These structures are rendered with a forensic level of detail, but in such a way that they also become pure forms: benches levitate on an empty plane; ladders lead to nowhere. Simpson’s paintings are characterised by his potent economy and austerity, as well as a marked depth in spatial perspective; their subjects painted on a flat painted surface. But despite their austerity and simplicity, each of Simpson’s paintings contains an elaborate consideration of a specific history. In his Leper Squint series, for example, what might first appear to be a recurring reference to the black square of Kazimir Malevich, is in fact a poignant depiction of a hagioscope, or a ‘squint’; a small hole positioned in the exterior walls of medieval churches for the purpose of allowing lepers to see and hear the sacraments without contaminating the congregation. In another example, Simpson’s ongoing bench paintings, which he started painting in 1989, are an homage to the Italian Renaissance philosopher Giordano Bruno, who was burnt alive in 1600 for heresy.

Michael Simpson (born Dorset, UK, 1940), lives and works in Wiltshire.

Solo exhibitions include Modern Art, London (2025; 2024); Holburne Museum, Bath (2023); giant, Bournemouth (2022); Minsheng Museum of Art, Shanghai (2018); Spike Island, Bristol (2016); David Roberts Arts Foundation, London (2014); Arnolfini Gallery, Bristol (1996 and 1983); and Serpentine Gallery, London (1985). His works feature in prominent institutional collections including British Council, London; Roberts Institute of Art, London; Long Museum, Shanghai; Louisiana Museum of Modern Art, Humlebaek; Tate, London; and Walker Art Gallery, Liverpool.