| BIOGRAPHY | |
| 1948 | Born, Romford, Essex |
| 1967-71 | Hornsey College of Art |
| 1971-72 | Birmingham Polytechnic |
| 1972 | Sir Whitworth Wallis Award (First prize) |
| 1976 | Arts Council Award |
| 1979 | Tolly Cobbold/Eastern Arts 2nd Exhibition, (Prizewinner) |
| 1980 | John Moores Exhibition 12 (Prizewinner) |
| 1989 | Lorne Award |
1997
| South Bank Banner Competition (Prizewinner) |
| 2000-03 | Research Fellow, Chelsea College of Art & Design, London |
| 2001 | Fellow, Ballinglen Arts Foundation, County Mayo, Ireland |
| 2012 | Artist in Residence, Kunstgarten, Graz, Austria |
| |
| SOLO EXHIBITIONS | |
1975
| Brighton Polytechnic Gallery, Sussex |
| 1976 | Summer Show 4, Serpentine Gallery, London |
| 1977 | Playhouse Gallery, Harlow |
| 1978 | Polytechnic Gallery, Newcastle-upon-Tyne |
| AADW Studio, Cardiff |
| 1979 | The Round House Gallery, London |
| 1980 | Six Paintings, Front Room, London |
| 1981 | S East Gallery, London |
| Lisson Gallery, London |
| 1986 | LCF Gallery, London |
| Howard Gardens Gallery, Cardiff |
| 1988 | Cairn Gallery, Nailsworth |
1990
| John Davis Gallery, New York
|
| Cairn Gallery, Nailsworth |
| Monotypes, Flowers East, London |
| 1992 | White Art Gallery, Tokyo |
| Works on Paper, Flowers East, London |
| 1993 | Smith-Jariwala Gallery, London |
| 1995 | White Art Gallery, Tokyo |
| 1996 | Kapil Jariwala Gallery, London |
| Full Moon, Cairn Gallery, Nailsworth |
| 1998 | Galleri Weinberger, Copenhagen |
| Flowers East, London |
| Flowers West, Santa Monica |
| Galerie Josine Bokhoven, Amsterdam |
| 1999 | Prints and Monotypes, Flowers Graphics, London |
| Belloc Lowndes Fine Art, Chicago |
| Small Paintings, Flowers East, London |
| 2000 | Short Stories and Other Prints, Flowers Graphics, London |
| Six Paintings: Part Two, Cairn Gallery, Nailsworth |
2001
| Drawings and Watercolours, Flowers East, London |
| Moon Dreams and Other Prints, Galleri Weinberger, Copenhagen |
| New Paintings, Flowers Central, London |
| 2002 | Spirits – Monoprints 2001, Flowers Graphics, London |
| New Works, Galerie Josine Bokhoven, Amsterdam |
| 2003 | Collaboration: Trevor Sutton / Ferdinand Penker, Flowers East, London |
| Collaboration: Trevor Sutton / Ferdinand Penker, Courthouse Gallery , Ballycastle, County Mayo |
| New Paintings, Flowers, New York |
| 2004 | New Paintings, Flowers East, London |
| 2005 | Collaboration: Trevor Sutton / Ferdinand Penker, Ritter Gallery, Klagenfurt |
| 2006 | Reflex, Flowers Central, London |
| Reflections, Flowers Graphics, London |
| 2007 | Coloured Time, Galerie Sho, Tokyo |
| Mended Dreams, Flowers Graphics, London |
| Collaboration II: Trevor Sutton / Ferdinand Penker, Stadtgalerie, Wolfsberg |
| 2008 | Chamber Music, The Austrian Cultural Forum, London |
| 2009 | Works on Paper, Flowers, London |
| Chamber Music, Galerie Schütte, Essen |
| 2010 | Trevor Sutton – Paintings, Another Function Gallery, Tokyo |
| Paradise Circus, Flowers, Cork Street, London |
| 2012 | Chamber Music, Cajetan Gril Kunsthandel, Vienna |
| Rose Paintings, Kunstgarten, Graz |
| 2013 | Interior Landscape, Galerie allerArt, Bludenz |
| 2015 | Light Year, sleeper, Edinburgh |
| Time of Day, Eagle Gallery EMH Arts, London |
| 2017 | Assembly and Image, Class Room, Coventry |
| Wonder Mist, Cairn Gallery, Pittenweem, Fife |
| 2018 | Memories, Concept Space, Shibukawa Japan |
| 2019 | PLACE, Zuleika Gallery, London |
