James Faure Walker: Pigeons, Kyoto

  • ©,



    Pigeons, Kyoto


Creation Year:



    Giclée iris print


    29 in x 43 in



Artist Statement:

    Lately, I have been thinking more and more about drawing, and some of these ideas are becoming part of the work I make. I draw the same motif (a tree, a chair) switching between a brush and a Wacom tablet, and play around with the differences. For someone like me, who has both a painting studio and a digital studio, drawing with line is one of the options that bridge the gap between media. I still don’t know the right term to use, because though I usually end up with a giclée iris print, I do not feel I am a digital printmaker, a computer artist, or a digital painter. If I identify this work as “drawing,” and my larger paintings, which use similar techniques, as “drawn paintings,” then I am getting closer. What excites me is the continuing convergence between painting, photography, and the digital. The processes, techniques, and, of course, software can be so rich and surprising I sometimes feel like standing back and letting the pictures make themselves without any interference from me.

    I have been using prefabricated components, sections of cardboard that I paint and build into temporary constructions before photographing. When I reassemble these drawings, which are overlaid with digital drawing, I may introduce quite arbitrarily an unrelated photo, a street scene. This may hold the attention and subordinate the rest of the picture, but it can also lift the mood of a picture and activate latent contrasts.

    The Pigeons, Kyoto title refers to the central motif. The rest of the piece consists of large-scale cardboard paintings and structures reassembled and drawn over. I poached the central motif from one of a series of works that emerged from a trip to the Nagoya ISEA conference in 2002.

Affiliation Where Artwork Was Created:

    Kingston University