A boxed set of publications to accompany the ‘Unfamiliar Familiarities—Outside Views on Switzerland’ exhibition has just been published by Lars Müller Publishers.

The set includes six volumes, one for each of the five participating artists (Alinka Echeverría, Shane Lavalette, Eva Leitolf, Simon Roberts, Zhang Xiao) and one text volume. You can view a preview video of my ‘Sight Sacralization’ volume here:

Edited by Peter Pfrunder, Lars Willumeit, Tatyana Franck, In collaboration with Fotostiftung Schweiz, Winterthur, and Musée de l’Elysée, Lausanne.

Design: Pilar Rojo

16,5 x 23 cm, 6 ½ x 9 in
312 pages, 200 illustrations
6 booklets in a slipcase
Published 2017
ISBN: 978-3-03778-510-2, German/English/French




Photographs from my We English series are included in the current issue of IL Magazine in Italy, the monthly news magazine of Italian financial newspaper, along with a new image for the cover. The photographs accompany an article entitled ‘Please Don’t Go’ discussing the upcoming referendum on British membership of the EU.

You can download a pdf of the article here.

#79-2 #79-4 #79-7

I’ve got work featured in this new publication Generation ’74, which profiles 11 European Photographers born in 1974. It is officially launching this weekend at the Vilnius International Book Fair.

Photographers: Simon Roberts (UK), Nick Hannes (Belgium), Kirill Golovchenko (Ukraine/Germany), Przemyslaw Pokrycki (Poland), Tomáš Pospěch (Czech Republic), Mindaugas Kavaliauskas (Lithuania), Vitus Saloshanka (Belarus/Germany), Gintaras Česonis (Lithuania), Borut Peterlin (Slovenia), Pekka Niittyvirta (Finland), Davide Monteleone (Italy).

From the publisher: Introductory texts of the book lead the reader from the idea of the joint project of the 74-ers generation in European photography to revealing their similarities, differences and unique features. Every photographer’s work is presented in slots of 10 to 12 pages that start with a picture of childhood. The sequencing of photographers in the book is based on their birth date in 1974. The book ends with questions by Irina Chmyreva and every photographers’ answers to them which help reveal individual roads photography through the labyrinths of the time rich in transformations.

Order the book here.

15_0214-Generation-74-book-037 15_0214-Generation-74-book-046 15_0214-Generation-74-book-047 15_0214-Generation-74-book-048

Editors Ángel Luis González (Spain/Ireland), Irina Chmyreva (Russia). Assistant editor Claudi Nir (Germany)
Design and layout Ángel Luis González
Texts: Mindaugas Kavaliauskas (Lithuania), Irina Chmyreva (Russia)
Print run 500
First Edition 2015

ISBN 978-609-8032-10-9
UDK 77.04(4)(084)

168 pages, Hardcover
Dimensions: 30,7 cm (height) x 24 cm (width) x 2,4 cm (spine depth)
Weight 1200 g.

Published by Kaunas Photo festival


Perspectives on Place by J.A.P Alexander is a new book exploring the history of landscape photography and looks critically at how contemporary photographers continue to find new and innovative ways of engaging with the landscape and their surroundings. It looks at the visual approaches that have been adopted by photographers and artists to facilitate the communication of ideas and themes, as well as more abstract concepts. Practical issues, such as effective composition and managing challenging lighting conditions are also discussed.

Alexander references We English in the chapter Landscape and Power – Inspiring Nationhood. He writes:

“Simon Roberts’s major project We English is a survey of the contemporary English landscape and picks out peculiarities and eccentricities, as well as more commonplace activities of its inhabitants. While the project is likely to be immediately accessible to British audiences, there is a danger this kind of project might leave foreign audiences at loss as to how to interpret the subject matter or even how to confine a nation to conformed stereotypes.

Roberts’s work has been compared to Martin Parr’s Think of England (2001), which isolates English stereotypes more explicitly. Roberts’s photographs are, of course, created and read in a landscape paradigm. The photographer looks specifically at the diversity of English leisure activities in relation to the landscape, ranging from the bizarre – the annual Mad Maldon Mud Race in Essex – to the intimate – Roberts’s photograph of the South Downs in Sussex shows what we assume is a young couple relaxing in a field, a curious echo of the pastoral motif of young villagers courting. As well as the presentation of clichés, such as the couple picnicking barely a few meters away from their car in the Yorkshire Dales, Roberts challenges stereotypes about the English landscape.”

Published: 29-01-2015
Format: Paperback
Edition: 1st
Page Count: 192
ISBN: 9781472533890
Imprint: Fairchild Books

My work is included in the Magenta Foundation’s Flash Forward Tenth. Flash Forward has been awarded to a collection of emerging artists each year and this 4-book set highlights 100 from well over 1,000 awarded photographers.To celebrate the competition’s tenth anniversary, the Magenta Foundation is publishing Flash Forward 10, a collection of work by some of the most successful emerging artists to be part of this program in its first decade. The images in the book reflects a mix of themes, methods, interpretations and disciplines, underlining the wide variety of talent the program represents.The ten winners of the Bright Spark Award from 2004 are-

  • Evgenia Arbugaeva
  • Jesse Boles
  • Heather Culp
  • Jessica Eaton
  • Matt Eich
  • Alma Haser
  • Adam Makarenko
  • Simon Roberts
  • Indre Serpytyte
You can read an interview with Magenta Foundation’s MaryAnn Camilleri discussing the publication here (pdf).Details-

: October 2014

Format & Features
4-Books in a Slipcase
5⅞ inches x 8¼ inches
120pg + 160pg + 160pg + 160pg
colour throughout

List Price
: $60The book is available to purchase here.

