Brief Biography of Timothy Taylor
Timothy Taylor was born in Pennsylvania, USA. His father took him to private painting lessons as a young boy, and he continued art throughout his school years, going on to earn a Bachelor’s degree in Art from the California State University, and an MA in Art from The Claremont Graduate School. After art school Taylor went to medical school and was known to be welding sculpture in the parking garage off-hours as he continued taking art electives at The George Washington University. To this day he works part time in medicine. Taylor calculated in youth that he would be able to make art more freely if he completed a doctorate.
In the early 1990’s Taylor became active in theater, constructing and painting a number of Community Theater sets in Northern California, including a huge forest backdrop for “Wind in the Willows” and a working time machine for “Time After Time” (in which he completed a voyage recently). He then went to the Johnson Atelier as an Apprentice in 1999, working on commission with sculptor Andrew Pitynski. Immediately afterward, he designed exhibits for the Nashville Imaginarium Children’s Museum in Tennessee. He has had residencies at the International Ceramics Studio in Kecskemet, Hungary, and at Italy’s Wassard Elea in Ascea. His works have been exhibited in California,Washington, D.C., Orrea, Italy. One of his porcelain sculptures is in the Latvia Small Porcelain Museum of Riga. His art has been published in several art books since 2009.
In 2008 Taylor became a resident of the Commonwealth of the Marianas islands where he made four large cement “Artifacts” which were left in the wild to be grown over and photographed. He filmed the process and took the footage to the Universal Studios New York Film Academy in 2010, earning a second Master's degree (MFA). After an experimental period characterized by process explorations and some theorizing about post-postmodernism and neo-impressionism, Taylor has re-visited his early painting style, and is sculpting small works for metals casting back on the Island.
The works submitted for the 2015 Palermo Biennial include some from Taylor’s experimental period: applying fresco-like surfaces to abstract organic forms, adding the shaved fresco chips to plaster block for carving, a small plaster painted with invisible UV stage paint, and a transparent painting revealing the object itself. These played on local color and light and on technology applied to a renewed post-modern tradition. A new acrylic painting, “Entropy” is part of a new set that concludes with materials and process influenced somewhat by the previous folly.