Barbara Walker (b1964, Birmingham) describes herself as a “scavenger” for information. She typically works on topics that are new to her, whereby she is learning and being stimulated. For this seven-year (to date) project, looking at the contribution of black soldiers to British war efforts – from the first world war to the recent and contemporary wars in Iraq and Afghanistan – she has spent time in archives, ranging from the Imperial War Museums to the US Congress, and even on eBay.
Protest and Remembrance: Miriam de Búrca | Joy Gerrard | Mary Griffiths | Barbara Walker, installation view, Alan Cristea Gallery, London, 2019. Photo courtesy Alan Cristea Gallery.
Although the soldiers she draws are unknown to her, she feels they become like her children, and she gets to know them over time. Her works vary in scale, from small, often embossed pieces, to larger-than-life wall drawings. These latter are washed off at the end of the exhibition and live on only in photographs and, most importantly, people’s memories. Walker uses simple materials and methods, and her goal is to seduce the audience, and give the anonymous soldiers power: claiming a space for them and giving them a voice. Studio International spoke to Walker while she worked on her wall drawing for the exhibition.
Barbara Walker, Parade II, 2018. Graphite on embossed paper, 50.1 x 56.8 cm. Photo courtesy Alan Cristea Gallery.
Protest and Remembrance
Miriam de Búrca | Joy Gerrard | Mary Griffiths | Barbara Walker
Alan Cristea Gallery, London
28 February – 30 March 2019
Interview by ANNA McNAY
Filmed by MARTIN KENNEDY
ARC: I Draw for You
Drawn Together is a London-based group of artists (Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall) who collaborate on performance drawing projects. Their work involves live action mark making with graphite and light, sound and animation. Through repeated processes they explore body and presence, time and space
The 43 Uses of Drawing
Rugby Art Gallery and Museum’s The 43 Uses of Drawing, curated by the practitioners’ researchers and teachers Paul Cureton and Craig Staff, explores the practice of drawing beyond the paper surface, via the work of 43 practitioners working in a number of different areas.
The Horse: 30,000 Years of the Horse in Art – book review
The Horse: 30,000 Years of the Horse in Art by Tamsin Pickeral is a gallop through art history from prehistoric times to the present, with the focus narrowed on the horse - a long-standing and yet surprisingly unmentioned muse of artists spanning centuries and continents, schools and movements. A creature of practicality and mythology alike, promising loyalty as well as escape, serenity and passion, domestic bliss and gallivanting into the wilderness, the horse indeed is a subject of promise.