![]() Later on in the 80’s Walker really made a name for himself working with the top names Vogue, The Face, Yohji Yamamoto, i-D to name a few. He was already a successful photographer at the age of 18, and by 22 he was working in the fashion industry in Tokyo – as the first European to do so. Walker is so very aware of every little detail and he definitely knows what he is doing.īrett Walker was brought up in a middle-class society in the north of England during the 1960’s. Sometimes he plays with reality, but it still keeps its honesty. His photography is very much real and beautifully revealing. The dark reality appeals to me, and Brett Walker serves me it. I have always had a tendency towards really deep down, dirty photography. Custom and larger sizes available, please inquire. Size is approximate, prints come signed and dated by the artist on the back. Prints available in 8x10 and 16x12 open edition artist proofs. Let’s pour a glass of wine in that space. A conversation is also a time when space is held open between dualities. ![]() I’ve also included shots that Brett took while documenting one of my art installations and a few of our family portraits over the years. My point with this exhibit is to bring you into the excitement of that conversation, with vines and grapes and wine as the main subject matter, which is our shared experience with SUTRO (yours and mine). ![]() They go on for years and are sometimes verbal (over the phone or formal crits in the studio), or sometimes silent or gestural (in the field in the process of making or through the objects that were made). These types of conversations between artists and makers are what make my world go round. I had giddy anticipation to see where the conversation would go after revealing my very intimate opinion of his work to him. Please note, I wrote these paragraphs before meeting with Brett for the conversation below. Brett has a very personal point of view, it is in every one of his pictures, and I think it is invaluable to turn that type of eye onto harvest. Most importantly, it is not fetishized, nor masked. I think this capacity really comes from within Brett, that it is perhaps studied, and honed, or maybe it is inadvertent. And such is how we farm, and how we live with nature. ![]() A balance between predictability and chaos. Skewed enough through framing, composition or frankly just the moment captured, that the mercurial undependable side of life is revealed through some cracks, apparent alongside the beautiful, stoic and dependable part of life. When Brett takes a picture, what is shown is a perfect shot, but somehow skewed. What I see with Brett’s work is the courage to show the beauty alongside the mercurial. Mother Nature is mercurial, and the great repository of all opposing forces, cohabitating. I think that has it’s place, but it is also misleading. Vineyards and harvest can be shot in a way that is boringly bucolic and self congratulatory. He has also returned to the ranch regularly to shoot houses, landscapes and people doing things. That was the year that Isabel was born, and Brett has made family portraits of us every year since then. I became friends with photographer Brett Walker in 2014 when he was in residency next door to my home, at Chalk Hill Artist Residency at Warnecke Ranch. Artists who hold open the space between dualities have my rapt attention. ![]() You can emote on the subjects of his work with judgement, laughter and tears, and kid yourself that it’s about someone else, when in fact you know very well that it is about yourself, and every other human being. His photos toe the line between universal and personal in that aching way where you relate enough to feel empathy but have a safe distance to not feel overly implicated. He captured humanity with candid street shots from the 1930s to the end of the last century. My favorite photographer is Henri Cartier-Bresson. ![]()
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