Born in 1975, George Taylor was surrounded by rural life, growing up in a valley in Gloucestershire. Here she began working with her father, initiating what has been a lifelong enchantment with the natural world especially as a creative environment. At Bretton Hall, University of Leeds, she experimented with sculptural form and constructed environments, introduced by tutor John Penny to the work of Minimalism and Land artists such as Walter de Maria.

Over the years her work has come to focus on the relationship between life and death, taking natural residual elements like feathers and eggs to create largescale sculptural representations of the environment, with geometric and organic composition that evoke a strong sensorial stimulation, while bringing the viewer in to the minute detail and texture of the medium. Her current body of work emerged in 2013 from a little sculptural sketch that she felt compelled to make on re-reading Georges Bataille’s ‘Story of the Eye’, where she glued five blown quail’s eggs, originally destined for lunch, to an old satellite dish in a perfunctory yet deliberate hexagonal pattern. Beauty’s Magic Trick is a sparkling rendition of this concept, as Taylor has incorporated a delicate touch of sprayed glass to the eggs’ surface.

With a young family and launching herself into the role of full-time artist she moved back to the farm of her childhood to dedicate herself to the intensive time consuming labour of realising this long-term project. Taylor’s work is in various collections, including the Groucho Club, Murder Me and Pangolin Editions.

Provenance

From the artist

Exhibitions

George Taylor: Intimate Immensity, 2018, Pangolin London

Literature

George Taylor: Intimate Immensity, 2018, Pangolin London

Publications

George Taylor: Intimate Immensity, 2018, Pangolin London