For My Love Of War

The visibility of war is dependent from where it is being viewed. As an artist with no direct experiential knowledge of war, it has nevertheless been a constant experience. There has not been a day in my life, without war. Streamed as quotidian entertainment it's omniscient presence is absolute. I was asked of my defining image of war, my response was, "all of man's ingenuity and folly falling through the skies of Hiroshima as the Little Boy". Mark Cator, Little Boy, 2019, For My Love Of War

For My Love Of War

Working towards the exhibition opening on the 28th November - 7th December, plus the launch of Utter Journal 3. The underlying theme of both is how the child is held in thrall to a process of war through deliberate propaganda and message. Co-opting children into the theatre of war is likened as being an African problem, but many societies have indoctrinated children into the fantasy of war, including our own country. Mark Cator, When Needs Must, 2008-2011, For My Love Of War Mark Cator, When Needs Must, 2008-2011, For My Love Of War


There is a fascinating inevitability to war. In the fifteen years of looking I have come full circle. I can see the path I've taken but no longer recognise the map, the camouflage of history, the repetition of events, as if that which matters is no longer there. At the outset I railed against what I saw as the deliberate aestheticisation of war, only to arrive at the point where war without glamour, war that is invisible becomes even more sinister. It seems glamour is a small price to pay for the inadequacies of man. I began looking at war in 2004, since then I have staged three exhibitions, Spoon & Fork in 2008, The Aesthetics of Disappearance in 2014 and Rescription in 2018. For My Love Of

Helene Schjerfbeck

It's always exciting to come across an artist completely unknown to oneself. Earlier in the year I experienced the paintings of Joaquin Sorolla at the National gallery and last week it was the turn of the Finnish painter Helene Schjerfbeck, on show at the Royal Academy until October 27th. When you look at the work of Schjerfbeck you are made aware of a painter following her own course, always reinventing and constantly experimenting with different techniques. Photograph of Helene Schjerfbeck by Charles Riis & Co Helene Schjerfbeck, Self-Portrait, 1884-5 Helene Schjerfbeck, Self-Portrait with Red Spot, 1944 Helene Schjerfbeck, Fragment, 1904 Helene Schjerfbeck, Maria, 1906 Helene Schjerfbeck,