Lyndal Walker’s work addresses the construction of images, gender roles and our relationship to time. Fashion, as reference, subject matter and context have been important to her work which emerges out of an ambivalent relationship to consumer culture.
Walker’s artistic output is multidisciplinary, varying from installation to photography to fashion-related works and wearable art. Her visual art production is coupled with her written academic study of fashion which includes essays, social commentaries and memoirs. In fact, her written work therefore illustrates a deeper understanding of the context and media in and through which her work is produced and exhibited. For example, Walker’s paper La Toilette d’Une Femme that presents and analyzes her series of the same title was published in 2011 in the Australasian Journal of Popular Culture (Volume 1, Number 2). Her paper examines the interrelatedness of the history, symbols and themes that emerge in this series and explains the centrality of the ritualistic act of dressing for women, and how it functions as a statement of their identity. You can read the whole paper on her Homepage.
The social implications and multi-disciplinary nature of her work attribute to its complexity:
You can read the entirety of the interview with Lyndal Walker, focusing on her 2017 series Changing Room, on ArtBerlin.
In 2016, Walker was an artist in residence at the Berlin Künstlerhaus Bethanien. At the end of the residency, she exhibited the series Changing Room, which explored concepts such as time, identity, transformation and truth. Fashion is employed as a focal point of the series, which dresses and undresses the body of the models, thereby referencing contemporary topics such as online censorship of the female body and the institutional dynamics of patriarchy. Apart from contemporary references, each of the photographs in this series refer to common themes from the 18th, 19th or 20th centuries. The mirror, finally, which reappears in many of Walker’s works, distorts and reflects these notions back towards the viewer as they see themselves through and within the screens.
Beyond her individual visual art projects, Walker participates in various collaborative projects which further broaden her work to writing and animation. In particularly, until 2017, Walker was part of Hotham Street Ladies: a collective of five women artists who intertwine artistic projects such as installations and street art with making cakes and recipe books. The inclusion of food politics into the collective’s repertoire allows for commentary on the relationship between notions of community and domesticity with artistic production. At the core of their work, discussion around women’s issues is centered on real-life women and their actual experience.
Walker holds a Master of Fine Art from Monash University in Melbourne, Australia as well as a Bachelor of Fine Art from Victorian College of the Arts in Melbourne, Australia. Her work is included in collections of the Museum of Contemporary Art, Sydney as well as the National Gallery of Victoria, Melbourne, Australia.
SomoS has invited Walker to participate in the upcoming group exhibition Personae.
Lyndal Walker’s homepage: www.lyndalwalker.com/