Refinery29 recently featured Esprit de Corps.
Alexis Lodsun recently shared Esprit de Corps with the audience of Juxtapoz.
My solo show, Nearly West, got a quick write-up in the Austin American-Statesman.
I was thrilled to have my work included in the Nowhere Near Here large group exhibition that spans both FotoFest and the Houston Center for Photography spaces. Rachel Hooper, associate curator and Cynthia Woods Mitchell Fellow at the Blaffer Art Museum, wrote a piece for ...might be good where my work is briefly mentioned:
The striking and odd beauty of Walker Pickering's road trip photos makes an indelible impression at HCP, especially in the serene and dramatic light and shadows of Hole and Overlooks (both 2009/2010).
Two generous quotes from Logan Sebastian Beck's article in ArtLies:
While the videos destabilize the majority of the still photographic work on view, they also accentuate exactly what several of the selected photographers do well. Shooting in film, and continuing the dialogue of straight documentary photography, the best of these artists—such as standouts Walker Pickering and Mike Osborne—produce clear, concise images with poetic compositions.
Walker Pickering’s spectacular medium-format prints on display at HCP are seductive while maintaining a clarity and simplicity of vision. Pickering echoes subject matter from the road-trip photographs of Garry Winogrand and Stephen Shore—the motel parking lot, the lonely road, the fast-food stop—the et cetera of Americana. Like Winogrand and Shore, Pickering’s project is to transform the banal into the beautiful. He invites the viewer through his lens into a state of lucidity in which something is revealed that seemingly wasn’t there before the shutter clicked. Pickering’s Hole (2009) monumentalizes the transient: A gaping hole in a river seems to expand the longer you look at it, slowly yet steadily swallowing up more and more of the water’s—and the image’s—mirror-like surface. This picture and others like it, such as Camaro, Meal and Overlook (all 2009), urge the viewer to reengage in something that may be a dying practice in our era of the ubiquitous screen—the practice of really looking.