magazine, “The unforgettable games,” 17/18 August 2012. (link / pdf)
FT Weekend Magazine, “Right on track,” 11/12 August 2012, Engel, Matthew. (link / pdf)
FT Weekend Magazine, “Spectator sport,” 4/5 August 2012, Kuper, Simon. (link  / pdf))
FT Weekend Magazine, “It all starts here – Simon Roberts’ Olympics,” 28/29 July 2012. (link / pdf)
Voices of Photography, “The Election Project,” Jul/Aug 2012, Leclair, Larissa. (link / pdf)
Creative Review, “Let This Be A Sign,” July 2012. (pdf)
We Heart, “Simon Roberts: extracting the beauty from the banal,” 20 July 2012, Davidson, James. (link)
British Journal of Photography, “Signs of the times,” June 2012, Smyth, Diane. (pdf)
Wired, “In focus: Let this be a sign, Simon Roberts,” May 2012, Lanxon, Nate.
Wonderland, “The parting shot,” April/May 2012. (link)
Boat Magazine, “Landscapes of Innocence and Experience,” Issue 3, Spring/Summer 2012.
BBC News Online, “Let This Be A Sign,” 24 May 2012, Coomes, Phil. (link)
New York Times Magazine Online, “The Not-So-Raging Middle Class,” April 10 2012, Baker, Stacey. (link)
FT Weekend Magazine, “Let This Be A Sign,” April 7/8 2012, Roberts, Simon. (pdf)
New Statesman, “Five to a room,” February 27 2012, Platt, Edward. (link)
FT Weekend Magazine, “A new beginning,” January 7/8 2012, Roberts, Simon. (link)
The Observer, “The best photography of 2011,” December 11 2011, O’Hagan, Sean. (link)
Landscape Stories, “Personal Map of England,” December 2011, Arena, Gianpaolo. (link)
Francis Hodgson’s Posterous, “Simon Roberts – We English,” November 21 2011, Hodgson, Francis. (link)
Creative Review, “Photography Annual 2011 – Piers of the Realm,” November 2011. (link)
The Observer, “Pick of London’s Photography Shows: We English at Flowers Gallery,” October 30 2011, O’Hagan, Sean. (link)
Creative Review, “Exhibition Listing – We English at Flowers Gallery,” October 2011.
Elle Decoration, “Hot List: We English at Flowers Gallery,” November 2011. (link)
Wayneford’s Posterous, “We English: Simon Roberts extensive survey of the English at leisure,” October 12 2011, Ford, Wayne.
Pallant House Gallery Magazine, “New print acquisitions: We English,” Number 25 / October 2011. (pdf)
Saturday Telegraph Magazine, “Where the brass bands play,” August 06 2011, Salter, Jessica. (link)
Photo+, “Simon Roberts: Q&A,” July 2011, Park, Miso. (pdf)
Saturday Telegraph Magazine, “Boardwalk empire: Britain’s pleasure piers,” June 09 2011, Bradbury, Dominic. (link)
Photo International, “Simon Roberts: Russland – Mutterland,” Mai/Juni 3 2011, Hess, Hans-Eberhard. (pdf)
FT Weekend Magazine, “Star Chambers,” April 30/May 1 2011. (pdf)
Le Tigre, “We English,” Numero 004/ April 2011, Yogananthan, Vasantha. 
BBC News Online, “We English” (Audio interview) April 23 2011. (link)
Der Spiegel, “So entspannen sich Engländer,” April 01 2011, Tropp, Sabine. (link)
Origo, “We English,” March 2011, Pályi, Zsófia. (link)
Independent on Sunday Review, “Welcome to the Arctic rush hour,” January 30 2011, Jacques, Adam. (link)
It’s Nice That, “Things – Review of The Election Project,” January 22 2011, Quinn, Bryony. (link)
FT Weekend Magazine, “Britain: what lies ahead?” January 7 2011, Russell, Alec.
Culture 24, “Landscape saves the world from wall fodder,” November 4 2010, Miller, Ben. (link)
The New Yorker, “Monumental Portraits,” November 2 2010, Johnson, Whitney. (link)
Cura Magazine, “Motherland/Homeland,” October 29 2010.
Archive, “Simon Roberts: The Election Project,” October 2010, Hobson, Greg. (pdf)
Total Politics, “Strike a pose,” October 2010, Issue 28, Duckworth, Ben. (link)
