Franklin Einspruch at The New Criterion:
If Guston was labeled an Abstract Expressionist for his nonobjective takes on Monet, Walker could fairly be described as an Abstract Romanticist for his nonobjective takes on John Constable, to whose paintings Walker was introduced as a child in Birmingham, England. In the catalogue, French describes his training at the Birmingham School of Art in the late 1950s as “rigorously traditional” and tells of the artist’s profound confusion upon discovering a Malevich canvas that impressed him by capturing all the emotion that he had experienced regarding Rembrandt’s Jewish Bride. Early on he realized that technique did not amount to feeling.
A typical Walker evinces broad knowledge of the mechanics of oil painting and the sort of juicy application that we associate with a lover of the medium. As befitting a Romanticist approach, it is composed intuitively, in defiance of strategy but not wisdom.