John Walter (b.1978) is a British artist living and working in London. His work encompasses a diverse range of media that includes painting, drawing, artist’s books, sculpture, costume, performance, video, sound, installation and spatial design. He studied at Chelsea School of Art and Design, The Ruskin School of Drawing and Fine Art, The Slade School of Fine Art and was awarded a doctorate by The University of Westminster in 2017. In 2006 he was artist in residence at KIAC in Dawson City, Canada. Between 2006-8 he was Sainsbury Scholar at The British School at Rome. He was a participant in Skowhegan School of Painting and Sculpture in 2012. In 2017 he undertook a residency at Edinburgh Sculpture Workshop. His work has been supported by grants from Arts Council England and Wellcome. Recent exhibitions include Somewhere in Between (2018) at The Wellcome Collection, Coming Out: Sexuality, Gender and Identity (2017-18) at The Walker Art Gallery Liverpool and Birmingham Museum and Art Gallery, Alien Sex Capsule (2017) Artlink Hull, Essex Road III (2016) Tintype Gallery London and Alien Sex Club (2015) Ambika P3 London and Camp & Furnace Liverpool. His work features in the collections of The Walker Art Gallery in Liverpool and The Ashmolean Museum in Oxford. He is also the curator of several exhibitions and screenings including Two Peacocks (2011) at Gallery North, Newcastle and Lily & Mim (2014) in Aberdeen. In 2016 he won the Hayward Curatorial Open for Shonky: The Aesthetics of Awkwardness, which toured to The MAC in Belfast, the DCA in Dundee and Bury Art Museum and Sculpture Centre. He has taught at a number of UK art and design schools and between 2016-17 was Unit Master at the Architectural Association in London.

Artist’s Statement:

My work researches the paradoxical nature of painting as both image and object. I draw on a wide range of media to test the boundaries of pictorial space and extend it beyond the conditions in which I find it. My oeuvre is characterised by an exuberant use of colour and pattern as well as an absurdist and tragicomic use of humour. I refer to the production values that I use as shonky by which I mean that I privilege the handmade, the imbalanced, the distorted and that which scrambles the coordinates of the familiar. The visual complexity of my exhibitions is a form of Maximalism in which multiple bodies of work are contextualised within one another. I work serially to produce iterative bodies of work that accumulate to form large and distinct projects. I have frequently used hospitality as a device within installations in order to help disseminate my work to audiences. I often collaborate with individuals and institutions that include other artists, scientists and museums in order to exchange images, ideas and narratives. My work conjoins images, processes and practices by developing new relationships between different existing types.