British Journal of Photography, “The Nation votes,” Volume 157, Issue 7781/October 2010, Smyth, Diane. (pdf)
Arte e Critica, “Motherland/Homeland,” October 2010. (link)
Geo, “Les Pionniers Anglais De La Vie Sans Petrole,” Issue 380, October 2010, Tugel, Hanne.
Ag – Journal of Photographic Art & Practice, “Green and pleasant land,” Issue 58/Winter 2010, Badger, Gerry. (pdf)
BBC News Online, “The Election Project,” (Audio interview), September 15 2010. (link)
Guardian, “Election artist’s photographs capture lonely life on the campaign trail,” September 15 2010, Kennedy, Maev. (link)
Seven – The Sunday Telegraph Magazine, “A Snap Election,” September 12 2010, Farndale, Nigel. (link)
FLIP Magazine, “Turning Point by Simon Roberts,” Issue 16 / Summer 2010. (pdf)
The Photobook, “Simon Roberts – We English,” August 4 2010, Stockdale, Douglas. (link)
Bildredaktion NZZ, “Foto-Tableau: We English,” July 5 – 9 2010, Grieder, Katharina.
Photonet, “Britannia Post – The work of Simon Roberts,” Issue 134 / July 2010, Huh, Sookyoung.
Surface Magazine, “Surface Geographies,” July 2010, Vasudevan, Alex.
The British Journal of Photography, “Hello World: social media & photography,” July 2010, Smyth, Diane.
L’Insensé Photo, “British Photographers,” Issue No. 8, 2010, Nora, Elizabeth. (link)
Grafik, “Exhibition Revew – We English,” Issue 186 / June 2010, William-Purcell, Kerry.
Photo Pro Magazine, “On the Election Trail”, June 2010, Hope, Terry.
Total Politics, “Election 2010-A Look Back The Public’s Campaign,” June 2010, Duckworth, Ben.
The Independent, “The Election Project – by the people, of the people,” May 7 2010, Duguid, Hannah.
Creative Review, “Simon Roberts, Election Artist, Wants YOU,” May 4 2010, Sinclair, Mike. (link)
The Irish News, “Election Diary,” May 03 2010, Mcaffery, Steven.
The British Journal of Photography, “We the Electorate,” May 2010, Laurent, Olivier.
Professional Photographer, “On the Road: Simon Roberts Q+A,” May 2010, Weech, Kelly.
Royal Photographic Society Journal, “Simon Roberts’ Election Project,” May 2010, Land, David.
Time Out London, “The Election Project – Vote with art!” April 29 2010, Ward, Ossian.
The Guardian, “Simon Roberts puts political England in the frame,” April 12 2010, O’Hagan, Sean. (link)
Geographical Magazine, “Simon Roberts – I’m a Geographer,” April 2010, Edward, Olivia.
Outdoor Photography Magazine, “5 must-see exhibitions,” April 2010, Tanner, Aline.
The Guardian, “Election artist focuses on bigger picture,” March 26 2010, Kennedy, Maev. (link)
Surrey Mirror, “Photographer will put the Election in Focus,” March 25 2010, Evans, Owen.
BBC News Online, “Photographer Simon Roberts is official election artist,” 20 March 2010.
Yorkshire Post, “Exploring our Relationship with the English Landscape,” March 12 2010, Bond, Chris.
Saturday Telegraph Review, “Voyage in Search of England,” March 06 2010, Davies, Lucy.
Archive Magazine, “Envisioning the English Outdoors,” March 2010, Daniels, Stephen/ Kitchen, Ruth / Roberts, Simon.
Royal Photographic Society Journal, “This is the Elusive Fellowship,” March 2010, Hallett, Michael.
The Quarterly, “And Did Those Feet?” Spring 2010, Glasbey, Jo.
Coutts News, “We English – Photo Inspiration,” Spring 2010.
Albion Magazine, “Review of Simon Roberts’ We English,” Spring 2010, Betts, Alexander.
The British Journal of Photography, “World Class – Review of World Press Photo,” February 24 2010, Smyth, Diane.
The New York Times Lens Blog, “Showcase: Leisure as a National Mirror,” February 22 2010, Sussman, Nadia. (link)
The Art Book, “We English, Simon Roberts,” Volume 17/ Issue 1 – February 2010, Lane, Guy.