Pierdom is published today in the Dutch news magazine, Volkskrant.

You can download a pdf of the article here.

New on the studio shelf – Birgitta Lund’s mesmerizing publication ‘The Garden published by Space Poetry (Denmark).

The Garden is a contemporary photographic tale that uses Tivoli Gardens, an old amusement park in the middle of Copenhagen Denmark as an allegory. Here people of all different nationalities and ethnicities meet in a world of fantasy. An imaginary Orient with fake palaces and minarets is the backdrop of the place. It’s a surreal world, yet it mirrors the dreams and fears of life outside the entrance.

“When I started the project I lived very close to Tivoli and often came there at night. I started to see Tivoli and the people visiting the place as an allegory. There was to me an unnerving, surreal similarity between the images of war & conflict flickering on my screen at home, and Tivoli’s imaginary Orient, flashing light, and the seduced gaze of the visitors”, says Birgitta Lund.

You can read a review on Buffet website here and photographs on Time’s Lightbox here.



My new publication has arrived at the studio, produced to coincide with the exhibition Let This Be A Sign at Swiss Cottage Gallery (May-July 2012). The work explores the economic, political and social effects of the UK recession.

Published on newspaper print it includes a series of landscapes photographs, digital collages and an extract of the Credit Crunch Lexicon. Produced in collaboration with Fuel, the cover design doubles as a protest poster where messages can be written by the owner.

You can purchase a copy here.

My new series of work ‘Let this be a sign’ is published in today’s FT Weekend Magazine. It incorporates the signs, iconography and language that have become part of Britain’s era of austerity.

One of the ways we remember an economic crisis is through its images. When we think of the Great Depression in America we think of black-and-white ­portraits of men in bread lines wearing placards that beg for work. When we remember Thatcher’s Britain we see news pictures of the miners’ strike or stolen moments from the inside of dole offices. While barely a day goes by without more grim economic news, the current recession has been less visually memorable, perhaps because the outward signs of today’s economic pain are hard to capture without resorting to cliché, even though the eventual effects of such news – a lost job, a vanishing pension, cutbacks to social services – are intensely personal and painful.
Roberts’ credit crunch lexicon, overlaid with a graph showing falling consumer confidence, 2007-2010


Over the past 12 months I’ve been looking at different ways of representing these effects. I started with the series “Star Chambers”, published in the FT Weekend Magazine in April 2011. These were photographs taken inside city halls around the country, where annual budgets were agreed and major cuts signed off. But as the situation has moved on, I have employed video, text, objects such as protest banners, as well as photographs, in an attempt to record our new predicament and its shifting economic and political geography.

The crisis has moved terminology and jargon from the business pages on to the front pages of our newspapers, radios and TV sets; these words have become part of our everyday language. Arranged alphabetically, they highlight the fog of rhetoric, hyperbole and exotic, sometimes contradictory terms used by politicians, economists, protesters and journalists to describe the effects of the credit crunch. I collated the text from political speeches, papers from the governor of the Bank of England, newspaper headlines, protest poster slogans and economic reports, all of which reference the economic situation from 2007 to 2012. Against this lexicon I traced the downward graph of ­consumer confidence during the same period.

The UK high street has been one of the major casualties of the credit crunch, with a recorded dive in consumer spending leaving a wake of failed shops and brands. Sale signs are now omnipresent in shop windows, desperate to entice us with bright colours, shouty promises and seemingly massive price reductions. But while some shopfronts are shuttered for good, discount stores are enjoying a booming trade – known as “the Aldi Effect”.


A photo-montage of the omnipresent “Sale” signs
A photo-montage of the omnipresent “Sale” signs now seen in shop windows across Britain

The increase in demonstrations, student sit-ins and union strikes has seen a plethora of home-made, low-tech protest signs – ironic given the ways movements such as UK Uncut use social media to rally their followers. Compared to the angry slogans of the 1970s, the tone of these placards is quite gentle, with an underlying element of humour.

The Occupy London movement almost became an art installation in itself. Between mid-October and late February, the encampment outside St Paul’s Cathedral focused the protest against corporate greed and briefly became part of the local landscape. The montage opposite uses some of the hand-crafted notes, messages and signs posted up around the cathedral and Paternoster Square before the camp was closed down at the end of February.

What isn’t clear is how much difference the protests will make. As

the new financial year unfolds, and recovery is even slower than predicted, there is no guarantee that the fiscal landscape will improve. In this sense, my work is unresolved. The installation is ongoing, mutable and subject to all of our fears and desires.

A photo-montage of the notices and messages posted by the Occupy London protesters
A photo-montage of the notices and messages posted by the Occupy London protesters around St Paul’s, between October 2011 and February 2012; “the [Occupy] movement almost became an art installation in itself.”
“Let This Be a Sign”, works by Simon Roberts, will be exhibited at the Swiss Cottage Gallery as part of the London Festival of Photography from May 23 to June 30; dev.macambulance.co.uk/simonroberts.

A new publication in the studio from The Simpson.