Dr John Walter is an artist, curator and director, academic and writer. His doctoral studies were undertaken in the Department of Architecture and the Built Environment at The University of Westminster. He is a visitor at a number of art and design schools across the UK.

He is currently working on CAPSID, a collaboration with Professor Greg Towers and his lab at UCL, supported by a Large Arts Award from Wellcome. CAPSID uses new knowledge about virus-host interactions to inform new artworks addressing cultural transmission. The project will culminate in an exhibition at CGP in London and HOME in Manchester in 2018.

He is curating Shonky: The Aesthetics of Awkwardness for Hayward Touring. Shonky is a group show of international artists that includes painting, sculpture and video, performance and installation that begins at The MAC in Belfast in October 2017 and tours to the DCA in Dundee and Bury Art Museum, Manchester.

His installations are grounded in theoretical and empirical research, and they seduce visitors into engaging with complex and often uncomfortable subjects such as sexual health through an exuberant use of colour, humour and hospitality. He creates fictions that begin with his personal experience and quote the voices of others, weaving them together into new epic works. The term Maximalist, which best describes his work, refers to an additive practice that values the relationships between things rather than their qualities in isolation. His work is visually intricate, returning to specific lexicons of imagery such as tarot cards, which allow meanings to develop within multiple contexts. His process involves working with many partners and negotiating thresholds, value systems and hierarchies as a conceptual extension of the post-modern approach to image manipulation that he practices.

Increasingly the container for his diverse body of work involves spatial design, as with Two Peacocks in which the logic of the department store became the organisational device for a group show or with Alien Sex Club in which the maze was employed as an architectural narrative. Hospitality is a central aspect of his work - he places an emphasis on the role of the artist to move towards the viewer in order to engage them in his ideas. Through acts of generosity that range from using the format of the bar through to using popular imagery his work attempts to involve audiences using carnivalesque strategies.

His use of performance is a form of drag that is jestered as opposed to gendered, in which the pose of fool can facilitate audiences to consider subjects that might otherwise be addressed as earnest. This extends to the material qualities of his work that, whether in analogue or digital form, explore shonkiness; a method in which craft "Badness" over slick production values or perfect craft.