Source Magazine, “Away from the shopping centre,” Winter 2009/2010 – Issue 61, Fletcher, Jane. (link)
Photo-Eye Magazine, “We English book review,” January 18 2010, Bradley, Sarah. (pdf)
Visura Magazine, “We English: Simon Roberts,” Issue 07/Spring 2010. (pdf)
Radio 2, “Claudia Winkleman Show,” Review of Polyarnye Nochi at Crane Kalman Gallery, January 15 2010, Steward, Sue.
The Telegraph, “Polyarnye Nochi – Simon Roberts’ photographs surprise with raw grandeur,” January 08 2010, Davies, Lucy. (pdf)
Radio 2, “Claudia Winkleman Show,” Review of We English, January 08 2010, Steward, Sue.
The Telegraph, “Photographer Q&A with Simon Roberts,” January 07 2010, Davies, Lucy. (link)
an Magazine, “Season of Englishness,” December 2009/January 2010, Holley, Christine.
Photo-Eye Magazine, “The Best Books of 2009,” (We English selected), December 31 2009. (pdf)
Lens Culture, “Visual Anthropology in Russia and England,” (Video interview) December 30 2009. (link)
The Guardian, “We English: year’s best photography books,” December 28 2009, O’Hagan, Sean. (pdf)
The Sunday Telegraph, “Pictures of the Year: Photographers’ Choice,” December 27 2009, Parr, Martin. (pdf)
The Arts Desk, “Photography 2009: Favourite Books,” December 23 2009, Steward, Sue. (pdf)
The Wall Street Journal, “Lenses on the World,” December 12 2009, Woodward, Richard. (pdf)
The Guardian, “Christmas Roundup: Photography Books,” December 12 2009, Hone, Prudence. (pdf)
New Statesman, “Picture Book of The Week – We English,” December 07 2009, McClelland, Rebecca. (pdf)
Digital Camera, “Documentary landscape photographer Simon Roberts,” December 2009, Harris, Geoff. (pdf)
Professional Photographer, “We English at South Hill Park,” December 2009. (pdf)
GUP Magazine, “A Growing Optimism,” 022: The Russia Issue/Winter 2009, Lempers, Shinta. (pdf)
Fotograf, “Portfolio – Man and His Land,” Number 13, Volume 8/2009, Kubacakova, Marketa. (pdf)
Royal Photographic Society Journal, “A place called home,” Volume 149/December 2009, Land, David. (pdf)
The Drawbridge, “First Love,” Issue 15/ Winter 2009, Simpson, Millie. (pdf)
The Online Photographer, “An Interview with Simon Roberts,” November 20 2009, McWhinnie, Ailsa. (link)
The British Journal of Photography, “Now the time returns again,” November 18 2009, Hamilton, Peter. (pdf)
Newsweek Japan, “Picture Power – We English,” November 11 2009, Kataoka, Hideko. (pdf)
Coast Magazine, “Beach Reads – We English,” Issue 44/November 2009, Gogerty, Clare. (pdf)
Hotshoe International, “Hot Books – We English,” October/November 2009, Clifford, Katie. (pdf)
Conscientious, “Review: We English by Simon Roberts,” October 30 2009, Colberg, Joerg. (pdf)
Blue Filter, “Book Review: Simon Roberts – We English,” October 20 2009, Cockerham, Michael. (pdf)
The New Yorker, “Goings on about town,” October 26 2009, Aletti, Vince.
Time Out London, “We English: Book Review – 4 Stars,” October 22 2009, Moss, Chris. (pdf)
NRC Weekblad, “Een Laatste Toevluchtsoord,” October 10 2009, Steketee, Hans. (pdf)
New York Magazine, “Editor’s Pick: We English at Klompching Gallery,” October 05 2009.
The Independent on Sunday, “Book Review: We English,” October 04 2009. (pdf)
Flak Photo, “Weekend Series – We English,” October 03 2009, Adams, Andy. (pdf)
BBC News Online – Viewfinder, “The English at Leisure,” October 01 2009, Coomes, Phil. (link)
The Independent, “This is England,” October 01 2009, Duguid, Hannah. (pdf)
Creative Review, “Landscape as Portrait,” The Photography Annual/October 2009. (pdf)
1000 Words, “Book Review: We English,” Issue 06/ Fall 2009, Clark, Tim. (pdf)
