© Diana Taylor. All Rights reserved, DACS.

Working with a multidisciplinary practice and paradoxical processes of painting/un-painting, printing/deleting, stitching/unpicking, weaving/unravelling, I embrace contradictions and collapse hierarchies, reflecting a sense of the heterogeneous society and times in which we live. I merge analogue, mechanical and digital technologies, examining constructs of time through anachronism and poly-temporality.

The mix of Cypriot and English cultures of my own genealogy has, undoubtedly, shaped my assemblage based approach, combining analogue/digital, art/craft, high/low cultural tropes. 

The images and processes in my work are linked by my pre-occupation with loss, redundancy and the ruin in visual culture. Low-res, poor reproductions of ruins and Ancient Greek sculptures are woven through motifs, diagrams, digital clip art and analogue stock imagery from printers’ catalogues. 

Screen-printing, photocopiers and analogue projectors are used as much for their visual qualities as for their inherent ability to produce failures. I subvert the intention and precision of 3D scanning media, taking the data to 2D and pushing the technology back to materiality; returning to the hand.

The reproduced image is once again scanned, photocopied and digitally edited and so subjected to a kind of entropy, highlighting the contradictions and failures of our times.

I'm interested in what is at stake and concerned with painting in a digital age, constantly shifting between states of completion and decision. Images are deleted, layered and obscured, producing fragments and layered palimpsests, nodding towards digital and environmental collapse; the image itself becomes a ruin. 

I am a practice based PhD researcher, working in collaboration with the William Morris Gallery, London, through Sheffield Hallam University.