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
In August, this website featured an assessment of the high quality of the collections at Pallant House, Chichester. As promised in that article, here follows a more detailed appraisal of the new architecture of Pallant House itself.
The Architecture of the Last Empire
The past decade has seen a growing interest in the British Indian Empire and its inner social and economic mysteries. But the physical legacy, in architectural terms, still awaits re-assessment. Indeed, while many of the buildings which remain are carefully inhabited and preserved for the most part, others, less domestic in their role, and redolent of imperial power, remain at risk, open to the vagaries and whims of 21st century political and nationalist sentiment.
Beth Fisher: Grisaille Legacy
Beth Fisher: Grisaille Legacy at The Royal Scottish Academy this January is an exhibition of monumental drawings which draw their subject matter from intensely personal experiences of family life over three decades.