Yau writes: "It seems that Walker stands at a table, working on a smooth, flat surface (Masonite), which lies flat. The only light comes from a data projector, which is attached to his laptop, and the vertical strips of daylight that gets past the blackout curtain. He usually points the data projector at a mirror, which bounces the image onto the wall. Moving the projector just a few inches can change everything, as the light bounces in another direction while the image stretches. All of the images come from photos Walker has taken with his phone, which often result in something unexpected... There is an Otherness to the painting, which is present in many of the recent works, a sense that something we can’t quite name is in the room with us. It seems that after his eyes adjust to the lighting, Walker essentially paints in the dark. He uses a long-handled brush so that he can always see the entire surface when he is painting. He learned to work with an extended handle while painting sets for the Scottish Opera, which he started doing in his 20s, and which he did off and on for twenty years."
Yau writes: "There is something decidedly virtuosic and yet powerfully modest in Walker’s synthesis of control and seeming casualness. He has applied thick dabs, short strokes, thinly painted rectangles, and a tangle of calligraphic lines to the sticky black surface with a light but firm touch. The viewer senses the time constraint, the unseen ticking clock pressuring the artist to make one decision after another. And this stress becomes a metaphor for time’s winged chariot. There is nothing coy or even charming about these paintings of darkened rooms in which bits of light come in through a window or are reflected from a laptop... Walker’s love of paint and painting is evident in these uncompromising works. I say uncompromising because an exhibition of largely black interiors challenges viewers to look slowly and carefully, which is not typical of the art world or even of much painting."
Pardee writes: "Like painters from Chardin to Braque, Walker incorporates the tools of his trade in his paintings: in Brown Interior, for instance, he depicts a glowing laptop along with the projection it spawns, and the scrims and poles of his projection apparatus, as though to make honest acknowledgement of his process. He thus also acknowledges our complexly mediated relations to the past, to one another, and to ourselves in a world as interpreted by Marshall McLuhan. Walker’s argument for painting’s relevance within this contemporary media environment is convincing on the purely visual level, where his painterly touch grounds his conceptual superstructure in materials. Worked wet into a dark ground, his strokes of light hover on the verge of legibility, with a poignancy that recalls the way good painting has traditionally endowed its subjects with life – a drama repeatedly enacted as his paint lends substance to transparent films of projected photos."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.