"Because prepositions matter, we might say that Wittgenstein and Thomas – like Guy Moreton – are interested not in how we think about landscape, but how we think with it, how we think through it, or even more radically, how we are thought by it. Moreton’s fine work both documents and extends the tradition of interest in this subject. He has for almost a decade been drawn to landscapes in which – no, through which – major thinking has occurred, and he has been even more specifically drawn to the landscapes of male European émigré thinkers for whom exile, or more precisely a sustained out- of-placeness, has been an intellectually creative condition."
Robert Macfarlane, Unrecounted.
"Guy Moreton's photographs of the ruins of St Andrew's, Walberswick, captured with a 10x8 inch camera, we get a sense of that dissolution. Lonely, yes, but the images are so dense, rich and sensual we nearly forget that they are recording the continual process of decay. Moreton reminds us that faith erected these places, places that were once inhabited, active, hopeful. They are symbols of eternal life crumbling into dust and ash. By portraying them in quiet dignity, he gives us an assurance of their still-sacred value."
Sarah Emily Miano, The Guardian (Saturday Review).
"Guy Moreton's images are hauntingly beautiful…"
Jessica Lack, The Guardian.
"Moreton's large-scale images concentrate on the ruins of Dunston Pillar, Britain's only land lighthouse, which was built in 1751 to guide travellers towards Lincoln. As an isolated and out-of-place monument with a resonant history, Dunston Pillar might have dropped straight out of Sebald; and Moreton's photographs are the exhibition's closest transpositions of Sebald's writings into another medium. Here, the exhibition seems to be about circling Sebald's work - just as Moreton's photographs circle the Pillar, and Saturn's rings encircle the planet."
Jonathan Taylor, The Times Literary Supplement.
"And Guy Moreton's photographs of the Yare and Waveney Valley Marshes show landscapes in which each element–air, earth and water–seems to have saturated the others, rendering everything indistinct, letting all landmarks slide towards the horizon, preserving only the atmosphere of the place."
Brian Dillon, Airlocked in Waterlog–Journeys Around an Exhibition, Film and Video Umbrella London.
"Or consider the photograph by Guy Moreton of all that remains of Ludwig Wittgenstein's house overlooking Lake Eidsvatnet in Norway…They are both beautiful works of art, certainly, as the forest is, as the fjord is, and they invite our attention, yet they are both so much more than what we can see."
Jeremy Millar, Place, Thames and Hudson, London and New York.