Jake Walker's current exhibition at Paddington's Gallery9 straddles architecture, painting and ceramics.

Jake Walker, '#0101 (2018)'. Acrylic on linen, mounted on play, glazed stoneware frame
, 47 x 41 x 5cm.

Jake Walker’s current exhibition at Darlinghurst’s Gallery9 continues his investigation of the architectural and structural constraints of the frame. Combining painting and ceramics Walker creates glazed stoneware frames for his canvases, extending the traditional painting form to become an object in its own right.

His frames often feature industrial style elements such as pipe-like structures, arches and geometric spaces designed to constrain the eye within the structure. Yet Walker’s ceramic frames appear as if they are a single part of a larger story, their cut off ends teasing for a greater resolution. Born and based in New Zealand, Walker also has a strong interest in technology and its effect on viewing and understanding contemporary art. In many ways his ceramic frames are like television and computer screens, their edges dividing the digital from the real. Past works of his include a laptop which he has painted yet left sections of the screen untouched to create a mixed media dual reality work in which the traditions of painting collide with the contemporary affordances of technology. Walker’s interest in technology is subtle yet present in the work of his recent Gallery9 exhibition, allowing the object of the ceramic frame to investigate the physical and sculptural possibilities of painting. With much of the contemporary art we see now coming from online sources, Walker is trying to subvert the two-dimensional aspects of traditional painting by creating ceramic objects that must be seen in person to fully understand.

“It occurred to me a few years back that the glut of images available online and in print was changing the way audiences engaged with 2D art" explains Walker.

Walker’s works question the value and permanence of digital technology and art, as while technology has enabled art to be viewed much more readily, it has also limited our understanding of materiality, process and, ultimately, worth.


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