Andrew Taylor is clever in his work, no denying that. He knows exactly how a mark that lasts is made. Yet the subject is subtly elusive. And the moment is pure elastic. "How to make something slow about something as fast as a moment is my obsession," he says. Looking hard at these paintings gentle zephyrs appear in the recesses of my retina, from the power of dreams in Redon, to the physicality of flora in Kiefer, and the enigmatic multi focal lens of Polke.

The body of work in OUTSIDE celebrates the process of creating a metalanguage that provides the freedom to challenge both our seeing and knowing, the certainty of our equilibrium and the veracity of our sight. And yet there is no trace of cynicism, nihilism or despair. Rather the wonder at what is still accessible in this new millennium, despite the often disastrous inroads of industrial development, the commercial commodification of ideas and technological appropriation of the senses, seems to be a driving force behind these vibrant, luminous and often celebratory paintings.

"I suppose the show is all about the things we look through when we think we should be looking somewhere else. This may be some kind of obtuse metaphor for being in Los Angeles." No matter where Andrew Taylor lives I feel he will be driven to produce images that gradually draw us into the recesses of an opulent universal visual memory that is outside both time and place.

And yet place does matter, as I can't help sensing a dark touch of David Lynch and Blue Velvet, and maybe even deadly nightshade hiding amidst the glorious fields of colour and deliciously constructed images of nature that reflect our ephemeral existence.

Nick Waterlow



Andy in his studio (photos:Van Nuys 2008)

Sudio pic 1

Studio Pic 3