Phil Whiting is based in Cornwall. His work engages with landscape as both a physical place as well as a psychological space. The exhibition will consist of both images of Cornwall as well as examples of his work dealing with Srebrenica.

If monuments and plinths have failed us, how do we properly mark the past? Most urgently, how do we remember and represent the Holocaust and more recent acts of mass slaughter?

Claudia Koonz, in an analysis of the commemorative hinterland around the European concentration camps, suggests that space is the reality that endures. We know that written texts are infinitely malleable and readily abridged, films can be edited and photographs airbrushed. But the landscape feels immutable.

Only geography, she argues, is capable of conveying the narrative of extermination. At these places of remembering, memory feels monolithic, unambiguous and terrible. The landscape itself is the memorial. This is the context in which we must view Phil Whiting’s somber but necessary paintings - testimony of an immutable recent history.
Professor Paul Gough, UWE Bristol

Phil Whiting’s work is different from other artists. It appeals to my sensibilities. I find his paintings interesting and absorbing. Here, I feel, is an artist who takes as a start important historical subjects and events and transmutes and transforms them, in his personal way, into poetical and magnificent paintings. The somber hues and black and white shades go well with the images of each painting and each painting is brought to the edge of abstraction but never over the edge so that the onlooker can study, contemplate and enjoy them. For there is a great enjoyment in each painting.
Roman Halter - artist, architect and Holocaust survivor, London.

The recent death of Slobodan Milosovic has provided us with an opportunity to re-examine the horrors that followed the breaking up Yugoslavia and the devastation that one man wreaked on Croatia, Bosnia and Kosova. Whilst war criminals (at the time of writing), such as General Mladic and Karadic are still on the loose, this tragic chapter in our European history can never be closed.

Nor can anyone who has visited Srebrenica ever forget the cruelty that humans are capable of. I am particularly pleased to have introduced Phil to Miloska Nott who in turn introduced him to Bosnia and particularly Srebrenica. I own a wonderful picture of Geevor Mine in Cornwall by Phil; it has a haunting quality to it - but the ghosts of Geevor are not the ghosts of Srebrenica and I hope that these paintings will provoke and prevent us forgetting.
Hugo Swire MP - Shadow Secretary of State for Culture, Media and Sport, House of Commons, London.

Phil Whiting was trained at Newcastle, Portsmouth and Falmouth Colleges of Art. An award winning artist, he has had several solo exhibitions and has had work purchased for collections worldwide. His series of paintings, Places of Mourning in the Western World has taken him to sites throughout Europe and America.