These pages will host online versions of Paul Gough's
exhibitions, current and archived as they become available.
An Exhibition at National War Memorial Carillon
Building (Part of Blow 09)
Wellington, New Zealand, Wed 11 November - Sat
19 December 2009
Curated and Photographed by Jeremy Diggle
Paul Gough is a painter, broadcaster and writer and has recently become
the Pro Vice-Chancellor Research, Enterprise and Knowledge Exchange,
at the University of the West of England, after 12 years as their
Executive Dean of Creative Arts.
Paul was the Chair of the Art and Design Panel in the Research Assessment
Exercise (RAE) 2008, the United Kingdom’s equivalent to New
Zealand’s Performance Based Research Fund (PBRF).
His recent research covers the aesthetics of conflict, landscapes
of dereliction, and the iconography of commemoration. He has published
widely in art history, cultural geographies and material culture and
exhibits his paintings internationally. Paul’s large-scale history
paintings, with a strong military theme, are in many private and public
collections, including the Imperial War Museum, London and Canadian
War Museum, Ottawa. He has shown widely in UK and abroad, and has
had one-man shows in Canada, London, Manchester, Lancaster and Bristol.
He has a Masters in painting and a PhD in cultural history from the
Royal College of Art. His most recent book, about ten painters from
the Great War, is published this summer.
This exhibition, aptly located at the National War Memorial Carillon
building in Wellington, is a must see for all those interested in
exploring the visual cultures of war, memory, place and identity.
Paul Gough: iconography of commemoration
Paul Gough is interviewed by Radio New Zealand's Chris Laidlaw
for his Sunday Morning National
programme on 8 November 2009 in anticipation of his visit to Aotearoa,
New Zealand to participate in Blow '09,
Massey University's creative art festival (duration: 16'43)
Recent Drawings at the Sir John Cheshire gallery,
April - May 2004
Two steps as the subject of a picture must inevitably provoke comment.
Where do they lead? Why are they significant in themselves? What are
they doing, literally, in the middle of nowhere? And who, therefore,
might ever use them?
Paul Gough’s picture ‘Mount’ is but one of a series
of works which invites such conjecture. Nor does it stop there. What
of the idea of steps? Do they suggest progress, ascent (or perhaps
descent), or are they just man-made objects in a natural, if starkly
The visual arts in themselves rarely provide straightforward explanations
but, in the odd juxtaposition of the familiar and the incongruous,
the artist here creates a particular mood of reflection.
To Jersey eyes it has a particular resonance. You might say that it
looked distinctly unreal except that a walk on Les Landes common reveals
many such images telling their own story. Progress, ascent, descent?
No, just a past conflict. The participants may have long departed
but the landscape retains such extraordinary traces operating both
on the level of historical artefacts, with their own narrative ready
to be ‘discovered’ by the historian, but also at the symbolic
level suggestive of the imposition of a foreign order on the natural
With a doctorate in First World War Art and a fascination with the
landscape of battle, Professor Gough is steeped in the traditions
of war iconography. While his work is of the imagination rather than
an attempt to render specific events, he knows that even an imagined
landscape has a voice of its own.
Artists have often found it easier to record conflict through such
‘voices’, partly, doubtless, for practical reasons but
also perhaps because the horrors of war often translate with some
difficulty to canvas or paper. As Robert Hughes once put it: “…
distortion of the human body in art seemed to many sensitive minds
to have no future – in fact, to be little more than an impertinence
or an intrusion…Reality had so far outstripped art that painting
was speechless. What could rival the testimony of the photograph?”
Perhaps for this reason some of the most evocative images of war deal
not with human carnage directly but rather with physical assault on
landscape. Paul Nash’s Void (1918), which was used to promote
the Barbican’s exhibition A Bitter Truth ten years ago, is a
case in point. There are soldiers, alive and dead, to be glimpsed
in miniature but prominence is rather given to shattered tree stumps,
furrowed earth and the ‘corpses’ of the broken machines
Lone trees and stark objects which testify to human intrusion into
landscape are images common to Paul Gough’s work. They occupy
the space from which man has been expelled, leaving only the uneasy
sense that some unspecified event is responsible for the silence and
Here, certainly, is peace but it is a peace which has been paid for
by an irrevocable alteration of the natural world, a world bathed
in the indeterminate light of the dream, or perhaps of the stage-set
consciously manipulated by the designer to heighten or remove shadow
by artificial means.
The fact that these works seem to acquire a special significance in
an Island whose landscape was transformed during the Occupation testifies
to the power of art over historical record whose very specificity
serves paradoxically to limit meaning. Paul Gough’s work is
not ‘about’ any particular conflict; it deals with the
relationship between memory and landscape.
Through images which seem to belong to a collective consciousness
or experience, we have a sense of the extent to which the natural
order of things has been subtly disturbed by the unseen influence
Watershed Media Centre, Bristol UK
Tuesday 25th September – Sunday 11th November 2001
The Architecture Centre, Bristol UK
Monday 1st October – Sunday 11th November 2001
Two Exhibitions by Paul Gough and invited artists
Click to view Galleries
Two exhibitions of drawings, photographs and photo-montage
that examined the legacy of 20th century war in the monumental architecture
of our cities. Monuments are pivotal elements in the city’s
symbolic furniture, they function as forms of civic art that help
to contain and convey different levels of memory. They are rarely
sited without consideration of their role in a symbolic topography
and are often quite consciously situated to connect or compete with
existing nodes of collective remembering. As the embodiments of power
and memory, their meanings are rarely fixed and they still provoke
anxieties and dispute.
These shows were hosted by Watershed and The Architecture Centre,
Bristol in association with the Centre for Contextual, Public and
Commemorative Art at UWE Bristol and the Creative Urban Spaces Project,
Bristol. A fully illustrated catalogue will be available.
At the Watershed Paul Gough built a facsimile 2D model of the side
of the Bristol Cenotaph which is coated in newspaper from the Gulf
War and inscribed with the ‘high diction’ of remembrance
– ‘Glorious, Memory, Fallen’. It stands 10 inches
away from the wall like the fake buildings in a Western movie. Behind
is a huge paper ‘wreath’ of red and black poppies. During
the course of the 5 week show the surface of the cenotaph was altered
– Gough whitewashed, then painted it with blackboard paint,
later hanging it with white flags and other messages. As a final act
of contrition a grafitti was to be invited to spray the word 'Glorious'
across its lower half. The piece was dismantled at 2 minutes past
eleven on the 11th November 2001.
Also at the Watershed were photographs by
Peter Ayley, an architect, who has taken
a number of severe classical photographs of the silent cities on the
Western Front. One image ‘Grahams’ shows a vast monumental
wall of individually carved names – the sole memorial for those
lost without trace on the Somme.
At a parallel show at the Architecture Centre in Bristol Paul Gough
was showing a suite of large drawings (1 m x 1.3 m) on the theme of
monuments and commemorative form. The drawings emanate from years
of engagement with the iconography and aesthetics of memorialisation.
As an academic Professor Gough has published widely in the areas of
war art and memorials. Much of his work is based on regular fieldwork
in Normandy, the Somme, and the Gallipoli peninsula in Turkey. Some
of the fragments of metal, ceramic and wood brought back from these
sites of memory are incorporated into the drawings in this show.
These exhibitions were a unique collaboration between the Watershed
and the Architecture Centres in Bristol and have been supported by
the Research Centre for Contextual, Public and Commemorative Art (CPCA)
at UWE, Bristol and the Creative Urban Spaces Project, Bristol.
A fully illustrated catalogue with an
introduction by Andrew Kelly is available.