As lighthearted as his subject matter might first appear, Walter’s technique remains faithfully classical. Working from his studio in France and taking advantage of the wonderful Northern European light, his process is to first make sketches, followed by an initial underpainting of diluted oil, before working the objects out in full one by one. Achieving such exacting levels of detail is so demanding that he can only work in fifteen to twenty minute bursts on certain compositions, providing for a limited output of the highest standard. Within Bottles, Shapes and Colours, Dolphyn transforms a simple green cabinet into a stage for optical intrigue, presenting an almost scientific study in refraction and reflection rooted in Post-Modern exactitude.