| 2021 | Small World, Zuleika Gallery, Woodstock |
| 2022 | Blue Lightning, Cairn Gallery, Pittenweem, Fife |
| |
| GROUP EXHIBITIONS | |
| 1972 | Platform 72, Museum of Modern Art, Oxford |
| Seven Painters, City Art Gallery, Birmingham |
| Jacob’s Ladder Gallery, Washington DC |
| 1973 | Gallery 273, Queen Mary College, London |
| 1974 | Open Studios, SPACE, London |
| 1975 | 29 Salon des Realities Nouvelles, Paris |
| 1978 | The Square and the Circle, House Gallery, London |
| Certain Traditions, Edmonton Art Gallery, Canada and subsequent tour 1978-79 |
| Via Birmingham, Ikon Gallery, Birmingham |
| 1979 | Annely Juda Fine Art, London |
| Tolly Cobbold, Fitzwilliam Museum, Cambridge and subsequent tour 1979-80 |
| Style in the Seventies, Arnolfini Gallery, Bristol and subsequent tour 1979-80 |
| 1980 | Eight + Eight, Annely Juda Fine Art, London |
| John Moores 12, Walker Art Gallery, Liverpool |
| 1981 | Through the Summer, Lisson Gallery, London |
| Wapping Artists, London |
| New Works of Contemporary Art and Music, Fruitmarket Gallery, Edinburgh; Orchard Gallery, Londonderry |
| 1982 | John Moores 13, Walker Art Gallery, Liverpool |
| Small Works V, Polytechnic Gallery, Newcastle-upon-Tyne |
| Contemporary Choice, Serpentine Gallery, London |
| Musee des Beaux-Arts, Tourcoing, France |
| Workshop F, Chelsea School of Art, London |
| Four English Painters, Gemeinde-Galerie, Switzerland |
| Wapping Artists, London |
| Recent Acquisitions/ACGB, National Theatre, London |
| 1983 | Tongue and Groove, Coracle Press, London and subsequent tour 1983-84 |
| Nine Artists from Wapping, Ferens Art Gallery, Hull and subsequent tour 1983-84 |
| 1984 | Industrial Sponsors, Warwick Arts Trust, London |
| Metropolitan Gallery, London |
| The University of East Anglia Collection, Sainsbury Centre for Visual Arts, Norwich |
| 1985 | Contemporary Art Society Market, Smiths Galleries, London |
| Selected Works, Chelsea School of Art, London |
| The Last Wapping Show, London |
| 1986 | Contemporary Art Society Market, Smiths Galleries, London |
| Original Postcards, Swansea Arts Workshop, Wales |
| 1989 | Summer Exhibition, John Davis Gallery, New York |
| Five New Painters, John Davis Gallery, New York |
| 1990 | The Year in Review 1989, Cleveland Museum of Art, Ohio |
| Artists in the Abstract, Weatherspoon Art Gallery, Greensboro, North Carolina |
| 1991 | Small is Beautiful Part IX: Abstract, Flowers East, London |
| 1992 | Imprints, Galerie Lydie Rekow, Crest |
| Solstice, Cairn Gallery, Nailsworth |
| Contemporary Art Society Market, Smiths Galleries, London |
| Artist’s Choice, Flowers East, London |
| Whitechapel Open, Whitechapel Art Gallery, London |
| 1993 | Small is Beautiful Part XI: Homages, Flowers East, London |
| Black and White, Flowers East, London |
| John Moores 18, Walker Art Gallery, Liverpool |
| Abstraction, Stanstell Gallery, Somerset |
| Multum in Parvo, Wingfield Arts, Suffolk |
| East, Norwich Gallery, Norfolk and subsequent tour 1993-94 |
| Contemporary Prints: 10 Years of Acquisitions, Cleveland Museum of Art, Ohio |
| Square, Smith-Jariwala Gallery, London |
| 1994 | Contemporary Miniatures, The Blue Gallery, London |
| Conditions of Life, White Art Gallery, Tokyo |
| Small is Beautiful Part XII: Night and Day, Flowers East at London Fields, London |
| Colin Nicholas, Trevor Sutton, Norwich Gallery, Norfolk |
| Shaped Paintings: Painted Shapes, Kunstlerhaus, Dortmund; Kapil Jariwala Gallery, London |
