Bomb Landscape 4, 2007, Sumi ink, colored ink and colored pencil on paper, 104 x 76 inches
Bomb Landscape 1, 2008, Sumi ink and colored ink on paper, 100.5 x 76 inches
Bomb Landscape 5, 2008, Sumi ink, colored ink and white pencil on paper, 100 x 149 in.
Bomb Sheter, 2008, Sumi Ink, colored ink, and graphite on paper, 72.5 x 96 inches
|Mother (everything that goes into me comes out through you)|
|2006, diluted colored ink, graphite, colored pencil, and pastel on paper, 76.5 x 98 inches|
All Clowns Got To Heaven, 2004
Subterranean Visionary, 2008, dry pointed in white ink on black Arches 88 paper
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Josephine Taylor (b. 1977, Phoenix, Arizona) studied religion and East Indian languages at the University of Colorado as an undergraduate before pursuing her graduate degree in fine art at the San Francisco Art Institute. Taylor creates narrative drawings using diluted permanent ink washes on enormous sheets of paper and prefers to install the work unframed. Her work examines the emotional and psychological residue of childhood and adolescence. Though her subject matter is intensely personal and rendered with a tender fragility, her large-scale works on paper defy any presupposition of intimacy.
She was a recipient of the San Francisco Museum of Modern Art SECA Award and was included in the California Biennial at the Orange Country Museum of Art in 2004. Her work is in the permanent collections of San Francisco Museum of Modern Art, Fine Arts Museums of San Francisco, and the Museum of Modern Art, New York.
She lives and works in San Francisco and has shown with Catharine Clark Gallery since 2003.
Josephine Taylor’s large-scale, darkly beautiful scenes drawn in ink wash on paper, imagine a postapocalyptic world in which humans are forced underground, their pallid naked bodies huddled together in dark caves and animal dens. Her drawings, most of them slightly larger than life-size, are unframed and hung flush against the wall, which gives them the initial appearance of murals. With the force they garner from their bare-boned starkness, Taylor’s images conjure a universe both delicate and perverse, wretched and tender, like scenes from some strange and savage fairy tale.