“The medley of media and the need to obliterate the decorative elements within my work stems perhaps from my ornate childhood home, where I attempted to erase the quintessentially English, floral wallpaper with teenage posters: Superman and Jane’s Addiction, but even they failed to obscure the pink and green sugar coloured, ornamental backdrop, where humanity was concealed by formality.”
OOZE (DIPTYCH), 2012
“Patterns from cross-stitch and tapestries are painted into a grid background, with a nod towards early computer graphics and glitches. These grid-structure paintings are reminiscent of a maths workbook, coloured in and crossed out, laden with stickers, tattoo designs and cartoon language. Samples of flotsam and jetsam from the cultural landscape saturate the paintings like a Google results page of clipart or a computer desktop cluttered with files. Screen-printing, photocopiers and analogue projectors are used as much for their visual qualities as for their inherent ability to produce failures. The images are scanned or photocopied and digitally edited so that they too are subjected to a kind of digital entropy, highlighting the contradictions and failures of our times and concerns with painting in a digital age. There is an urge to obscure, destruct and abstract the image, and therefore the history of the painting, and yet simultaneously, trying to preserve that which is becoming obsolete, or that which we are losing: printed media, the ornament in architecture and now, antiquities themselves.”
Diana Taylor, 2016.
Check out Diana Taylor’s exhibition with Collectionair here.