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Inside the Studio: Walter Brown
- Art Dealer Street
- Apr 8
- 5 min read
From the microscope to the canvas, artist Walter Brown’s path has been anything but conventional. After a long career as a medical pathologist, Walter made a bold pivot into the art world—bringing with him a sharp eye for detail, a passion for inquiry, and a deep concern for the world around him. His work, grounded in geometric abstraction, explores themes of political chaos, misinformation, environmental sustainability, and the imperfections of the human hand. In this interview, Walter shares how his scientific past informs his creative process, why he embraces analog over digital, and how he’s using everything from painted plastic bags to hand-drawn lines to make sense of a shifting world.
Read on to learn more in an exclusive interview with Walter Brown :
1. Your work explores global chaos and the human condition through geometric abstraction. What initially drew you to this artistic approach?
The power of geometric abstraction continues to fascinate me. Its presence throughout human development shows how deeply it's embedded in our psyche. I found that it can create direct links to the subconscious. My use of it came from reflecting on my relationship with the current state of the world.
It started with a feeling of rage over the political crisis and the rise of fake news. Listening to podcasts in the studio often heightened that fury. It made me question not just the world—but my own role in it. I became obsessed with the idea of reconciling the loss of factual certainty in an age of "fact fluidity." Painting became a way for me to simplify, reexamine, and confront the things I once took for granted. I went back to the basics: line, shape, and color. I began by focusing on the line—how dots form lines, how lines create space. I thought emotion might get lost in geometry, but that concern never materialized.
2. You emphasize imperfection by hand-drawing your lines rather than relying on digital precision. What does this choice mean to you as an artist?
Art is actually my second career. As a pathologist, precision was everything—every decision had real consequences. Now, as an artist, I embrace the freedom to explore without life-or-death stakes. No one is harmed if I choose yellow over blue.
By hand-drawing my lines, I deliberately reject digital perfection. I celebrate the imperfections that come from the human hand. In a world dominated by algorithms and automation, this analog approach feels more personal, more real. Painting is still thriving today because it offers a unique, almost indescribable quality. Those small flaws—that human touch—connect us back to something essential.
3. Your concern for the environment has influenced your use of recyclable materials in your art. Can you share more about this process and how sustainability plays a role in your work?
A few years ago, I started using plastic as a substrate. It was cheap, everywhere, and deeply symbolic. I collected my own recyclable plastic, brought it to the studio, and melted it into strange, sculptural forms using a heat gun. I also started creating "plastic bag paintings" by sealing acrylic paint inside unused plastic bags.
The process made me confront my own lifestyle—how much waste I generate, and what it means to take responsibility for it. Eventually, the plastic nearly overwhelmed my studio space, so I had to pause that practice. But the environmental concern never left. Even as a kid, I dissected frogs and collected butterflies, which I still feel guilty about. That early relationship with nature stuck with me.
4. In your artist statement, you mention dealing with the political crisis and the impact of fake news. How do these themes manifest in your paintings?
I’m still figuring that out. My recent work is made up of “series”—each with its own rules: straight parallel lines, curved parallel lines, crisscrossing grids, and so on. These structures act as frameworks to explore uncertainty.
The imperfection of the hand-drawn line becomes a metaphor. What if my “parallel lines” aren’t parallel enough? Would someone see that as a flaw, or interpret it differently? This mirrors how facts are interpreted—or misinterpreted—in our current reality. I want my work to question the idea of absolute truth.
5. The structure of your work often revolves around fundamental elements like line, shape, and color. How do you decide on the visual language for each series?
My latest work is very focused on fundamentals. I use lines to form shapes, and those lines are often made up of dots. I’m investigating the very beginning of geometry—where does it start, where does it break down?
When I draw lines freehand, I know they won’t be perfect. But that’s the point. If someone thinks they aren’t “parallel enough,” that says something about perception, expectations, and what we consider acceptable. It opens up a conversation about visual language and meaning.
6. Your “Straight Parallel Lines” and “Curved Crossing Lines” series explore different relationships between geometry and expression. What inspired these works?
Those series came from a personal exploration—trying to figure out who I am as an artist. In my medical career, I spent over forty years peering through a microscope. Once I understood how deeply that influenced my visual thinking, I began creating abstractions of what I’d seen.
Small circles became stand-ins for biological cells. From there, the forms evolved. I started integrating other shapes and scales, gradually building a visual language rooted in both memory and observation.
7. What’s next for you? Are there any new themes, materials, or projects you’re excited to explore?
I feel like I’ve spent my life sitting on the fence between art and science. I had a long and fulfilling career in medicine, and now I’m giving full attention to my artistic side. That journey taught me the importance of perception.
Right now, I’m continuing to explore the overlap between fact and fiction through painting. It’s a tough topic, but I enjoy the challenge. I’m drawn to projects that push boundaries and make people think twice about what they’re seeing.
8. Lastly, what advice would you give to emerging artists who want to develop a unique visual language and artistic voice?
Well, I just earned my MFA in Visual Art in 2024—so I still feel like I’m emerging myself! My advice is to stay curious. Don’t be afraid to question everything, including your own assumptions. And don’t worry too much about perfection. Sometimes the flaws are what make your work truly yours.
Walter Brown’s art bridges his background in science with a bold, intuitive approach to abstraction. By embracing imperfection, recycled materials, and structured experimentation, he invites viewers to question perception, truth, and the world we live in. As he continues exploring the space between fact and fiction, Walter’s work remains a compelling reflection of both personal and collective complexity—thoughtful, timely, and unmistakably human.
You can learn more about Walter Brown and his work via these links:
Website: https://www.walterbrownart.net/home
Instagram: @Walterbrown390
Saatchi Art: @Walter Brown
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