Montage, “Under Review: We English,” Issue 119/Autumn 2009, Korchien, Diana. (pdf)
Ahorn Magazine, “Simon Roberts – We English,” Issue 4/Fall 2009. (pdf)
Professional Photographer, “We English by Simon Roberts,” September 09 2009. (pdf)
Photo District News, “Photo of the day,” September 25 2009, Ching, Darren. (pdf)
Design Week, “We happy few,” September 17 2009, Stones, John. (pdf)
Foto 8, “Simon Roberts on We English,” September 14 2009, Lane, Guy. (link)
ARTmostfierce, “The Most Happening Shows in NYC” September 12 2009, Natal-San Miguel, Ruben.
What’s the Jackanory?, “Mad dogs and Englishmen,” (Video interview), September 10 2009.
Photo Radar, “We English documents the nation at leisure,” September 08 2009, Davies, Amy. (pdf)
Eluxury, “Full English Snap-fest,” September 04 2009, Ledger, Stephen. (pdf)
Lens Culture, “Photo Book Review – We English,” September 2009, Casper, Jim. (pdf)
Go See, “From personal identity to the beauty of banality,” Issue 38/September 2009, Schmidz, Frank. (pdf)
DU – Das Kulturmagazin, “Der schone Alltag,” Issue 799/September 2009. (pdf)
Noorderlicht 16, “Human Conditions,” (Festival catalogue), September 2009, Melis, Wim. (pdf)
Ag –Journal of Photographic Art & Practice, “The English at Play,” Issue 57/Autumn 2009, Dickie, Chris. (pdf)
Guardian Weekend, “Homeland Security,” August 22 2009. (link)
The New Yorker, “Travels in Siberia,” August 03 2009, Frazier, Ian. (pdf)
New York Photo Festival, “Home for Good,” (Exhibition catalogue), May 2009, Levy, Jon. (pdf)
Photo Pro Magazine, “A Fine Art Future,” May 2009, Hope, Terry. (pdf)
Foto 8, “Work in Progress – We English,” Issue 25/Spring 2009, Houghton, Max. (pdf)
Source, “Looking Obliquely at the Landscape,” Issue 57/Winter 2008, Shinkle, Eugenie. (pdf)
Intelligent Life, “The Big Chill,” Vol 2/Winter 2008, Lennox, Alexandra. (pdf)
Art on Paper, “This land is your land,” November/December 2008, Yood, James. (pdf)
American Suburb X, “Simon Roberts: Motherland,” November 2008, Rickard, Doug.
The British Journal of Photography, “The English at Leisure,” November 05 2008, Smyth, Diane. (pdf)
Verve Photo, “Profile: Simon Roberts,” September 26 2008, Hiller, Geoffrey. (pdf)
Art on Paper, “Pride and Belonging,” May/June 2008, Dykstra, Jean. (pdf)
Nahtstellen, “Simon Roberts’ Motherland,” 2008, Klomp Ching, Debra.
Photo District News, “Photo Annual 2008 – Photo Books,” May 2008. (pdf)
Foto 8, “England is Mine,” April 30 2008, Lane, Guy. (link)
Amateur Photographer, “Professionals Choice,” April 19 2008, Britton, Barney.
Art Review, “Special focus – Brooklyn Exhibition Reviews,” Issue 19/February 2008, Coburn, Tyler. (pdf)
American Photo, “Land Surveys – enthralling photo books,” January/February 2008, Johnson, Miki. (pdf)
Unseen – Museum of Contemporary Art, Shanghai, Exhibition catalogue, January 2008, Ho, Joyce.
The Observer, “A book of Soviet bus stops?,” December 23 2007, Hobson, Will. (pdf)
Conscientious, “My Photo Books of the Year,” December 19 2007, Colberg, Joerg. (pdf)
Russian Foto&Video, “Book Review: Motherland,” Issue No.5/ Winter 2007, Neskoromi, Valdimir. (pdf)
Aperture, “Excerpts: Motherland,” Winter 2007, Egan, Natasha. (pdf)
Next Level, “The meaning of Motherland,” Winter 2007 Edition 11, Bartlett, Rosamund. (pdf)
The New Yorker, “Galleries Brooklyn- Motherland,” November 19 2007. (pdf)
I Odonna, “Anche Questa e Russia,” November 03 2007, Belgiojoso, Marghehrita. (pdf)
Departures, ‘The wild wild east,” October 2007, Chivers, C.J.
Daylight Magazine,”Murmansk, Russia’s Nuclear Town,” Issue 6/2007. (pdf)
