One hundred and sixty one

Everywhere is Always

2010 by Sarah Walker
Pierogi, Brooklyn; until 27th June

Sarah Walker’s work seems to hover on the brink of organic and sci-fi inspiration. It appears globular, cell like in growths and linear developments, yet a perspective filled dynamism is also inherent. Grid-like structures expand to form shells of imagined buildings and there is something futuristic and fantastical about these compositions. Seen through a palette of psychedelia the canvases are brightly coloured, lurid almost, working together to form different coloured worlds. They absorb and are imaginatively provoking; we are guided only by the varied titles, though even these seem to evade any clear understanding, perhaps only framing for us the mind Walker was in as she painted. However, Everywhere is Always certainly embodies an overwhelming feeling of surrounding and eternity. The composition is built up in relentless evolving layers, grids that appear structure-like though they are stretched outwards; contorting, folding it seems to close the picture in on itself. The metallic silver of the bar-like structures that spread outwards in triangles evoke this mechanical futurism, a space-age obsession, in all shapes and cutouts. The intensity of the orange, fire-evocative heat, anger even, is reflected in its opposite blue, which is cool and water-like. The orange and blue frame each other, colour growing it seems from its contrast; they appear as heat-sensory, displaying some underlying energy that we cannot see. The green is then contrastingly acidic, dividing in what appear as cellular structures, with beams of bright yellow shooting down as spines. Walker seeks something from science and imagination and, though immediately full of impact, her images grow in intensity the more one looks.


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