Works

Welcome to neiltaylor.studio.

An annex of the physical world. A space of fermentation, and a portal to show you an evolving body of work. Please have a look around and should you feel moved to, we would be delighted that you contact us with your thoughts. Work is grouped by themes that are steered by myth, gnosis, nature, love and by the acts of painting, printmaking and sculpture. These trajectories, cross, interweave and diverge, and are an acscertian of mark making and the conjouing of objects.

Os-Iris

‘Operating System Os-Iris’ is an ongoing series of prints, drawing and paintings.

Osiris, also called Usir, one of the most important gods of ancient Egypt. The origin of Osiris is obscure; he was a local god of Busiris, in Lower Egypt, and may have been a personification of chthonic (underworld) fertility. By about 2400 BCE, however, Osiris clearly played a double role: he was both a god of fertility and the embodiment of the dead and resurrected king. This dual role was in turn combined with the Egyptian concept of divine kingship: the king at death became Osiris, god of the underworld; and the dead king’s son, the living king, was identified with Horus, a god of the sky. Osiris and Horus were thus father and son. The goddess Isis was the mother of the king and was thus the mother of Horus and consort of Osiris. The god Seth was considered the murderer of Osiris and adversary of Horus.

OS-Iris I. 2019

 Graphite, Acrylic Paint on Cartridge Paper. 110 cm x 80 cm

OS-Iris II. 2019

 Graphite, Acrylic Paint on Cartridge Paper. 110 cm x 80 cm

Field Studies

Field Studies, are large prints on bible paper, made through a process of painting and printmaking and mostly made in a large shed situated in open countryside. They are studies of nature, the sound of wind and rain, and the flow and skid of paint on glass.

The use of these uncut sheets of bible paper allows the works to be built up in layers through a sequence of masking, printing, masking, printing, the bible paper having a strength that can withstand this repeated process, despite its very low gsm of 60, and which gives these works their ephemerality.

Acrylic Paint on Bible Paper. 110 cm x 80 cm, 2017

Transit Delirium 42c, Acrylic Paint on Bible Paper. 110 cm x 80 cm 2019

Acrylic Paint on Bible Paper. 110 cm x 80 cm, 2017

Last to the Moon Acrylic Paint on Bible Paper. 110 cm x 80 cm, 2018

Acrylic Paint on Bible Paper. 110 cm x 80 cm

Acrylic Paint on Bible Paper. 110 cm x 80 cm

Remnants

Remnants are single sheets of tabloid newspaper originally printed in 2011 as a publication for the True Wood Project. 

Drawn on, printed over, used as blotting paper, or cut as masking shapes in day to day studio activity, these sheets are treated like those for wrapping chips, then from time to time they step forward, presenting themselves as artworks. Over the years they have evolved into a collection of persistently reworked versions of the original pages.

Five Wounds,  Acrylic on Wood Free Cartridge, 120cm x 90cm, 2015.

Quantum Hole Black Spew. Printers Ink, Acrylic Paint on Wood Pulp Paper. 96 cm x 65 cm, 2017

‘You The Viewer’ Oil Paint on Screen Print on Wood Free Cartridge, 120 x 90 cm, 2016