Tim Taylor


In childhood Tim Taylor started painting in his father's oil painting classes, and his mother put him in piano lessons at age 4. The family would sing in community theater plays. In grade school Taylor painted holiday themed characters on wood and cut them into jigsaws, selling them door to door. His parents put him in weekend art "plus" courses, and encouraged theater arts and music.

Continuing in art and music classes in high school, Taylor's first drawing award was in a district wide show. A scholarship for a charcoal drawing by the community college motivated Taylor to continue with art as a major in college. After a bachelor's degree in art at California State University, and master's art degree from the Claremont Graduate School, he went to medical college and found himself badly missing art and theater. He went into part time practice in his college town, and narrated classical music on NPR and became involved with local community theater, designing sets and sometimes playing roles on stage.

The arts were an ill-esteemed folly that could not pay for the enormous student loan debt incurred from private medical college in Washington DC, which compounded to debt well over 3 million USD. Yet, Taylor could not choose to leave the arts behind to service his medical school debts. After all, wasn't education supposed to facilitate one's talent and interests? He filed bankruptcy within a few years of graduation from George Washington University. Resigning to this, and in an attempt to redeem the lost time, he went to the Johnson Atelier in Hamilton New Jersey as an apprentice in foundry when Segal was casting "Breadline", and was one of the workers commissioned by Andrjej Pitynski to help with casting the horses of "Partisans".

From there he helped a friend with a children's museum in Nashville, sculpting a dinosaur and designing interactive stage-like exhibits. But it was only a matter of time before his bank accounts were frozen and unforgiven student debt again interrupted any progress in art. He fled the USA in 2008, expatriating to Saipan, where he sculpted the "Artifacts" from cement and placed them in the jungle to be overgrown in time. From Saipan, Taylor was able to make art again and entered several international shows and traveled to art residencies.

He made ceramic work at the International Ceramics Studio in Hungary, and returned twice to the retreat for artists and scholars in Ascea Italy. He has worked with ceramic artist Peteris Martinson, sculptor Aldo Casanova, Rocco Cardinali, Roland Reiss, painter Tom Griffith, and several other influences. The pandemic shot down extensive travel and show planned in 2020, and forced relocation back to the USA by default. He now lives in Nevada USA and works in painting and sculpture.

"In studio art we are something like children making sand castles at the beach. The work is delicate and easily leveled by the tides of time. Yet we strive to rise above the pressures of living in society to create objects that bring proof of aesthetic values. They say abstract thinking is a sign of intelligence, but half the highly intelligent are concrete, with no ability to appreciate the abstract. And do the stupid love art? So our audience is a narrow slice of society. The critic is everywhere. Most arts are largely an effort at influence and persuasion. In my work I try to distill out all of what they now call "content". The work itself is it's own object. It owns the space it occupies. Basic shape, form, harmony and elements of the visual art mediums are sufficient to bring a sense of satisfaction, when the art is finely developed. Stories are better told by story-tellers. Visual art is it's own language.

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Ivana Gagić Kičinbači