James Faure Walker

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Most Recent Affiliation:

  • University of the Arts and Kingston University


  • London, United Kingdom



  • James Faure Walker (b. 1948, London) studied at St Martins (1966-70) and the RCA (1970-72). He has been integrating computer graphics in his painting since 1988. He co-founded Artscribe magazine in 1976, and edited it for eight years. Recent one-person exhibitions include Galerie Wolf Lieser (2003); Galerie der Gegenwart, Wiesbaden (2000, 2001). Group exhibitions include Jerwood Drawing Prize (2010); ‘Digital Pioneers’ at the Victoria and Albert Museum (2009); ‘Imaging by Numbers’, Block Museum, Illinois, USA (2008); Siggraph, USA (8 times 1995 -2007); John Moores, Liverpool (1982, 2002); Bloomberg Space (2005); DAM Gallery, Berlin (2003, 2005, 2009). In 1998 he won the ‘Golden Plotter’ at Computerkunst, Gladbeck, Germany. He was one of five English artists commissioned to produce a print for the 2010 Fine Art South African World Cup. His ‘Painting the Digital River: How an Artist Learned to Love the Computer’, (2006, Prentice Hall, USA), won a New England Book Show Award. He is Reader in Painting and the Computer at Camberwell, University of the Arts, London.

Art Works:

Writings and Presentations:

  • Title: Teaching Cyber Art, Or How A Painter Copes With Computers In London
    Writing Type: Paper
    Exhibition: SIGGRAPH 1995: Digital Gallery
    Abstract Summary:

    Walking back from my paint­ing studio on a summer evening, looking up at the electronic flicker of TVs, I do wonder … how can a painting do anything in a living room? Does the future lie in the hands of the cyber artist? Hold on. I am a painter, and I use com­puters, and that combination makes a lot of sense, though nowhere in England can you study – or teach – the two together. Computer work is a different kind of art because it’s cyber-this or cyber-that? Oh. Even when it’s flavor-free? At ISEA 5 in Helsinki I wan­dered out of the interactive show and got absorbed in the early 20th Century Finnish painting next door, self por­traits in log cabins, a solitary fir tree losing its snow. Spring. I resolve to give my work more of a lived-in texture, make it connect with what I saw, give it a temperature, make it more reflective.

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    Title: Painting in a Digital World: I Told You So
    Writing Type: Essay
    Exhibition: SIGGRAPH 2006: Intersections
    Abstract Summary:

    Over the past 10 years, the proportion of painters who use computers in their work has been rising, and rising dramatically. They may not all be expert users, and they probably know next to nothing about digital art or its origins, and nothing at all about its pioneer artists.
    They will not have heard of SIGGRAPH. They read Frieze. They probably outnumber hardcore digital artists by a factor of 50 to one. So if we are to speak of the way things are going in “digital art,” they are part of the picture.

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