In the Pleasing
Alice Walton terms her sculptures and installations architectural objects. They are configured to support and re-present collections of found images.
Walton invariably blocks the images she chooses, masking them over or effacing them in some way. Concealing one area often has the effect of revealing another more fully, drawing our attention to edges and backgrounds and making odd, absurd and playful links.
Her work has a meticulous, aesthetic elegance underpinned by conceptual rigour: she investigates how artworks are perceived and understood and this process becomes part of the presentation.