There is no typical Frank Walter. His abstract works are systematic, the individuality of his figurative painting is captivating, and his landscapes gain strength through their clear abstractions.
My photographic work deals largely with the human condition and it’s mostly recognizable for the introspective and enigmatic imagery.
A significant part of my work as an artist and photographer is an exploration on visual perception and a way of photographing thoughts or inner landscapes. These landscapes spring both from an inside perspective, as well as from someone on the outside looking into a particular topic within.
The subject matter is not an essential part of what I wish to express because most of the times it’s serving a universal purpose within the concept of a given series of photos – a narrative, if you will. Therefore the models, bodies or gestures are a natural consequence of the atmosphere they try to evoke.
Since what I’m always looking to express is something from inside, I tend to work with the unknown and with elements that are not (always) visible in the frame.
I believe imagination and curiosity can be transcribed into images in a poetic way, through a language somewhere in-between cinema and literature.
When I look back at some photos I understand the real interest lies outside the frame, that is, outside the image itself. In what is not there.
I believe in the capacity of our minds to use the image as a mere gateway or starting point to then extrapolate beyond the confinements of the medium. Indeed that is what a good image should be able to do: take the viewer somewhere far away from what is real and tangible.
“The body is only interesting because of its own limitations. We can’t go beyond the body – we are stuck, but our thoughts and mind is as vast as our capacity to extend it. Our bodies are always a confinement of some sort, a border-line between what we conceive in our minds and the exteriorization of our emotions. Albert Camus said “the revolt of the flesh is the absurd,” and by this he meant that the body can be trigger to feeling disembodied. I always felt the body to be a gigantic burden because it seems out of proportion with our minds and emotions which can be monumental. How can we travel so far in our thoughts and have this heavy anchor gripping us to reality.
Throughout the history of art the human form has always been dancing with death in one way or another, that distant region of absurdity and emptiness was the one I chose to evoke in an open dialogue, and that can help reconcile or antagonize the viewer, I think the possibilities are really endless and fascinating.”
–from an interview with Ghost Magazine