| British Abstract Art Part 1: Painting, Flowers East and Flowers East at London Fields, London |
| The Summer Show, Smith-Jariwala Gallery, London |
| Noel Forster, Jack Smith, Trevor Sutton, Flowers East at London Fields, London |
| Contemporary Prints, Tate Gallery, London |
| 1995 | Ka! Editions, The Eagle Gallery, London |
| Summer Show, White Art Gallery, Tokyo |
| Taking Form, Fruitmarket Gallery, Edinburgh |
| Twenty Fifth Anniversary Exhibition, Flowers East at London Fields, London |
| Tampons d’Artiste, Musee de la Poste, Paris |
| 1996 | Ten Years After, Kapil Jariwala Gallery, London |
| The Discerning Eye, Mall Galleries, London |
| British Abstract Art Part 3: Works on Paper, Flowers East and Flowers East at London Fields, London |
| New Paintings, Flowers East, London |
| Cross Currents, Concourse Gallery, Barbican Centre, London |
| East International, Norwich Gallery, Norfolk |
| Hard-Edge, Reed’s Wharf Gallery, London |
| Contemporary Prints, White Art Gallery, Tokyo |
1997
| The Print Show, Flowers Graphics, London |
| Colour Way, South Bank, London |
| Small is Beautiful, Part XVII: Millennium, Flowers East, London |
| DOKU, Kunstlerhaus, Dortmund |
| New Abstract Paintings, Flowers East at Riverside Studios, London |
| Ark, Open Hand Open Space, Reading |
| 1998 | The Print Show, Flowers Graphics, London |
| Small is Beautiful Part XVI: Music, Flowers East, London |
| Angela Flowers Gallery at Riverside Studios, London |
| Summer Exhibition, Royal Academy of Arts, London |
| 1999 | The Print Show, Flowers Graphics, London |
| Small is Beautiful, Part 1: Abstract, Flowers West, Santa Monica |
| ArtFutures, Royal Festival Hall, London |
| New Publications, Flowers Graphics, London |
| Trevor Sutton and Stephen Chambers, Coexistence, London |
| Ten New Abstract Paintings, Flowers East, London |
| Summer Exhibition, Royal Academy of Arts, London |
| 2000 | ArtFutures, Barbican Centre, London |
| Small Is Beautiful – Self Portraits, Flowers East, London |
| Flowers One, Flowers Central, London |
| Mondiale Echo’s, Mondriaanhuis, Amersfoort |
| 5 British Abstract Artists, Flowers West, Santa Monica |
| In a Marine Light, The Customs House Gallery, South Shields |
| Summer Exhibition, Royal Academy of Arts, London |
| Give and Take, Harris Museum and Art Gallery, Preston and subsequent tour in 2000 |
| Angela Flowers Gallery 30th Anniversary Exhibition, Flowers East, London |
| 2001 | October Foundation, Galerie Stadpark, Krems, Austria |
| Chelsea Showcase Part 1, The London Institute Gallery Millbank, London |
| Flowers Graphics, Flowers Central, London |
| British Abstract Painting, Flowers East, London |
| Summer Exhibition, Royal Academy of Arts, London |
| A Still Life, Victoria Art Gallery, Bath |
| New Publications, Flowers Graphics, London |
| 2002 | 5 Abstract Printmakers, Flowers Graphics, London |
| Small Is Beautiful Part XX: Voyage, Flowers East, London |
| Meridiano de Greenwich, The Nunnery and Flowers Central, London |
| Paint on Print, Flowers Graphics, London |
| East Two, Flowers East, London |
| New Art from North Mayo, Courthouse Gallery, Ballycastle, County Mayo |
| Summer Exhibition, Royal Academy of Arts, London |
| Meridiano de Greenwich, Centro Cultural, Conde Duque, Madrid |
| 2003 | Ballinglen: The Artist in Rural Ireland, Mayo General Hospital, Castlebar, County Mayo |
