Born Cambridge, England 1948

Cambridge School of Art, 1965-67

Camberwell School of Art, London, 1968-71, BA Fine Art

Open University BA Humanities Course 1997-2000

University of East Anglia, Norwich, 2000-1, MA Culture and Communication

University of East Anglia PhD Research 2001-05

Co-founder of Prism Print International. Curator, and Chair since 2013

Student of Sado (JapaneseTea ceremony), Urasenke Foundation, London 1978-95


1972: Offset litho printer; 1973-76: architectural modelmaker, freelance and including for Burrell Museum Glasgow design stages and in Beirut, Lebanon and others, also in architectture department Westminster City Council; 1976-80: studio assistant for artist and typographic designer Gordon House; 1978-81: illustrator for Academy Editions, London; 1977-78: language teacher Tokyo, Japan.

Lecturer Cambridge School of Art 1978-87.

Established John Read Design, 1984 onwards, to design and manufacture interior products, lighting, furniture, restaurant interiors, garden buildings. Products sold through various galleries and chain stores in the UK including the Futon Company; garden design; various projects including Japanese-style Tea arbour for musician Freddie Mercury 1986; oak-framed building for Shogyo-ji temple, London, 1997.

(Special thanks to Miyake Tsutomu-san, master Tea House craftsman and my mentor and friend from Kyoto, Japan).


Established The Rock Horse Studio Press, 2010, to provide archival pigment ink studio printing service for artists and photographers.

Joint founder Prism Print International, 2012, to promote cross-cultural exchange in fine art printmaking and has curated all exhibitions in London, Milan, and Tokyo, Poland and Cremona in 2017. 35 international print artists are now represented from 7 countries - England, Scotland, Poland, Italy, China, the Netherlands and Japan.


Throughout various ‘secondary careers’ continued to paint and sculpt and to exhibit widely.

Lives and works in Suffolk, England


Research interests:

Neuropsychology of visual experience and spatial perception (part of doctoral research at UEA, 2001-2005); representation of the creative Self in social anthropology and ethnography; ritual and religious and symbolic practices in pre-Christian East Anglia; issues of place and identity in universalist ideologies with regard to Kenneth Frampton’s ‘Critical Regionalism’, response in Japan, and implications for other ‘regionals’ in the West seeking progressive creativity grounded in unique environments.

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The constructions studio 2014