My work concerns itself with animal and machine relations: the steer and the plow, the soldier and the gun, sexuality and politics. Histories describing these relationships are stories we tell ourselves about the past, shaping a contemporary self-image that narrates the manner in which we work for or against one another as individuals, societies, and nations.

It is easy to sterilize these histories as a factual edifice, upon which we merely accept and promulgate its inertia. Its self-generated mythology is the seductive retreat of nostalgia, a selective myopia that preys on fear and ego. Propaganda—a significant and pervasive causeway on this geopolitical landscape—interests me greatly: Foundational posters, political speeches, and government documents that describe the power dynamics of our modern world. My work refers self-consciously to these, and to the conflation of the individual and the institutional that is their hallmark. It points to both the violent and the bucolic, and the language of national pride grafted to principles of duty, sacrifice, and honor that have long been and remain its allies and infrastructure.

Ericka Walker
Associate Professor of Art, Division of Fine Arts
Nova Scotia College of Art and Design

Walker received a BS from the University of Wisconsin-Madison, and an MFA from the University of Tennessee-Knoxville. She currently teaches studio coursework in printmaking as an assistant professor in the Fine Arts Division at the Nova Scotia College of Art and Design.

Walker’s creative interests frequently intersect with the political, moral, and technological histories of 19th and early-20th century Western civilization. She values printmaking both for its historical relationship to the graphic arts, and as a tool that allows her to graft contemporary extensions of these histories onto the imagery and motifs that have helped shape visual culture, political landscapes, and public opinion since the media explosion of the Industrial Revolution.

Walker’s work has been included in numerous domestic and international exhibitions and biennials. Her work is housed in public, teaching, and private collections in Canada, the United States, Europe, and Asia.