| Inaugural Exhibition, Flowers, New York |
| Meridiano de Greenwich, The Bowes Museum, County Durham |
| Contemporary British Art in Print, Graphic Studio Gallery, Dublin |
| Relative Values, PM Gallery, London |
| Colourspace, APT Gallery, London |
| The Hunting Art Prizes, Royal College of Art, London |
| Meridiano de Greenwich, Bayart, Cardiff |
| 2004 | Small is Beautiful XXII, Flowers Central, London |
| Behind Door Nine, UCSB, Santa Barbara |
| Flowers West @ Keller & Green, Keller & Greene, Los Angeles |
| The Trace Edition, Hirschl Contemporary Art , London |
| The Lionel Phillips Collection, Aitkinson Gallery, Millfield, Somerset |
| Abstract Composition, Flowers Graphics, London |
| Less is More, Harrow Museum, Middlesex |
| 2005 | Small is Beautiful XXIII, Flowers Central, London |
| Out of Ireland – Carol Robertson and Trevor Sutton, Galleri Weinberger, Copenhagen |
| Summer Exhibition, Royal Academy of Arts, London |
| Far from the Sea, October Foundation Projects, Kunstlerhaus Palais, Thurn und Taxis, Bregenz |
| Angela Flowers Gallery 35th Anniversary Exhibition, Flowers East / Flowers Central, London |
| 2006 | Small is Beautiful XXIV, Flowers Central, London |
| Contemporary Woodcuts, Flowers Graphics, London |
| Nine Artists, Queen Elizabeth Hospital Birmingham |
| October Foundation, Van Abbemuseum, Eindhoven |
| 2007 | 20th Anniversary Exhibition, Galleri Weinberger, Copenhagen |
| rich & strange, Flock Gallery, UWN, Newport |
| New Works by Gallery Artists, Flowers Central, London |
| Contemporary Prints London, Graphic Studio Gallery, Dublin |
| Summer Exhibition, Royal Academy of Arts, London |
| Critic’s Choice, Lemon Street Gallery, Truro |
| Black & White, SE1 Gallery, London |
| 2008 | Small is Beautiful XXVI, Flowers, London |
| New Walls from Europe, Sundaram Tagore Gallery, New York |
| Constructed, Sainsbury Centre For Visual Arts, UEA, Norwich |
| Same As It Ever Was, Chelsea Future Space, London |
| Same As It Ever Was, The Arts Gallery, University of the Arts, London |
| 2009 | Small is Beautiful XXVII, Flowers, London |
| Northern Print Biennale, Hatton Gallery, Newcastle Upon Tyne |
| Summer Exhibition, Royal Academy of Arts, London |
| 2010 | Small is Beautiful XXVIII, Flowers, London |
| One blue moment, Peter Foolen Editions, Galerie Schütte, Essen |
| Black + White, Galleri Weinberger, Copenhagen |
| Summer Exhibition, Royal Academy of Arts, London |
| Material Lightness, Flowers, London |
| Take Two – Trevor Sutton + Carol Robertson, Noborimachi Space of Art, Hiroshima |
| 2011 | Small is Beautiful XXIX, Flowers, London |
| Images from North Mayo, Courthouse Gallery, Ballycastle, County Mayo |
| Double Vision, Ritter Gallery, Klagenfurt |
| NSA Collection, Noborimachi Space of Art, Hiroshima |
| Summer Exhibition, Royal Academy of Arts, London |
| In Visible Ink, West Yorkshire Print Workshop, Mirfield |
| 2012 | New Possibilities: Abstract Painting from the Seventies, The Piper Gallery, London |
| 25 Years, Gallerie Weinberger, Copenhagen |
| John Moores Painting Prize 2012, Walker Art Gallery, Liverpool |
| BITE: Artists Making Prints, Mall Galleries, London |
| Summer Exhibition, Royal Academy of Arts, London |
| Art Austria, Leopold Museum, Vienna |
| Ha Ha What does This Represent? Standpoint Gallery, London |
| The Artist’s Imprint, Emma Hill Fine Art Eagle Gallery, London |
| 2013 | No Particular Order, The Gallery, Resort Studios, Margate |
