The images and processes in Taylor’s work are linked by a pre-occupation with redundancy and the decline in visual culture and traditional processes.
The notion of time is investigated through collage based processes of constructing, deconstructing and then reconstructing images, drawing from an array of histories, relying on the accessibility to almost infinite references via the Internet.
Elements of the painting process take on a language not dissimilar to graffiti wipe-out. This ‘un-painting’ of things is like an interruption to the pattern and structure behind; the history becomes an unknown, erased or obscured narrative. The layers of a painting contribute to the sense of time, exposing the numerous contradictions- slow and intricate parts of the painting are wiped out in seconds; they are activated over time, through the processes and the build-up of ideas being explored and discarded. The image itself becomes a ruin.
Contingency is central to the work, and then tangled threads attempt to tie things together. Leaving the work in a state of incompletion, serves as a reminder of the process of time; unfinished and repetitive, flitting between states of beginning and end, abstraction and representation.
These paintings explore the impermanence of all things; the fragmentation of the image and samples from redundant processes or dying crafts, speak of the destruction and creativity of the human, of the passing of time and history.