Juxtapoz Magazine: Taylor White has a “Meat Dream”.

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We showcased a few weeks ago Taylor White‘s work is in our A PortfolioWhite’s solo show is a great success. Meat DreamView the. 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.

As we look at these paintings, we can imagine the frantic process that goes into drawing. This urge to draw on the canvas in a raw form, without any filtering, is what we see.

The “images” are recognizable, we know the house, the chair, all of these naïve models of our upbringing. The familiar symbols help to make them recognizable but their strength, depth and dynamism makes them stand out. 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, an urgency to produce that is evident in every series. The overlaying creates a perpetual motion which increases the paradoxical range of feelings.

As we complete this body work, it prompts us question the underlying feelings associated with these archetypes.  Do we have the same feelings towards a house as we do towards a chair? Do we feel the same towards a house? 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 reflected in his paintings, which evoke a feeling of immediacy and intense. 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



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