Article 50 / Recent work in progress



Disused bank vault. Antwerpen
MONSTRANCE BY JAN PETRUS VERSCHUYLEN. SINT PAULUSKIRK. ANTWERP. 2025
BRUSSELS NORD STATION. 2025
ANTWERP CENTRAL STATION. 2018
FLIXBUSES. BRUSSELS NORD STATION. 2025
PALAIS DE JUSTICE, BRUSSELS. 2020
THE SCHELDE AT HOBOKEN. 2025
CENTRE DE L’EUROPE DES 15. BELGIUM. 2018
ON THE (FORMER) PRINCESSE MARIE ASTRID. THE DANUBE, GERMANY. 2018

1.  Abandonded Safe Deposit Boxes. Antwerpen, Belgium. 2025
2. Monstrance with 128 Diamonds by Jan Peter Verschuylen. Sint PaulusKirk. Antwerpen, Belgium. 2025
3. Brussels North Station. Brussels, Belgium. 2025
4. Antwerp Central Station. Belgium. 2018
5. Brussels North Station. Belgium. 2025
6. Palais de Justice. Brussels, Belgium. 2022
7. The Schelde at Hoboken. Antwerpen, Belgium. 2025
8. Centre de L’Europe des 15. Oignies en Thierache, Belgium. 2018
9. The former Princesse Marie Astrid Vessel. The Danube near Regensburg. Germany. 2018
10. Centre de L’Europe des 12. Saint Clement, France. 2018


11. At the border with Austria. Near Passau, Germany. 2018
12. At the border with Poland. Kustrin-Kietz, Germany. 2018


The Rookery of St Giles / Orbit / Museum Ships / Estates  / Other works in progress

1. St Giles in the Fields from The Angel Pub. London, UK. 2015
2. Behind the Dominion Theatre. Bainbridge Street. London, UK. 2015
3. The Angel Pub. London, UK. 2015
4. Sicilian Avenue. London, UK. 2015
5. Streatham Street and Coptic Street. London UK. 2016
6. The Angel Pub. London, UK. 2015
7. St Giles in the Fields. London, UK. 2015



1. Regents Park Estate. London, UK. 2016
2. Wendling Estate.  London, UK. 2015
3. Wendling Estate. London, UK. 2015



1.HMS Warrior. Portsmouth, UK. 2016
2. The Cutty Sark. London, UK. 2016
3. HMS Belfast. London, UK. 2016


A9. On Scottish Independence / Scotland. 2014

1. The McCauley Family. Voting No. KIngussie
2. Peter. Ineligible. The Wallace Monument. Stirling.
3. Angus. Voting No. Ruthven Barracks.
4. Colin (in costume). Undecided. The Wallace Monument. Stirling
5. Elaine Bruce. Voting Yes. Kingussie
6. Man in car. Voting Yes. Scrabster Harbour.
7. Woman in first boat Voting Yes. Scrabster Harbour.
8. Voting Yes. Invergordon.
9. Two women on river bank. Voting Yes. Carrbridge
10. Shuana undecided. Eillish voting Yes. Golspie
11. Three Scafolders. Yes, Yes, and undecided. Falkirk
12. Edward. Voting Yes. The Drumochter Pass


Michael Thomas Jones takes his cues from (Paul) Graham with ‘A9. On Scottish Independence’, which sees him traverse the longest motorway in Scotland to document how people intend to vote in today's referendum on independence. In a nod to Graham's work, Jones has also installed his images at the London crossroads where the A1 finally meets the A9 – you can see them at the junction between Upper Street and Goswell Road. As Britain waits to see how Scotland votes, Jones displays a nation of Scots poised to make one of the biggest decisions in its history. Dazed and Confused

Modernista / Barcelona. 2009


1. Sagrada Familia. Antoni Gaudi.
2. Sagrada Familia. Antoni Gaudi.
3. Angus. Voting No. Ruthven Barracks.
4. Colin (in costume). Undecided. The Wallace Monument. Stirling
5. Elaine Bruce. Voting Yes. Kingussie
6. Man in car. Voting Yes. Scrabster Harbour.
7. Woman in first boat Voting Yes. Scrabster Harbour.
8. Voting Yes. Invergordon.
9. Two women on river bank. Voting Yes. Carrbridge
10. Shuana undecided. Eillish voting Yes. Golspie
11. Three Scafolders. Yes, Yes, and undecided. Falkirk
12. Edward. Voting Yes. The Drumochter Pass


MODERNISTA is an exhibition that seeks to contextualise the late 19th century buildings of Gaudi and his fellow ‘modernista’ architects as being more than just bricks and mortar. Gaudi’s work, in particular, has been the subject of extensive photographic surveys in the past but almost all have sought to emphasise the defined architectural merit of his work. By contrast, Michael Thomas Jones has viewed some of Barcelona’s most significant architectural works in terms of ‘people and place’, looking beyond the well-established ‘coffee-table monographs’ and ‘picture postcard views’. He has engaged some of the unsung individuals who work or live within these architectural landmarks. Additionally, he has captured the way in which many of these building’s now sit somewhat incongruously with their near neighbours, as the city has grown and developed; whilst others have been adapted and modified to meet the changing landscape of the city and the needs of society today.’ Peter Trowles, Glasgow School of Art.

Commisioned by The Scottish Government / Architecture and Design Scotland