| Wanderer’s Field, Eagle Gallery, EMH Arts, London |
| Postcard from my Studio, ACME Project Space, London |
| The Discipline of Painting, Harrington Mills Studios, Nottingham |
| Summer Exhibition, Royal Academy of Arts, London |
| Imprints, Pfalzgalerie, Kaiserslautern |
| 2014 | Wash, Resort Gallery, Margate |
| Panel Paintings 2, Eagle Gallery, EMH Arts, London |
| John Moores Painting Prize 2014, Walker Art Gallery, Liverpool |
| Summer Exhibition, Royal Academy of Arts, London |
| 2015 | Whiteout, Eagle Gallery EMH Arts, London |
| Ka! Editions, Städtisches Kunstmuseum, Spendhaus, Reutlingen |
| Summer Exhibition, Royal Academy of Arts, London |
| From Centre, Loud & Western Building, London |
| Contemporary British Abstraction, SE9 Container Gallery, London |
| 2016 | Imperfect Reverse, Anglia Ruskin Gallery, Cambridge |
| Imperfect Reverse, Camberwell Project Space, London |
| Harvest, Kunstraumlangenlois, Austria |
| Summer Exhibition, Royal Academy of Arts, London |
| The Tim Sayer Bequest, The Hepworth Wakefield |
| The Edge of Printing, The Keepers House, Royal Academy of Arts, London |
| 2017 | An Architect’s Eye: The Peter Collymore Gift, Pallant House Gallery, Chichester |
| Synthesis , Cinnabar, San Antonio, Texas |
| Mémoirs – Carol Robertson + Trevor Sutton, Imprints Galerie, Crest |
| Mono, Flowers East, London |
| Summer Exhibition, Royal Academy of Arts, London |
| Lifelines – Roger Ackling, Carol Robertson, Trevor Sutton, Galerie Gisèle Linder, Basel |
| Precision of Thought, SE9 Container Gallery, London |
| Counterpoints, Eagle Gallery EMH Arts, London |
| On Paper, Art Pavilion, London |
| 2018 | Proof Positive, Gibberd Gallery, Harlow |
| Fully Awake, Dyson Gallery, Royal College of Art, London |
| British Abstract Painting in the Eighties, Lanchester Gallery, University of Coventry |
| 2019 | The Art of Collaboration, Heong Gallery, Downing College, Cambridge |
| Abstract Allies, Zuleika Gallery, London |
| Heat, Zembla, Hawick, Scotland |
| Connections, KunstGarten, Graz, Austria |
| Summer Exhibition, Royal Academy of Art, London |
| BackYard Sculpture, Domo Baal, London |
| Clyde Hopkins & Friends, Linden Hall Studio, Kent |
| Panel Paintings, 3 Eagle Gallery London |
| Possible Architectures, Stephen Lawrence Gallery, University of Greenwich, London |
| Small is Beautiful, Flowers Cork St, London |
| 2020 | January Edit – Resolution, Zuleika Gallery, London |
| Révisions, Imprints Galerie, Crest, France |
| 2021 | Wood Sun Stone – Roger Ackling & Friends, Imprints Galerie, Crest, France |
| Working Between Colour & Tone, Ballinglen Museum of Art, Ireland |
| Summer Exhibition, Royal Academy of Arts, London |
| Rhythm and Geometry: Constructivist Art in Britain since 1951, Sainsbury Centre for Visual Arts, Norwich |
| 2022 | Acoustic Colour – Trevor Sutton + Carol Robertson, ARTSHED, Glaisdale |
| Abstraction: Landscapes & Otherscapes, Ballinglen Museum of Art, Ireland |
| 2023 | British Art Then and Now, Dorfold Hall, Cheshire |
| The New Accelerator, Ruskin Gallery, University of Cambridge |
| Die Wat Spaart, Die Wat Heeft, Galerie Robert Drees, Hannover, Germany |
| |
| COLLECTIONS | |
| Aberdeen Art Gallery, Scotland |
| Ackland Art Museum, University of North Carolina, USA |
| Artotheque de la Ville d’Annecy, France |
| Artotheque de Limousin, France |
| Arts Council of Great Britain, London |
| Ballinglen Museum of Art, Ireland |