Foam, “Review: Motherland,” Issue 12/Fall 2007. (pdf)
Source, “A different idiom,” Issue 52/Autumn 2007, Duncan, John. (pdf)
Foto 8, “Review: Motherland,” Vol. 6/Autumn 2007, Bigley, Lydia. (pdf)
The Guardian, “Simon Roberts’ Best Shot,” August 30 2007, Benedictus, Leo.
The Moscow Times, “Off the beaten track,” August 10 2007, Kamenev, Marina. (pdf)
Outside Magazine, “Photography – Seeing Red,” August 2007. (pdf)
F2 Magazine, “The Profile: Simon Roberts,” August/September 2007, Land, David. (pdf)
Photo District News, “In Print: Motherland,” August 2007, Lehan, Joanna. (pdf)
The Drawbridge, “Freedom,” Issue 5/Summer 2007, Simpson, Millie. (pdf)
AOP Image, “AOP Document Awards,” Summer 2007. (pdf)
Photo Eye Booklist, “Survey of new books,” Summer 2007, Klomp Ching, Debra. (pdf)
Very Very Magazine, “Rodina: Motherland,” Summer 2007, Morley, Matt. (pdf)
London Independent Photography, “Review: Motherland,” Summer 2007, Nobel, Laura. (pdf)
Style Journal, “The Motherland,” Summer 2007, Raphael, Amy. (pdf)
Conscientious, “A conversation with Simon Roberts,” July 17 2007, Colberg, Joerg. (link)
Metro Life, “Trapped in a bizarre world,” July 12 2007, East, Ben. (pdf)
Passport Magazine, “Review: Motherland,” July 2007, Mitchell, Ian. (pdf)
Geographical, “Review: Motherland,” July 2007, Wright, Jonathan. (pdf)
Financial Times Deutschland, “500 Frostige Blicke,” June 22 2007, Lockhart, Ina. (pdf)
Outdoor Photography, “Book of the month,” June 2007, McWhinnie, Ailsa. (pdf)
Lens Culture, “Motherland – An interview with Simon Roberts,” June 2007. (link)
Great Britain-Russia Society Journal, “Motherland: Rodina,” Spring 2007, Dewhirst, Martin. (pdf)
Zing, “Simon Roberts’ Motherland,” May 2007, Jiao, Chen. (pdf)
Arena, “Shot in Action – Motherland,” May 2007. (pdf)
Voyager, “Postcards from the edge,” May 2007, Waing, Marcus. (pdf)
The Art Newspaper, “Land of hope, but not much glory,” May 2007, Oliver, William. (pdf)
Frankfurter Rundschau, “Mutterchen Russland,” May 05 2007, Danicke, Sandra. (pdf)
The First Post, “The Big Picture – To Russia with love,” May 03 2007, Kyte, Holly. (pdf)
Design Week, “On the brink,” April 19 2007, Zappaterra, Yolanda. (pdf)
The Independent, “Mother Russia’s extended family,” April 17 2007, Zhuravlyova, Sonia. (pdf)
The Independent, “Art Listings – Motherland,” April 13 2007, Chapman, Peter. (pdf)
Time Out London, “Notes to self….” April 11 2007. (pdf)
The Times, “Image of the week,” April 07 2007. (pdf)
Wallpaper, “Northern exposure,” April 2007, Bell, Jonathan. (pdf)
Ag – Journal of Photographic Art & Practice, “From Russia with Love,” Spring 2007, Dickie, Chris. (pdf)
The Independent, “See the world in pictures,” March 31 2007, Calder, Simon. (pdf)
The British Journal of Photography, “Mother Russia,” March 21 2007, Smyth, Diane. (pdf)
The Observer, “Shorts – Motherland,” March 18 2007, Groskop, Viv. (pdf)
RPS Journal, “Focus on Simon Roberts,” March 2007, James, Simon. (pdf)
Russian London Courier, “Motherland Review,” Issue 271, March 01 2007, Uralskaya, Yana. (pdf)
Vogue, “Vogue Loves….Motherland,” March 2007, Trow, Mike.
Hotshoe International, “From Russia with Love,” February/March 2007, Gavin, Miranda. (pdf)
Saturday Telegraph Magazine, “New Horizons – Motherland,” February 24 2007, Groskop, Viv. (link)
The Telegraph, “Motherland gallery,” February 19 2007. (link)
Airone, “Murmansk Soprawivere Sottozero,” January 2007, Bignami, Luigi. (pdf)
The Independent Saturday Magazine, “Talent Issue – Rising stars of 2007,” December 30 2006, Hall, Nick. (pdf)
Granta 94 – On the Road Again, “Across Eleven Time Zones,” Summer 2006. (pdf)


