At the end of the 1990s and the beginning of the 2000s, there were many artists who deliberately tried out different directions. This target group never pursued the intention of being pigeonholed in any way. Stevie Taylor also belongs to this target group. He creates images that have the potential to become real crowd pullers. For the production of his works, the free spirit resorts to several painting techniques as well as working materials. In addition to pastels, charcoal, ink and watercolors, ink and pencils also play an important role. On the art market, the works of Stevie Taylor represent a real enrichment. His pictorial motifs reflect a tension between the familiar and the inexplicable. Although the painted pictorial objects suggest a familiar environment to the viewer*s eye, some impressions are intentionally displaced with unexpected contexts.
Stevie Taylor does not think much of guidelines and measures, because the painter feels only unnecessarily constrained in his creative drive. Instead, he falls back on an experimental field of new color and form arrangements. His delicately sketched image sections depicting a hand and a heart ensure a high degree of recognition. In these designs, Stevie Tayler has opted for a subtle choice of colors. The minimalist rendering gives the charts a very special touch. The painter has used the same scheme again for another symbolic work. Namely, in the images with red ribbons, somehow reminiscent of 'The Red Ribbon' of the worldwide known symbol of solidarity with HIV-infected and AIDS patients. Stevie Tayler had deliberately chosen this imitation to make a statement of love and hope.
Even in the category of portraits, the painter shows great talent. With charcoal and pastel, he has, for example, Sigmund Freud impressively put on paper. The design 'The Dancer' from 1997 clearly drifts into modern art painting. Almost abstract features can be read out of the diagram. The portrait 'Denial' shows a handsome man leaning his head against his hand and looking pensive. As a counterpart, a face comes into focus that seems plagued by brokenness. Maybe the presentation is about a split personality? Did Stevie Taylor really hide a message in the painting? In any case, this work of art gives a lot of room for interpretation when you look at it. This was exactly his intention. This intention is still explicitly expressed in some other paintings, such as 'Angels', 'Splitting', 'Man Changes in the Presence of Spirits' or 'Who Can You Trust'. Each individual work has the power to evoke emotion and arouse interest. Taylor's pictorial worlds pick up the viewers* and inevitably trigger head cinema when they look at them. The painter has succeeded in giving the audience the opportunity to identify with the colorful creations. The works definitely remain in the memory.
At the end of the 1990s and the beginning of the 2000s, there were many artists who deliberately tried out different directions. This target group never pursued the intention of being pigeonholed in any way. Stevie Taylor also belongs to this target group. He creates images that have the potential to become real crowd pullers. For the production of his works, the free spirit resorts to several painting techniques as well as working materials. In addition to pastels, charcoal, ink and watercolors, ink and pencils also play an important role. On the art market, the works of Stevie Taylor represent a real enrichment. His pictorial motifs reflect a tension between the familiar and the inexplicable. Although the painted pictorial objects suggest a familiar environment to the viewer*s eye, some impressions are intentionally displaced with unexpected contexts.
Stevie Taylor does not think much of guidelines and measures, because the painter feels only unnecessarily constrained in his creative drive. Instead, he falls back on an experimental field of new color and form arrangements. His delicately sketched image sections depicting a hand and a heart ensure a high degree of recognition. In these designs, Stevie Tayler has opted for a subtle choice of colors. The minimalist rendering gives the charts a very special touch. The painter has used the same scheme again for another symbolic work. Namely, in the images with red ribbons, somehow reminiscent of 'The Red Ribbon' of the worldwide known symbol of solidarity with HIV-infected and AIDS patients. Stevie Tayler had deliberately chosen this imitation to make a statement of love and hope.
Even in the category of portraits, the painter shows great talent. With charcoal and pastel, he has, for example, Sigmund Freud impressively put on paper. The design 'The Dancer' from 1997 clearly drifts into modern art painting. Almost abstract features can be read out of the diagram. The portrait 'Denial' shows a handsome man leaning his head against his hand and looking pensive. As a counterpart, a face comes into focus that seems plagued by brokenness. Maybe the presentation is about a split personality? Did Stevie Taylor really hide a message in the painting? In any case, this work of art gives a lot of room for interpretation when you look at it. This was exactly his intention. This intention is still explicitly expressed in some other paintings, such as 'Angels', 'Splitting', 'Man Changes in the Presence of Spirits' or 'Who Can You Trust'. Each individual work has the power to evoke emotion and arouse interest. Taylor's pictorial worlds pick up the viewers* and inevitably trigger head cinema when they look at them. The painter has succeeded in giving the audience the opportunity to identify with the colorful creations. The works definitely remain in the memory.
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