Walton Ford

It has been a long held ambition of mine to show Walton Ford’s prints in London and I am now delighted to be presenting this comprehensive exhibition.

I remember clearly how captured I was the first time I saw an aquatint by Walton, over 15 years ago. My interest in printmaking as well as a fascination with Audubon made the work immediately compelling.

It is impossible to view these prints and not be struck by Walton’s mastery of the traditional and very complicated colour aquatint technique. The time, knowledge, and technical ability required to make these prints cannot be understated. Together with his printer Peter Pettengill, Walton has made a truly remarkable body of prints.

Beyond their technical mastery, the subjects Walton addresses in his work – social histories, global politics, environmental destruction – make these often complicated, dark narratives hugely relevant to our modern world.

The combination of their historic character and contemporary narratives gives a tension to the work that is compelling – they are charged in equal measure with the weight of the past and the responsibilities of the future.

This show would not have been possible without the help of several colleagues to whom we are deeply grateful. Judith Goldman first approached us with the idea and has provided endless support, encouragement, and insight. I would also like to thank Samantha Rees at Kasmin Gallery, who has been incredibly helpful in all of the logistical challenges and Peter Pettengill of Wingate Studio, who has generously consigned several works to the show. Judith Solodkin and Smith College have provided us with images of early works, which has allowed this catalogue to be a complete survey of Walton’s print work to date. Derriere L'Etoile Studio and the Tamarind Institute have provided us with needed documentation And lastly, I must thank Walton himself and his studio manager, Robert Allen for supporting us in this project and allowing us to bring this remarkable show to the UK.