| British Council, London |
| British Land, London |
| Cleveland Museum of Art, Ohio, USA |
| Contemporary Art Society, London |
| Deutsche Bank AG, London |
| Dorfold Hall, Cheshire |
| Ernst & Young, London |
| Falmouth Art Gallery, Cornwall |
| Goldman Sachs International, London |
| Government Art Collection, London |
| Kasser Foundation, Montclair, New Jersey, USA |
| Kunstgarten, Graz, Austria |
| Merrill Lynch International Bank, London |
| NSA Collection, Noborimachi Space of Art, Hiroshima, Japan |
| Pallant House, Chichester |
| Sainsbury Centre for Visual Arts, University of East Anglia |
| Santa Barbara City College, USA |
| Stichting Ecliptica, The Netherlands |
| Stichting Mondriaanhuis, The Netherlands |
| Tate Gallery, London |
| Unilever Plc, London |
| University Hospital Birmingham |
| Victoria Art Gallery, Bath |
| |
| BIBLIOGRAPHY | |
| 1973 | James Heard, Arts Review, October |
| 1974 | Richard Cork, The London Evening Standard, January |
| 1978 | Peter Rippon, Artscribe, no. 10 |
| Muriel Wilson, Certain Traditions, catalogue essay |
| 1979 | Terence Maloon, Artscribe, no. 16 |
| Ian Bennett, Financial Times, March |
| John McEwen, The Spectator, March |
| Julie Lacey, Arts Review, March |
| William Feaver, The Observer, April |
| Michael Bellam, Artscribe, no. 17 |
| Allan Davies, Art Monthly, no. 26 |
| Mike Tooby, Aspects, no. 7 |
| 1980 | Ian Bennett, Flash Art, no. 96/97, March/April |
| Peter Davies, Arts Review, June |
| Marco Livingstone, Guide to John Moores 12 Exhibition |
| Jane Clifford, The Daily Telegraph, December |
| 1981 | William Feaver, The Observer, May 1981 |
| Hetty Einzig, Arts Review, October |
| Monica Petzal, Time Out, no. 582, October |
| Waldemar Januszczak, The Guardian, November |
| 1982 | Fenella Crichton, Art & Artists, no. 184 |
| Chris Titterington, Artscribe, no. 32 |
| 1983 | Bernard Denvir, Arts Review, April |
| Eli Pascal, Aspects, no. 23 |
| Christopher Hood, Touch and Go, November/December |
| 1984 | Veronica Sekules, The University of East Anglia Collection, catalogue essay, January |
| 1989 | Charles Millard, Print Quarterly, June |
| The New Yorker Magazine, June |
| 1991 | William Packer, Financial Times, December |
| 1992 | William Feaver, The Observer, July |
| Paul Bonaventura, White Art Gallery, Tokyo, exhibition essay, September |
| 1993 | Tim Hilton, The Independent on Sunday, July |
| John McEwen, The Sunday Telegraph, August |
| William Feaver, The Observer, October |
| William Packer, Financial Times, November |
| John McEwen, The Sunday Telegraph, November |
| John McEwen, Smith-Jariwala Gallery, catalogue essay, London |
| William Feaver, The Observer, November |
| 1994 | John McEwen, The Sunday Telegraph, February |
| Tim Hilton, The Independent on Sunday, August |
| William Packer, Financial Times, August |
| Uwe Fleckner, Shaped Paintings: Painted Shapes, catalogue essay, October |
| Lynda Morris, Norwich Gallery, exhibition essay, November |
| William Feaver, The Observer, November |
| 1995 | Sue Hubbard, Time Out, no. 1278, February |
| Andrew Lambirth, What’s On, no. 26, February |
| William Feaver, ArtNews, April |
| Robert Montgomery, The List, June |
| Clare Henry, The Herald, July |
| 1996 | Charles Hall, Contemporary Art, vol. 3, no. 2, Spring |
| Sue Hubbard, Time Out, no. 1330, February |
| Mel Gooding, Art Monthly, no. 194, March |
| Sacha Craddock, The Times, April |
