The work of Ross Taylor blends historical references, contemporary documentation and improvisation. It is with an even-hand that Taylor balances a set of variant approaches in the production of his work. Driven by a specific and refined process-oriented motivation he works with vigour to generate a body of work rich with interior and exterior character.
Taylor’s drawings evoke early modernist connections, particularly his landscapes, where the ghosts of Grace Cossington-Smith and Roy de Maistre are eery spectres in the bush. It is the process itself which holds the key to unlocking the work’s most interesting elements. Taylor draws the imagery on to the paper invisibly at first, working over it later with coloured pencils. This transforms the intention and the accuracy of the original image while simultaneously revealing it as white lines within the overlaid drawing. The invisible under-drawing cannot be corrected and it remains an element of the final outcome, a form of blind scaffolding around which the final composition must stand. The outcome both subsumes its initiation and reveals it on its surface.