Al Taylor, who was Robert Rauschenberg’s studio assistant from 1975 to 1982, repeatedly worked with the dancer and choreographer Meg Eginton in the mid eighties.repeatedly worked with the dancer and choreographer Meg Eginton in the mid 1980s. While designing sets for her, he created his first object-like, three-dimensional works. These were to become – alongside the drawings – particularly meaningful to him and would often be made ‘on site’. His constructions, made of everyday materials and things from a throw-away society, appear playfully light and fragile yet at the same time exude a remarkable presence. Hoses, tin cans, clothes hangers, hula-hoops etc., tightly wound with wire, mounted on walls and ceilings, develop a kaleidoscopic interplay of line and space, light and dark, near and far, visible presence and the loss of self. Taylor understood his objects as “drawings in space” and his drawings as works dealing with the same theme using different means – so as to insistently plumb the depths of the visual. Read More
In April 1994, Taylor travelled to Munich to prepare his second solo exhibition at Galerie Fred Jahn, which would open in May. He used the gallery in Baaderstraße as his studio. Here he worked on drawings and three-dimensional objects made of tin cans, Plexiglas, wood and wire, which were shown as installations at Galerie Fred Jahn in Baaderstraße, while drawings from 1984 to 1994 were on display at Galerie Fred Jahn in Maximilianstraße. Al Taylor and his wife Debbie often spent long periods of time in Munich at the apartment of Fred and Gisela Jahn.
