John Midgley 


After training at Harrogate School of Art, John became an arts adviser for the London Boroughs of Haringey and Brent. He then established a studio complex housing 24 artists in North London, later working as a sculpture tutor in Camden. 
A lifelong political activist, in the early 1970s, John founded one of the country's leading banner design companies and went on to create banners for dozens of trades unions and progressive movements.
He moved to north Norfolk in the 1980s and has since exhibited at galleries in Norfolk, Suffolk and London. 

Now living in the picturesque coastal village of Mundesley, John continues to paint prolifically in his light-flooded studio looking out towards the sea. 
And, in his eighth decade, his desire to experiment as an artist is stronger than ever.

"I had to work on other things for a long time, so when I finally got time to do exactly what I wanted, I decided to grasp it with both hands," he says.

Group and one-man shows have included: Salthouse Church for five consecutive years until 2011; twice at Art 1821 in Norwich with Colin Self, Andrew Schumann and Alec Cumming; at the Eastern Open three times; at London's Whitechapel Gallery; at the King of Hearts and Anteros in Norwich; with the Midland Artists in Nottingham and at a number of venueswith the Norwich 20 Group and the Norfolk Contemporary Art Society. 


A tongue-in-cheek' look at gallery-goers' contemporary art confusion'

Eastern Daily Press, September 2018


A Creative Conversation

"My series of paintings made in 2014 and titled “The Bridge”, was selected for showing at Cley 14 – A Creative Conversation. Made over a long period of time, they were representative of works made from a single motif and showed the stages in a painting’s development.

The intensity and concentration involved in studying just one “scene” brought home to me, again, that learning is not a race to a set of pre-determined goals, but a continuing search for meaning.

This series of paintings has been a subject of study by a group of A Level students this year. Among other things, we discussed the view that artists who work in the way I do – however figurative their work – know nevertheless that it is an abstract quality, however hidden, that determines the real worth of any work."

Click here for more information about John's second book of paintings, Sublimina II