Walker recounts a formative experience: "As a young man, I had gone to Amsterdam to look at Van Gogh, actually. I saw the Rembrandts, including the painting that is still the most important painting to me — 'The Jewish Bride.’ It just touched me so. It is truly one of the great romantic paintings in the world. I came out from the Rembrandt painting, and then I went to the Stedelijk. I’d been trained at that point just in figurative art. For the four years previously, I’d been in a life room. And I saw this painting, a white square on a white square. I didn’t know what it was, but I got the same emotional take that I got from the Rembrandt. It blew me away, took me off balance. I turned away, came back. I had no way of dealing with it intellectually. I’d never been faced with avant-garde art. I didn’t do anything about it. But several years later, I read that Malevich, when asked what his ambition was for painting, said it was to imbue the square with feeling. Well, that’s what Rembrandt did. So the connection was immediate. Then I didn’t have this problem of why I liked Rembrandt and why I liked certain contemporary art, why I grew to like Jackson Pollock. That is what they were doing: they were imbuing the square with feeling. I’d never read that, never heard of that, but it seemed to be right on."
Each of Walker's two silk-screened images is a section of the ground plane projected forward by means of drawn edges whereas, in the paintings, shapes are more conspicuously placed against the ground (although there is still clearly much figure ground juggling). Walker's practice of plastic automatism emerged out of a serial procedure. When he came to work with the layout of his Juggernauts, a double image involved additional screening in different colours, marks and surfaces. This extended improvisation to a print-medium associated in the 1960's with either the manipulation of given media imagery or else highly formal abstraction. A series of five small linocuts, published the same year in an edition of ten, also derived from the Juggernaut paintings. (Three are illustrated in John Walker Prints, Arts Council, 1975, cat.39-41.)