Belinda Taylor (°1983, The Oaks, Australia) makes installations, photos, sculptures and mixed media artworks. With a conceptual approach, Taylor focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
Her installations are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, she often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in installation art. In a search for new methods to ‘read the city’, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
Her works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. By studying sign processes, signification and communication, she tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By manipulating the viewer to create confusion, she tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. With Plato’s allegory of the cave in mind, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By choosing mainly formal solutions, she makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
Her works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. Belinda Taylor currently lives and works in Wollondilly Anglican College.
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