Richard T. Walker
(Shropshire (UK), 1977)- the fallibility of intent (extracted, rotated #1), 2019
- separately together (instance 8 - still), 2019
- separately together (instance 22), 2019
- these things, 2018
- an aquiescence of meaning, 2018
- this side of then, 2018
- this side of then (reprise), 2018
- an outline of a thought as it refers to its inner self # 3 - 5, 2018
- forever not quite #2, 2017
- this as determined by these #1, 2016
- occasionally related occurrences #1 and #2, 2016
- an is that isn't always, 2015
- a paradox in distance (repeated), 2015
- the vulnerability of the actual in the presence of itself, 2015
- more than this, 2015
- in accordance with things, 2015
- the predicament of always (as it is / as we are), 2015
- the fallibility of intent #5, 2015
- the plight of inconsequence, 2014
- a paradox in distance, 2014
- A paradox in distance (inverted) #1 and paradox in distance (inverted) #2, 2014
- the predicament of always (as it is), 2014
- the predicament of always (as we are), 2014
- what could be, 2013
- in defiance of being here, 2013
- us through this, 2013
- proximity of longing, 2013
- outside of all things, 2013
- our personal economy of meaning, 2012
- the speed and eagerness of meaning, 2011
- for all eventualities, 2010
- attempting to define the parameters of wanting, 2010
- i know you are everything but i still want you to be everything, 2010
- the insistance of distance, 2010
- everything goes as if it is always away, 2009
- what am we/you/i waiting for?, 2008
- a momentary release of candid forthcomings, 2008
- home, 2008
- a nice view, 2007
- i'll be lost when I find you, 2006
- successive inconceivable events, 2005
i'll be lost when I find you, 2006
Six-channel video installation, color, sound
8 min 22 sec. Ed 5
ENG
This work is part of an ongoing ontological research project by the artist. He combines an obsession regarding the complex language of relational psychology with images of breathtakingly beautiful landscapes and bucolic scenes. Art, personal relations, as we try to understand them, and complex (often kitsch) notions of beauty and the sublime merge seamlessly in his work to create thoughtful and affecting ruminations on the fickle nature of the human emotional and cognitive processes. … Using probably the most narrative laden place on our planet – the great American outdoors, depository of saccharine notions of home and freedom –, Walker examines the very subjective relations formed with this and other environments in our culture over the last 200 years. Excerpt from a text by: Tom Keogh (2006).
CAST
La obra forma parte de una investigación ontológica realizada por el artista. Walker combina una obsesión que contempla el complejo lenguaje de la psicología relacional con imágenes de paisajes cautivadoramente bellos y escenas bucólicas. Arte, relaciones personales, como tratamos de comprenderlos, y complejas –a menudo kitsch- nociones de belleza y lo sublime se funden en su obra para crear reflexiones pensativas y sentimentales sobre la naturaleza voluble de los procesos emocionales y cognitivos humanos. … Usando probablemente el lugar más cargado de narrativa de nuestro planeta –los grandes campos abiertos de América, almacén de nociones sacarinizadas de hogar y libertad-, el artista examina las relaciones subjetivas formadas por éste y otros entornos de nuestra cultura durante los últimos 200 años. Extracto de un texto de: Tom Keogh (2006).