On his arrival for his initial residency at Aurobora, Fraser Taylor embraced the concept of experimentation and began pinning up drawings, photographs, and various crude sketches. From these disparate pieces of ephemera, Taylor began developing constructs for a series of works on paper.
At the outset, Taylor employed mylar stencils cut to outline graphic ovoid shapes that would either be used to resist flats of etching inks or be used to block-print black images onto backdrops of color. He then began to glue fabric swatches as collage elements onto the works or add bits of stitched paper to further establish a ground floor for his compositions. After printing bold color field areas that transferred as washes or solid forms, he embossed thick fabric shapes into the paper. These various methods became a launching pad for further exploration.
During subsequent residencies, Fraser Taylor allowed for a dialogue to emerge between his materials and experimentation. This approach allowed the artist to continually embrace the unexpected. As his compositions neared completion, Taylor would embellish his work with hand tracings and transfers to further add graphic components. The results are monotypes that openly reflect a nuanced line and expressive color that have become hallmarks of Fraser Taylor’s work.
The Art Institute of Chicago; Victoria & Albert Museum, London; Microsoft; S. G. Warburg & Co. Ltd., London; Bank of China, London; Trainload Freight, London; Sun Oil, London; Coca-Cola & Schweppes Beverages Ltd., London