“As well as possessing aesthetic and creative flair, Simon has the patience, tenacity and competence to bring even the most ambitious projects to fruition. His captivating and technically accomplished large-format pictures reveal much about modern humanity-a tapestry of the beautiful, the poignant, the surprising and the surreal. He encourages us to slow down, to spend time contemplating his images and, in turn, contemplate the complex society in which we all live. .”
Susanna Brown, Curator, V&A, 2018

“Simon Roberts records the spaces, places and events that define the British social landscape. Chronicling the communal experience through shared idiosyncrasies, the photographer reveals truths hidden in the collective consciousness. A nostalgic practice conflates past and present, disrupting traditional notions of the picturesque by responding to political events.”
Aesthetica Magazine, 2018

“In his Brueghel-like compositions of congregation, carnival and revolt, Roberts resists simplistic notions of nationhood. His landscapes, woven with juxtapositions, tensions and ironies, show the fracture of contemporary society.”
Kitty Grady, Financial Times, 2018

“Merrie Albion is a real socio-political mood piece, the power and urgency of which reminds us why Roberts is regarded as one of the leading UK photographers working today.”
Tim Clark, 1000 Words, 2017

“A portrait of contemporary Britain, it [Merrie Albion] presents the nation in all its complexity, from city traders to Muslim worshippers, while somehow evincing a sense of place that is palpable and oddly reassuring. Shot on a medium format camera, often from an elevated point of view, Roberts sometimes makes composites of the same scene, creating images that have the theatricality of one of his inspirations, William Powell Frith, the 19th-century painter of everyday English tableaux. A book that speaks quietly and powerfully about this increasingly disunited kingdom at a pivotal moment.”
Sean O’Hagan, The Observer, 2017

“Pierdom is an elegant exhibition with a long-shelf life and it will, no doubt, become part of an archive of British heritage.”
Miranda Gavin, Photomonitor, 2016

“Simon Roberts makes large-scale pictures with the physical presence of paintings….His large-format camera captures all the details of people and their quirky activities, and sets them within the broader sweep of the British countryside. His pictorial approach allows the photographs to be sociological studies and grand landscapes at the same time.”
Lucy Soutter, Critic & Art Historian, 2015

“Simon Roberts’ photographs explore how our collective and national identities are shaped, interpreted, defined and transformed by our relationship to the landscape. Often creating expansive, tableaux photographs, he creates visual narratives which chart the ambiguities and complexities of post-industrial Britain. The photographs require scrutiny and contemplation. They have a visual command that comes from their expansive nature and scale, where all are made with a large format camera.”
Stephen Daniels, Professor of Cultural Geography, University of Nottingham, 2015

“Simon Roberts really connects with his fellow British and understands the underlying psych of Great Briton. Pierdom is an excellent follow on to his photobook We English and is another in his series that utilizes a large format vision to investigate the British culture.”
Doug Stockdale, The Photobook, 2014

“Pierdom is a terrific example of a photographic project that functions best when seen together as a group, either in book form or as a gallery show. While each of Roberts’ well crafted images of English seaside piers can of course stand alone, the ideas that form the foundation of the project come through more clearly when the images can resonate with each other….All in, this is a deftly self-contained project, with a deceptively rich and sophisticated set of underlying constructs.”
Loring Knoblauch, Collector Daily, 2013

“We English offers a renewed vision of England. New forms of cohesion and belonging are evidenced, but they are not exclusively found in urban areas. Simon Roberts does not reject the national frame, but reinvents it, by revealing the interactions and relations involved in national identification…. The nation is re-imagined through a new, dynamic, open vision of England.”
Karine Chambefort-Kay, Academic, 2014

“The Gordon Brown photograph shouldn’t be taken for granted as an ‘election picture’. Portraits of this kind are hard to find – indeed I would say that they are impossible to find. It is candid and it is collective, at a time when portraits are often strained and exceptional.“
— Ian Jeffrey, Art Historian, 2013

“Simon Roberts, in the tracks of Ray-Jones or Meadows in his project We English, returns to the task of presenting a synoptic view of the nation and its people. His work involves a coming together of people and place – landscape and society. History is ingrained in each image – not least the history of those who have shared his endeavour. There is something old-fashioned in his project, beneath its very contemporary surface, something of the photographic social archives of the nineteenth century.”
Martin Caiger-Smith, The Courtauld Institute of Art, 2012

“It is refreshing to see a photographer dedicated to following the course of the global economic shifts. Even though Roberts’ work examines the affects these shifts have on a domestic level, his work reflects a larger international consciousness of uncertainty and chaos.”
Portia Pettersen, Artlyst, 2012

