Image: Daniel Meadows National Portrait (Three Boys and a Pigeon) 1974. Courtesy the artist.

Prints from Merrie Albion are included in this new group exhibition Modern Nature: Photography that explores the merging of urban and rural landscapes in Britain.

For the first time in human history, more people are living in urban environments than in the countryside, yet the impulse to seek out nature remains as strong as ever. This new exhibition of photographs at The Hepworth Wakefield features leading British photographers Shirley Baker, Bill Brandt, Anna Fox, Chris Killip, Martin Parr and Tony Ray-Jones, Simon Roberts and explores our evolving relationship with the natural world and how this shapes individuals and communities.

Drawn from the collection of Claire and James Hyman, which comprises more than 3,000 photographs ranging from conceptual compositions to documentary-style works, Modern Nature will include around 60 photographs taken since the end of the Second World War, through the beginnings of de-industrialisation to the present day. It will explore the merging of urban and rural landscapes, the rapid expansion of cities and the increasingly intrusive management of the countryside.

Modern Nature runs from 13 July until 22 April 2019 at The Hepworth Wakefield. Admission is free.

Another Europe‘ celebrates the European Year of Cultural Heritage and Austria’s Presidency of the Council of the European Union. The exhibition features 28 photographs, one from each EU Member-State, mounted on specially designed concrete benches around London’s Kings Cross area – the UK’s ‘Gateway to Europe’. Organised by Austrian Cultural Forum London.


To celebrate the European Year of Cultural Heritage and Austria’s Presidency of the Council of the European Union, the Austrian Cultural Forum London in collaboration with the Representation of the European Commission in the UK and EUNIC (European Union National Institutes of Culture) presents Another Europe, an outdoor exhibition of photographs, around the Kings Cross area of London, exploring the diversity of European Heritage.

Another Europe features 28 photographs, one from each EU Member-State, mounted on specially designed concrete benches dispersed around London’s King’s Cross area. The photographers represent a wide range of photographic practices and are a mixture of established and emerging talents. Together they voice themes and influences we all recognise as part of our cultural heritage from concrete manifestations such as monuments, buildings and sites to the more ephemeral social aspects such as childhood, fairytales; theatre, landscape, conflict, work, celebration, family, memories, literature and traditions.

Images of NATO observation towers by Belgian photographer Els van den Meersch contrast with those of a wedding ceremony in Greece by George Tatakis, Petra Lajdova’s striking portrait of a woman in traditional Slovakian clothing, Marketa Luskacova’sCzech carnival scenes or the installation of a Jeff Koons sculpture at Amsterdam’s Stedelijk Museum by Henk Wildschut. Italian photographer Massimo Vitali, famous for his heat-infused Mediterranean beach scenes, has photographed the Rome Forum while Simon Roberts (UK) brings us a very British beach scene of the Charles Dickens celebration at Broadstairs.

Curated by UK artist Hamish Park, the exhibiting artists are in full:

Jean Back (Luxembourg), Gerry Balfe Smith (Ireland), Jelena Blagović (Croatia), Paulo Catrica (Portugal) Emil Danailov (Bulgaria), Joanna Demarco (Malta), Alvaro Deprit (Spain), Tamas Dezso (Hungary), Jeanette Hagglund (Sweden), Nina Korhonen (Finland), Astrid Kruse Jensen (Denmark), Petra Lajdova (Slovakia), Marketa Luskacova (Czech Republic), Marlot & Chopard (France), Adam Panczuk (Poland), Klaus Pichler (Austria) Romualdas Požerskis (Lithuania), Birgit Püve (Estonia), Simon Roberts (UK), Oana Stoian (Romania), George Tatakis (Greece), Andrej Tarfila (Slovenia), Andreas Trogisch (Germany), Thodoris Tzalavras (Cyprus), Iveta Vaivode (Latvia), Els van den Meersch (Belgium), Massimo Vitali (Italy), Henk Wildschut (Netherlands).

0I have several prints included in this group exhibition at Side Gallery in Newcastle.

Some of this country’s most compelling documentary photography has been about the North of England. Explore the role it plays – both as conversation with communities and arguments with power – in this exhibition of major historical and contemporary photography. Drawing on Side Gallery’s own extraordinary collections as well as other key works, you’ll delve into a tradition that continues to shape perceptions of the wider North.

Bringing together contemporary and historical representations of Blackpool’s piers, Neither Land nor Sea, documents the enduring appeal of the architecture, atmosphere and activity of these Seaside structures.

Alongside paintings and photographic works from the Grundy’s Collection, a series of images by 19th Century, Blackpool-based photographer, Albert Eden, will also be exhibited. Printed from glass slides; part of Blackpool Council’s Heritage Collections, these images will be shown alongside a selection of work from photographers based in, or with links to Blackpool and the Fylde Coast, for whom Blackpool’s piers are a frequent subject.

Featuring works by; Albert Eden, H. Burrell, Joseph Conrad Morley, Thomas Huson, Simon Roberts, Linzi Cason, Karl Child, Yannick Dixon, Claire Griffiths, Dawn Mander, Jill Reidy, Richard Jon and Kate Yates.

You can read a review of the exhibition in Corridor 8 HERE.

Image: H. Burrell Pavilion Fire, North Pier 1921.