| John McEwen, The Sunday Telegraph, May |
| Simon Morley, Art Monthly, no. 197, June W |
| William Packer, Financial Times, July |
| William Feaver, The Observer, July |
| Mark Durden, Art Monthly, no. 199, September |
| 1998 | Hugh Stoddart, Flowers East, London, catalogue essay, April |
| Richard Ingleby, Eye on London, The Independent, April |
| John McEwen, The Sunday Telegraph, April |
| Best Bet, Los Angeles Times, 5 November |
| Kjeld Sondergaard, Epistler, Garnisons Kirke |
| William Packer, Financial Times, December |
| 1999 | William Packer, Financial Times, December |
| Lionel Phillips, Ixionmag, Issue 13, Spring |
| 2002 | Hugh Stoddart, Merdiano de Greenwich, catalogue essay, April |
| 2003 | Hugh Stoddart, Contemporary – Issue no. 47/48, February |
| Sue Hubbard, The Independent Review, July |
| Mary Schneider Enriquez, Art News no.11, December |
| 2004 | David Toop, catalogue essay, Flowers East, London, April |
| William Packer, Financial Times, April |
| Sue Hubbard, The Independent Review, April |
| 2005 | Maja Schlatte, Kronen Zeitung, October
|
| Bernd Czechner, Kleine Zeitung, October |
| 2007 | William Packer, Catalogue Essay, Lemon Street Gallery, Truro, Febuary |
| Bernd Czechner, Jazz Painting, Vernissage, No. 267, September |
| 2008 | David Ryan, Catalogue essay, Same As It Ever Was, January |
| Evan Parker, Book essay, Chamber Music, October
|
| Sue Hubbard, The Independent, December |
| 2010 | Stephen Chambers, RA Magazine No 107, Summer |
| Wilfred Skreiner, Along the Continuum of Repeated Action, Published by Ritter Books |
| 2012 | Ha Ha What Does This Represent Exhibition catalogue with essay by Dave Ryan, February |
| Walter Titz, Kunstgarten Review, Kleine Zeitung, May |
| Sam Cornish, Catalogue Essay, The Piper Gallery, London, New Possibilities: Abstract Painting from the Seventies, November |
| 2013 | Chris Yetton, A Collector’s Eye, A British Adventure Contemporary Art from the van Hulten Collection, Museum Belvédère, September |
| Sara R Key, The Discipline of Painting, abstract critical, October |
| Andrew Parkinson, The Discipline of Painting, patternsthatconnext, October |
| 2015 | Peter Jenkins, Trevor Sutton – Time of Day, Exhibition catalogue essay, Eagle Gallery, EMH Arts, London, September |
| Laurence Noga, Online review of Time Of Day: Trevor Sutton at the Eagle Gallery Saturation Point October |
| 2016 | Jo Gorner – In Conversation, Printmaking Today, Vol 25, No. 1 Spring issue |
| Michael Cerha, der Standard, 24 August |
| Laurence Noga, Imperfect Reverse, exhibition catalogue with essay |
| 2017 | Andy Parkinson, Assembly and Image, patternsthatconnect, April |
| Laurence Noga, Counterpoints, Eagle Gallery, London Saturation Point – May |
| 2019 | Kelly Grovier, Out of This World Royal Academy of Arts Magazine 143 |
| Trevor Sutton, Katsura Imperial Villa book published by Peter Foolen Editions, ISBN 978-94-90673-27-7 |
| 2021 | Jeremy Morgan, online review of Small World at Zuleika Gallery Woodstock. Saturation Point – September |
| Tania Moore, Rhythm & Geometry: Constructivist Art in Britain since 1951, Sainsbury Centre, Norwich – catalogue essay ISBN 978-1-9161336-8-6 |
| 2022 | Annie O’Donnell, online review of Acoustic Colour, Artshed Glaisdale. Saturation Point – May |
| 2023 | Laurence Noga, The New Accelerator, exhibition catalogue essay, ISBN 978-1-912319-07-7 |
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