KEITH TAYLOR | MINNEAPOLIS MN, USA
I am a London-born artist, now living in Minneapolis, who uses both historic and contemporary photographic processes in my work.
My work has been widely exhibited across the US and UK, I am a three-time recipient of fellowships from the Minnesota State Arts Board, and I was awarded a place in the Minnesota Center for Book Arts/Jerome Foundation mentorship program.
I teach printmaking workshops at Highpoint Center for Printmaking and the Minneapolis College of Art and Design. I am represented by Obscura Gallery in Santa Fe and Iris Gallery in Boston.
What is your work about?
Otherworld uses photographs taken in the upper Midwest to render possible models of the Earth-like planets currently being sought by NASA’s Kepler mission, and it also references the mythologies of many cultures that establish a land that is home to spiritual beings or the dead. These mythical other worlds of hope or doom often share characteristics with our familiar earthly landscapes, and I am using photographs of real places to suggest realms that may or may not exist. My preliminary images use barren terrains to suggest the earthlike landscapes photographed by rovers and other missions in space.
Otherworld is a fanciful musing on our curiosity. We send missions deep into space to search for evidence of other possible worlds, and we create mythological homes for our gods and our dead. How can I depict the geography of our desire? I use this world to create models of others, exploiting the dark tones to create barriers for understanding, always holding something back.
How does photographing on film (or using your material photographic process of predilection) inform your artistic practice?
My work looks at the landscapes of my adoptive country, using these terrains as jumping-off points for asking questions about human experience. I am mostly drawn to dark environments to describe landscapes that are more metaphorical than topographical, and I print these dark to obscure detail. Craft is integral to my work, so I use film and historic, and contemporary, handmade printing processes to make photographs that are equal parts image and tactile artifact.