There is an old distinction between drawing and painting that does not apply here. Within the painting there is exquisite drawing. And it is sometimes impossible to say which is which – is this a painting or a drawing, is this section drawn or painted? Painting and drawing are traditionally mapped on to feeling and thinking in European art: painting is the colour and the emotive; drawing, the black & white and the cerebral. These are inseparable in this work. They all contribute to the sense of constant formation and re-formation, of an unstable shifting of any given life into other life. Watercolour layers convey time differently from oil; you can never completely cover a mark,you can change it but you can't cover it. The possibility of distinct patterns of time underlies the transfigurations of Walters' bodies. She revolves her work to look at it with different sides at the top. Thin washes are especially prone to running unless you work flat, and even then, they can ooze, creating a different chance effect. Walters' runs are evident and intentional, becoming a powerful element of technique. You can see through them, they are fragmented and partial, they foreground the visceral. At the same time, they hold before you the astounding facts of living, of life itself.
Watercolour on gesso prepared paper.
White wood frame