Craig Taylor’s latest prints, his second collaboration with Jennifer Melby, extend the subject and technical investigations of his recent paintings. The images present anthropomorphic shapes that mimic the character of sculpted portrait busts—blocky forms atop pedestals that seem to be awaiting a sculptor to unearth the specific features within. As much as these figures appear to be in media res, they also bear the feel of finish and thus exhibit a natural tension that is satisfying to contemplate. In his paintings, Taylor (who also trained as a printmaker) engages deeply with process: scraped out and layered marks that veer between the two- and three-dimensional. Although some of his earlier work is much more dependent upon color, the recent paintings depend on a limited palette, one that has been further re-fined into monochrome for the prints. Stripping even the minimal color used in the paintings foregrounds Taylor’s fastidious attention to texture through etching, sugar lift aquatint and scraping.
Craig Taylor, Figment of the Thing, Without the Transitor of Reason and Self Portrait of Nobody (2015)
- Etchings with sugar lift aquatint and scraping, image 12 x 9 inches each, sheet 15 x 11 1/2 inches each. Edition of 15 each. Printed and published by Jennifer Melby, Brooklyn, NY. $1,200 each, $2,800 for the suite of three.