‘Misfit (Check)’ in the ‘Creekside Open’, APT Gallery, London. 13th June – 7th July, 2019
David Lock giving a reading at ‘Strange Perfume’, the Queer Culture book fair. At the South London Gallery, 15th June, 2019
‘Telescope’, curated by Nigel Cooke, Jerwood Gallery, Hastings. ‘Misfits (Landscape)’ with on left, painting by Gabriel Mansfield. On floor, artwork by Thomas Langley. 19th January – 24th March, 2019
‘Telescope’, curated by Nigel Cooke, at Jerwood Gallery, Hastings. From left artwork by David Lock, Flora Yukhnovich, Jaye Ho and Russell Terry. 19th January – 24th March, 2019
‘Telescope’, curated by Nigel Cooke, Jerwood Gallery, Hastings. ‘Misfits (Landscape)’, and in background ‘Misfits (Garden)’. 19th January – 24th March, 2019
‘Telescope’, curated by Nigel Cooke at Jerwood Gallery, Hastings. ‘Misfits (Garden)’, on left artwork by Chris Jones. 19th January – 24th March, 2019
David Lock in conversation with artist Sadie Lee for ‘Queer Perspectives’. At the National Portrait Gallery, London, 2nd November, 2018
David Lock in conversation with artist Sadie Lee for ‘Queer Perspectives’. At the National Portrait Gallery, London, 2nd November, 2018
‘Heads (in Bloom)’ vinyl wall, 148.5 x 168 cm (with paintings), in ‘Rules of Freedom’, curated by Rosalind Davis at Collyer Bristow Gallery, London. 11th October, 2018 – 27th March, 2019
‘Misfits (Eros)’ in ‘Rules of Freedom’, curated by Rosalind Davis, at Collyer Bristow Gallery, London. 11th October, 2018 – 27th March, 2019. Photo by David Green
‘Fragmented Eros’, solo show at studio 1.1, London, 5th – 29th July, 2018
‘Fragmented Eros’, solo show at studio 1.1, London, 5th – 29th July, 2018
‘Fragmented Eros’, solo show at studio 1.1, London, 5th – 29th July, 2018
‘Looted’, site-specific inkjet paper collage, and on right ‘Misfits (Double)’. ‘Fragmented Eros’, solo show at studio 1.1, London, 2018 (click image for detail)
‘Looted’, site-specific inkjet paper collage (with paintings). ‘Fragmented Eros’, solo show at studio 1.1, London, 2018 (click image for detail)
‘Looted’ (detail), with paintings, from left ‘Tetu’, ‘Adidas + Jock’ and ‘MA-1 Kiss’. ‘Fragmented Eros’, solo show at studio 1.1, London, 2018 (click image for detail)
‘El Muniria’ in the ‘John Moores Painting Prize 2018’, on left ‘Unnamable’ by Steve Payne, at the Walker Art Gallery, Liverpool
David Lock giving an artist talk at the ‘John Moores Painting Prize 2018’, at the Walker Art Gallery, Liverpool

I’m discussing my selected painting ‘El Muniria’ at the ‘John Moores Painting Prize 2018’ here

‘Creative Rage’, curated by Martin Green and James Lawler. From left, ‘Misfit (Unwanted)’ and ‘Misfit (Smoke)’ by David Lock. Stoke Potteries Museum and Art Gallery, 2018
‘Creative Rage’, curated by Martin Green and James Lawler. From left artwork by Duggie Fields, right ‘Misfit (Shadow)’ by David Lock. Stoke Potteries Museum and Art Gallery, 2018
‘Creative Rage’, curated by Martin Green and James Lawler. Artworks by David Lock. Stoke Potteries Museum and Art Gallery, 2018
‘Creative Rage’, curated by Martin Green and James Lawler. On left artwork by David Lock, on right artwork by Mark Wardel. Stoke Potteries Museum and Art Gallery, 2018
‘Looted’ inkjet paper collage, 169 cm x 176 cm (with paintings) by David Lock. ‘The Performativity of Painting’, curated by Alex Roberts. The Stephen Lawrence Gallery, Greenwich, 2018 (click image for detail).
‘The Performativity of Painting’, curated by Alex Roberts. Detail of ‘Looted’ collage with ‘Chris (Horst)’ painting by David Lock. The Stephen Lawrence Gallery, Greenwich, 2018
‘The Performativity of Painting’, curated by Alex Roberts. From left artworks by Alex Roberts, James Pimperton and David Lock. The Stephen Lawrence Gallery, Greenwich, 2018
‘The Performativity of Painting’, curated by Alex Roberts. Performance by Rebecca Malloy. The Stephen Lawrence Gallery, Greenwich, 2018
‘The Performativity of Painting’, curated by Alex Roberts. From left artworks by J.A Nichols and Liz Elton. The Stephen Lawrence Gallery, Greenwich, 2018

‘The Performativity of Painting’, curated by Alex Roberts. From left, artwork by Alex Roberts, J.A Nichols and Selma Parlour. The Stephen Lawrence Gallery, Greenwich, 2018

David Lock giving a talk ‘Joe Orton: Legacy and Influence’ in ‘Queer British Art’ at Tate Britain, 24th June, 2017

‘Looted’, inkjet paper collage, 318.5 cm x 220 cm (with paintings), in the exhibition ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’, curated by Michael Petty and Emma Parker. New Walk Museum and Art Gallery, Leicester, 2017 (click image for detail)

