AFGHAN SAINTS 1999-2000

This series was the first beginnings of Taylor's experiments with house and industrial paints. The calligraphy of Afghan Persian (Pashto, spoken by 35% of the population although it is the official language) and Farsi (Dari which is the common language of business and government and is spoken by 50% of Afghanis) is based on the Arabic language.

Both Afghan languages belong to the Indo-European group and one can see that Taylor has placed the individual Asian letter or linguistic sign in the more familiar European setting of abstract art, thus showing the hybrid nature of the painting's central motif, the Persian/Farsi way of communication.

In his familiar playful twist, the sign or the Arabic letter from this country of conflict and war is put in a peaceful setting, where the strong background colours create a strength, stillness and spiritual tranquility.

Taylor commented on the religious sounds he heard during his time as a Red Cross "field delegate" or co-manager of the relief efforts; the Muslim prayers and chanting that wafted through the air day and night. Thus the name for this series, "Afghan Saints", in admiration of the people's fortitude and stoicism in the face of extreme poverty and hardship.

Medium & Technique:

Handheld sponge, oils, industrial paints and canvas.

The Artist's Own Words:

"...This is a collection of works on paper, plastic, paint and collage which make use of reflections, the power of colours - where bitumic painting dominates, it's transparency playing with browns and blacks, it's thickness thus creating a deep matter, texture, rough and imposing.

This collection of paintings is directly inspired by my field mission for the International Committee of the Red Cross in Afghanistan, just after my Geneva loft and workshop was destroyed by fire in early summer 1998.

It is a result of a series of calligraphical drawings produced on the spot, where I have tried to transpose the essentials of my experiences in this country at war.

This installation of around a hundred works reflects a real atmosphere of my vision of the field, calm and serene interspersed with black, darkness, hardship, uncertainty and questions but above all an attempt at exchange and respect..."