Working with a multi-disciplinary practice, across painting, printing, needlework, weaving and 3D scanning, I converge historical references from analogue and digital archives addressing the notion of lingering pasts within the present. My approach involves complexities of assembling and layering images, examining constructs of contemporaneity, as punctuated by anachronism, contradiction and poly-temporality.

The merging of English and Greek-Cypriot cultures of my genealogical background has undoubtedly, shaped my assemblage based approach. 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 prehistoric Britain, Ancient Greece and Rome, Baroque ornament, the arts and crafts movement float amongst the vestiges of Modernist and contemporary motifs, 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 haptic 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, with an emphasis on the collapsing of hierarchies, shifting between fragmentation and states of completion. Images are deleted, layered and obscured, producing 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.

 

© Diana Taylor. All Rights reserved, DACS.