“Roberts’ manner is calm. He shows people small in the landscape, clustered into groups rather than isolated as individuals. He likes to shoot from relatively high, so we see patterns. It is partly a show about ritual in the landscape, the strange things we do to feel we belong. It is partly about how the very numbers of us who come to enjoy the land spoil the thing we admire. A strong theme is about movement, but Roberts shrewdly notices how much movement is local. Playing golf still has something pastoral about it, even in the shadow of the very power station which employed you. These elegant pictures invite multiple readings, but they do it with confidence and zest. With flashes of wit, humanity, and abundant respect for his photographic predecessors, Simon Roberts has added a good one to the canon of surveys of the English.”
Francis Hodgson, Critic, 2011

“Roberts’ work is significant because he combines a respect for his subject and the desire to communicate important social, economic and political issues, with a contemporary and highly talented approach to image making. His approach is one of creating wide-ranging surveys of our time, which he does through eloquent and arresting photographs.”
Greg Hobson, Curator of Photographs, National Media Museum, 2011

“We English, which looks at leisure locations around England from an aerial perspective, is the best new book on England for many years.”
Martin Parr, Photographer, 2011

“Roberts travelled around England in a motorhome to produce his large-scale photographs of the English at rest and play. The results are epic vistas captured from a distance that are both timeless and contemporary.”
Sean O’Hagan, The Observer, 2011

“The methodology the artist makes use of distinguishes his whole body of research. It consists of a lengthy period of observation with an eye to the relational aspects of the process of building up the image, meaning that rather than being the result of a single point of view, it is more the synthesis of individual stories and widespread sentiments that blend together and give life to a spatial representation, both intimate and rigorous.”
Daria Filardo, Curator, 2010

“We English is a complex body of work – photographically simple in one sense, but imagistically complicated, with many different inferences, not all of them immediately appearance, so one can be grateful for the book’s size, which enables one to see much of the detail in the pictures. Whether it can be considered as art or documentary, I don’t care – the so-called painterly aspects of the work interest me the least. What does interest me is that Simon Roberts has produce an intelligent and persuasive vision of our contemporary English mores – a Tony Ray-Jones for the 21st century.”
Gerry Badger, Ag Magazine, 2010

“Quite simply, the images are beautiful, though perhaps not immediately revealing – their beauty can encourage the clumsy habit of overlooking what they contain. The best of these photographs are remarkable in the layers that Roberts’s has managed to capture – environment, group and individual. And truly the three inform and shape the others.”
Sarah Bradley, Photo-Eye Magazine, 2010

“True to his word, Roberts’ pictures are unmistakably his own. Photographed in colour with a tripod-mounted 5 x 4 plate camera, they exhibit a disciplined compositional restraint, a richness of palette, and – often – a wealth of narrative incident…..His intent to mine the country’s overlooked moments – the trivial and the quotidian – is made good.”
Guy Lane, The Art Book, 2010

“We English, the title of Roberts’s engrossing exhibition of large-scale color photographs might lead you to expect gently satiric social studies in the style of Martin Parr. But the focus of the work is primarily landscape, and several of the images are broad, handsome vistas with only a few people scattered about the terrain. Even the photographs that include larger groups were taken from a distance—a perspective that echoes classical painting, although the subjects are decidedly contemporary.”
Vince Aletti, The New Yorker, 2009

“For Roberts, landscape is a site of leisure pursuits, and this viewpoint fits well with both contemporary social thought and the consumption-obsessed imagery of much current documentary. But he manages somehow to allow the sublime beauty of many of these settings through, and to make pictures of lasting quality.”
Peter Hamilton, British Journal of Photography, 2009

“With a Simon Roberts it is a case of the more you look, the more you see. We English has tremendous historical and anthropological interest; it takes us on an amazing journey through ideas of belonging and memory, identity and place. It is one of the those rare books than you can and will come back to time and time again.”
Tim Clark, 1000 Words Magazine, 2009

“Roberts’ photographs are indeed beautiful. The light is often luminous, the colour rich and intense…..The pictures are sumptuous.”
Jane Fletcher, Source, 2009

“This empathic and captivating collection of photographs [Motherland], which combines intimate portraits and expansive landscapes, coalesces into a picture of post-Soviet Russia that is more complex and optimistic than clichéd portrayals of poverty in the wake of communism. Offering equal measures of beauty and disorder, pride and melancholy, the images speak to feelings of belonging and a common spirit amidst evident diversity.”
Karen Irvine, Curator, Museum of Contemporary Photography Chicago, 2008

