Juxtapoz Magazine: Taylor White has a “Meat Dream”.
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We showcased a few weeks ago Taylor WhiteOur work in’s A PortfolioWhite’s solo show is a great success. Meat Dream, on view L21 GalleryPalma, Spain. In this recent body of work, we encounter unstable houses, and vibrating office chairs – transforming these archetypes into complex, movement-desperate structures, reminiscent of sculptural images.
We can imagine the frantic drawing process, the urge to draw straight onto the canvas. Everything is left in its raw, unfiltered form.
The “images” are recognizable, we know the house, the chair, all of these naïve models of our upbringing. The familiar symbols make them recognizable, but their strength and depth makes them distinct. White’s intuitive approach to drawing makes an alteration to the proportions, due to the fast-pace, time-limited dynamic way of painting.
The work conveys in a palpable feeling of being “on edge”, caught in a dichotomy of panic and euphoria. In the drawings, there is a sense of compression and urgency in the production. The overlaying of the drawings creates an illusion of perpetual motion, which increases the paradoxical spectrum.
As we begin this body of work, it prompts questions about the emotions that are associated with each archetype. Do we feel the exact same way towards a home? To a chair? What do they really represent in today’s societal landscape
When approaching, adapting and restructuring these archetypes, a new layer meaning emerges – Through a dark-humored perspective to these all-time known prototypes, we find simplicity and immerse ourselves to cancel out the external influences.
In an interview the artist revealed that his art took over the home he lived in when he began painting, forcing him to move. This sense of urgency is evident in all of White’s artworks. They evoke an immediate and intense feeling. In the same interview, White admitted that he was initially intimidated by color theories and art principles. However, this changed once he began to rely on his intuition. And this proposal is shown today.” —Zé Ortigão