[ Diana Taylor ]

Working across painting, textiles and print, my practice revolves around notions of time, loss and ruin in visual culture- investigating a material presence (and absence) of the past. Oscillating between traditional and digital media and methods of scanning, reprinting and erasure, I explore the condition of our contemporaneity, punctuated by poly-temporality, contradiction and anachronism. I am interested in these ideas as paralleled by the notion of the multiverse, in which many realities exist simultaneously. 

Digital and printed images are scanned, cropped, enlarged and reprinted from shared archives and from my heterogeneous, potentially anarchic, (non) systematic collection of mostly obsolete books. Museum catalogues, craft and pattern kits, botanical guides and reference books on architecture, ruins, geology, astronomy and astrology, often of poor quality or resolution, are subjected to digital entropy through reprinting, layering and obfuscation This process of ruination alludes to the failures and contradictions of our times, aiming to reassemble and destabilise histories. 

The textile assemblages combine remnants from the paintings with recycled bricolage fabrics, swatches, samples and screen-prints of flattened 3D scans mapping folded fabrics. Craft processes including crotchet, embroidery and weaving are flat-bed and 3D scanned, enlarged, screen-printed and then worked back into with hand-stitching.

The processes traverse at different paces through the various logics of time, from the hand-stitching of an unknown craftsperson to the digital screen, silk-screen, and then back to the hand, into a re-assembled analogue/ digital work.