John Yau visits the studio of painter Richard Walker.

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."