Saturday 14 April, 3pm – 5pm: Neither Land nor Sea, Artists’ Talk

Saturday 9 June, (time tbc): Blackpool North Pier, Tour and Talk

Saturday 16 June, 3pm – 5pm: The Social History of Blackpool’s Piers, an Illustrated Talk by Tony Sharkey

All events are FREE and will take place at the Grundy apart from the Blackpool North Pier, Tour and Talk. Please contact the Grundy or see our website for further information about any of these events

Image: The end of the world (1955) from New Vedute (2015-2016)


My New Vedute series are on show at Galerie Heinzer Reszler Lausanne.

Please join us for the private view on Tuesday 15 May.

As part of their video art program, the Hiroshima City Museum of Contemporary Art are screening my two video pieces: Sight Sacralization: (Re)Framing Switzerland Part 1, Winter and Part 2, Summer.

The screening will be held from 1st May 2018 to 1st July 2018.

Read more here:

Image: Video still from ‘(Re)framing Switzerland Part 1 – Winter, 2016’

Public Performance, assembles photographs and video work from two of my series – The Last Moment and Sight Sacralization: (Re)framing Switzerland. Both works explore our society of instantaneity and the use of photography in relation to ideas of landscape identity and modern culture.

Alongside my work Zeitgeist will also be showing Jered Sprecher.


Opening May 5, 6-8pm

Reception June 2, 6-8pm


Bben Drauf – On Top: Four photographic perspectives with Bernd & Hilla Becher, Matthias Koch, Simon Roberts and Peter Hebeisen at Photobastei in Zurich.

Runs from 19 April 2018 to 03. June 2018.

“On top” stands for an elevated position as a working method and as a photographic perspective.The exhibition presents four such positions – all landscape shots from the point of view of an elevated viewpoint: icons of industrial photography by Bernd & Hilla Becher, pictures of the Atlantic Wall of her master student Matthias Koch, “European battlefields” by Swiss Peter Hebeisen and “Sight Sacralization: (Re) framing Switzerland” by renowned English photographer Simon Roberts. In addition, the artists use photography as a medium of documentation and reflection. They show places that are historical or meaningful.

The exhibition is curated by Marianne Kapfer, Berlin.

Here is a link to the exhibition:



Photo: Detail from Brighton Beach, 2007


Opening in March 2018, The Great British Seaside: Photography from the 1960s to the present is a major new exhibition exploring Britain’s relationship with the seaside through the lenses of the nation’s best loved photographers, Martin Parr, Tony Ray-Jones, David Hurn and Simon Roberts.

Many of us in Britain look back with fondness on memories of paddles in the sea and picnics on the promenade. Yet the seaside can also be a place of faded glory and acute deprivation. These tensions have provided fertile ground for documentary photographers who have sought to capture the ambiguities and eccentricities that define a day at the British seaside.



Read an article in The British Journal of  Photography about the show, Celebrating the seaside at the National Maritime Museum.

Discover the lives and careers of Martin Parr, Tony Ray-Jones, David Hurn, and Simon Roberts and hear in their own words what draws them to the seaside, Photographers at the seaside.




Buy the accompanying book here, The Great British Seaside: Photography from the 1960s to the Present. Published to accompany the 2018 National Maritime Museum exhibition The Great British Seaside: Photography from the 1960s to the Present, this book showcases over 100 photographs, including material from each of the photographers’ archival collections, newly commissioned works, and never-before-seen images.

Runs until 10th March 2018.

See installation photographs here:

For over a decade, Simon Roberts has photographed events and places across Britain that have drawn people together in public, reflecting on the nature of our shared histories and communal experiences.

Merrie Albion – Landscape Studies of a Small Island brings together iconic images and many previously unpublished photographs, recording social practices and customs linked to the British landscape, as well as some of the economic and political theatre that has helped define recent history.

The work in the exhibition ranges across various projects, both commissioned and independently produced over the last ten years, from single photographs made around the time of Roberts’s major photographic project We English, to his subsequent work as the official artist of the General Election of 2010, and his series National Property: The Picturesque Imperfect.

While Roberts’s interests have often gravitated towards evolving patterns of leisure, and the complex relationship between history, place and culture, he has also photographed events that have a more immediate, topical significance in Britain’s recent past, and which collectively form a detached visual chronicle of the times in which we live.

In works such as Broadstairs Dickens Festival, Isle of Thanet, the landscape resembles a stage set for the costumed characters performing on the beach. Other examples of collective gatherings range from religious festivals, such as Eid al-Fitr Celebrations, Jamia Mosque, Bristol; or social and political events represented in After the Riots, London Road, Croydon, and the recent photograph Grenfell Tower, North Kensington, London.

Creating a view of contemporary society that is far from straightforward, Roberts critically conflates the traditional genre of landscape with social documentary, layering ideas of national character through relationships to both place and particular moments in time.

Of his work David Chandler, Professor of Photography at University of Plymouth, has said: “Roberts’s work presents the viewer with complex relationships between people and places and incongruous juxtapositions of history and contemporary culture that create gentle ironies and underlying tensions across the images. Played out through particular local and regional contexts, it is these tensions that ultimately deny any consistency of mood and resist the coherent, and possibly seductive sense of binding national characteristics.”


You can download the press release here.