“Motherland is a beautifully resolved body of work and the pervading air of melancholy, so suited the subject. The editing together of landscapes and figure studies work powerfully together – and Simon’s eye for the special detail that lifts a picture above a record to become a kind of poetry is evident in every image.”
Martin Barnes, Curator, V&A, 2007

“Because the photographs in Motherland depict a nation that is alien to most of us, you could almost begin to convince yourself that the scenes are, in fact, elaborately constructed film sets. The landscapes have an air of suspension about them, rather like the split second before a film director calls ‘Action’, while the portraits – as formal and static in nature as they are – have a connection between both photographer and subject seen all too rarely these days. There are echoes of August Sander about these.”
Ailsa McWhinnie, Outdoor Photography, 2007

“Simon Roberts wants to break down the stereotypes that own you…His journey through Russia is one of liberation, not exploitation…it is a journey to uncover truth and dignity, timelessness and respect…rather than magnify crime or inflate historical myth. It is a vision speaking of majesty, community and grace, not vice, guns and titillation. He would like to take the epic land that is ‘Russia’ and make it intimate…reel it in and soften it…let you see the beauty and hope, not the suffering and pain. Simon deals in optimism and humanity, not tragedy, corruption and misery…”
Doug Rickard, American Suburb X, 2007

“In the new documentary mode objectivity is almost invariably melded with desire. The photographs of Britain’s Simon Roberts from his series Motherland are, paradoxically, both bleak and raw and yet almost distressingly pleasing to the eye.”
Gary Michael Dault, Critic, 2007

Artist Talks

Simon has given lectures/artist talks and masterclasses at venues including:

Arts University College Bournemouth, UK
Belfast Exposed Gallery, UK
British Journal of Photography Vision, UK
Borderlines Film Festival, UK
Canterbury Christ Church University, UK
Coventry School of Art & Design, UK
Croydon Museum & Art Gallery, UK
Fatamorgana School of Art Photography, Denmark
Format Photo Festival, UK
Host Gallery, UK
Houses of Parliament, UK
Istituto Europeo di Design, Madrid, Spain
Kingston University, UK
Leeds College of Art, UK
London College of Communication, UK
mac Gallery, UK
Museum of Contemporary Photography, Chicago, USA
National Media Museum, UK
Nottingham University, UK
PHotoEspaña, Spain
Photofusion Gallery, UK
Redeye Network, UK
Rhubarb-Rhubarb, UK
Royal Geographical Society, UK
Royal Photographic Society, UK
SI FEST Photography Festival, Italy
Sotheby’s Art Institute, UK
South Hill Park Arts Centre, UK
Swansea Metropolitan University, UK
Syracuse University, USA
The Photographers’ Gallery, London, UK
University College Falmouth, UK
University College for the Creative Arts, UK
University of Aberdeen, UK
University of Cambridge, UK
University of Plymouth, UK
University of Sussex, UK
University of the Arts, Bremen, Germany
University of Wales Newport, UK
University of Westminster, UK
Whitechapel Gallery, London, UK

Resources & Downloads


Simon Roberts Commercial Portfolio (pdf)


An Italian Story (pdf)
After The Typhoon (pdf)
Impressions of Normandy (pdf)
Motherland (pdf)
New Vedute – The Rome Commission (pdf)
National Property (pdf)
Polyarnye Nochi (pdf)
Pierdom (pdf)
Let This Be A Sign (pdf)
London 2012 Olympiad (pdf)
Merrie Albion (pdf)
Sight Sacralization (pdf)
Star Chambers (pdf)
The Election Project (pdf)
The Social: Landscapes of Leisure (pdf)
Urban Parks (pdf)
We English (pdf)


Merrie Albion (jpg)
Motherland (jpg)
Pierdom (jpg)
The Election Project (jpg)
We English (jpg)


Portrait © Lewis Khan, 2018 (jpg)
Simon working on location in Switzerland © Luke Brown, 2016 (jpg)
Simon working on The Election Project commission © Daniel Lillie, 2010 (jpg)
Simon in front of an exhibition installation of his Motherland series © Francesco Niccolai, 2010 (jpg)
Simon working from the roof of his motorhome during We English © John Roberts, 2008 (jpg)

nb. When publishing any of the photographs, please credit the photographer named.


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