‘Looted’, inkjet paper collage, (with paintings). On left, ‘Joe Orton’ collage by Danielle Vaughan in the exhibition ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’ at New Walk Museum and Art Gallery, Leicester, 2017 (Click image for detail).
‘Looted’ inkjet paper collage (with paintings), in the exhibition ‘What the Artists Saw: Art Inspired by the Life and Work of Joe Orton’ at New Walk Museum and Art Gallery, Leicester, 2017.
Joe Orton and Kenneth Halliwell’s redesigned library book covers. In ‘What the Artist Saw: Art inspired by the Life and Work Of Joe Orton’ at New Walk Museum and Art Gallery, Leicester, 2017
‘Looted’ inkjet paper collage, 458 cm x 267 cm (with paintings). Installation in ‘Joe Orton: Crimes of Passion’ exhibition at the National Justice Museum, Nottingham, 2017 (click image for detail)
‘Looted’ inkjet paper collage, with paintings in ‘Joe Orton: Crimes of Passion’ exhibition at the National Justice Museum, Nottingham, 2017 (click image for detail)
‘Looted’, inkjet paper collage (detail), with on left, ‘John’ and right, ‘Garden’ in ‘Crimes of Passion: Joe Orton’ at the National Justice Museum, Nottingham, 2017
‘Joe Orton: Crimes of Passion’ exhibition, with collages made by prisoners in a workshop I taught in Nottingham. National Justice Museum, Nottingham, 2017
Large Reproductions of Joe Orton and Kenneth Halliwell’s redesigned library book covers. ‘Joe Orton: Crimes of Passion’ at the National Justice Museum, Nottingham, 2017
‘Adam Reynolds Bursary’ Shortlist Exhibition, Artlink Hull. Image © @Photomoments, 2017
‘Looted’, inkjet paper collage, 302.7 cm x 243 cm, (with paintings). ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’, curated by Michael Petry and Emma Parker. MOCA, London, 2017 (click image for detail)
In foreground, ‘Rip Cord’ sculpture by Louise Plant, in background, ‘Looted’ collage by David Lock. ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’, curated by Michael Petry and Emma Parker. MOCA, London, 2017
Left, artwork by Tim Youd, on right artwork by Louise Plant. ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’, curated by Michael Petry and Emma Parker. MOCA, London, 2017
‘Looted’, inkjet paper collage, (with paintings). ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’, curated by Michael Petry and Emma Parker. MOCA, London, 2017 (click image for detail)
‘Looted’, inkjet paper collage, (with paintings). ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’, curated by Michael Petry and Emma Parker. MOCA, London, 2017 (click image for detail)
‘Looted’ collage (detail), with on left ‘El Muniria’ and on right ‘Blue Boxers’, ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’, curated by Michael Petry and Emma Parker. MOCA, London, 2017
‘Looted’ collage (detail) with ‘Smoking (in Briefs)’, ‘What the Artist Saw: Art Inspired by the Life and Work of Joe Orton’, curated by Michael Petry and Emma Parker. MOCA, London, 2017
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Misfit watercolours. In foreground sculpture by Amy Vogel and Joseph Grigely. On left, print by Dimple b. Shah. ‘Art of the Lived Experiment’, curated by Aaron Williamson. The Bluecoat Gallery, Liverpool, 2014
Large Misfit watercolours. From left Misfit (Smoke), Misfit (Unwanted), Misfit (Shadow) and Misfit (Slice). ‘Art of the Lived Experiment’, curated by Aaron Williamson, The Bluecoat Gallery, Liverpool, 2014
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Large Misfit watercolours. On left, painting by Chantal Joffe and on plinth, sculpture by Daniel Silver. Curated by Sacha Craddock. Curated Space in The Threadneedle Prize. Mall Galleries, London, 2014
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Misfit (Smoke) in ‘A House of Many Windows’, curated by Day & Gluckman, (on right, artwork by Boo Ritson), Collyer Bristow Gallery, London, 2013
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Misfits (Oil on board), ‘A House of Many Windows’, curated by Day & Gluckman, Collyer Bristow Gallery, London, 2013
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‘Masquerade – Be Another’ curated by Eléonore Gros and Alicia Paz at Stephen Lawrence Gallery, Greenwich, 2013
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‘Masquerade – Be Another’ curated by Eléonore Gros and Alicia Paz at Stephen Lawrence Gallery, Greenwich, (Misfit paintings with artworks by Alicia Paz, Scott O’Rourke and Ian Dawson), 2013
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‘Six Degrees of Separation’ curated by Juan Bolivar at Wimbledon Space. On right, artworks by Andy Hsu and Alex Gough, 2013
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‘Six Degrees of Separation’ curated by Juan Bolivar at Wimbledon Space, 2013
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‘Unknown Sitter’, curated by Covadonga Valdes, Lion & Lamb Gallery, London, (on left, painting by Mike Silva), 2013
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Misfit (Doubt) in ‘Unknown Sitter’ at Lion & Lamb Gallery, London, (on right painting by Matthew Burrows), 2013
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‘Unknown Sitter’, from left paintings by Matthew Burrows, Geraint Evans, Paul Housley and Alex Veness, 2013
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Misfit in confession box. Site specific installation, DS Contemporary, Belgium, 2010
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‘Misfits & Maladies’ solo show, Fred (London), 2007
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Werewolf, 2007, watercolour and pencil on paper, 41 x 31 cm
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Eagle Beach, 2007, acrylic and ink on linen, 157 x 107 cm
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Xeno, 2007, oil, acrylic and ink on linen, 153 x 153 cm
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Xeno II, 2007, acrylic and ink on linen, 153 x 153 cm