SELECTED WORKS
Flight, 2013/2024
Giclée print, Walnut Frame, 85x60cm
Untitled (Falls of Clyde, 1492, 1707- ), installation view, Tramway, Glasgow 2024
Uncoated mild steel, Clear PVC Pipe, Clear Hose, Dark Caribbean Rum,
Dirty Water Pump, Glass Tank, dimensions variable.
Photo: Matthew Arthur Williams
Uncoated mild steel, Clear PVC Pipe, Clear Hose, Dark Caribbean Rum,
Dirty Water Pump, Glass Tank, dimensions variable.
Photo: Matthew Arthur Williams
Research & Design by Camara Taylor and Sharif Elsabagh, Steel Fabrication by Ella Appleton, Gemma Moncrieff and the Slaghammers feminist welding collective
Commissioned by Glasgow International with production and presentation support from Tramway.
Commissioned by Glasgow International with production and presentation support from Tramway.
Documentation at 3 months.
Photo: Camara Taylor
In The Falls of Clyde (2024), Caribbean dark rum falls and recirculates across a steel sheet, transformed as the exhibition progresses by rust and sugar deposits . Rum is deployed here both as, a drink whose popularity in Glasgow in the 18th and 19th centuries stemmed from the boom in Caribbean sugar cultivated through the labour of enslaved people; and as spirit that holds important role in certain Caribbean death and life rituals.
Through the work’s titling Taylor gestures towards the River Clyde as imperial waterway dredged and scoured to make way for trade ships and now marked by industrial decline. It also draws on the 1801 Turner painting, ‘The Falls of Clyde’ and the series of waterfalls at New Lanark it depicts. This ‘natural wonder’ provided power to the model mill-town founded by industrialists David Dale and Richard Arkwright, and this work extends Taylor’s engagement with Romantic painters ellision or depiction of the landscape’s transformed by the new infrastructures of the early industrial era.
Untitled (falls, fools & fails, 1820, 2024), installation view, Traway, Glasgow, 2024
Uncoated mild steel, inkjet prints, silver gelatin print,
dimensions variable
Uncoated mild steel, inkjet prints, silver gelatin print,
dimensions variable
Lecturns fabricated by Marie, Amelia, Julianna Laird and
Evangeline Baldwin of the Slaghammers feminist welding collective
Commissioned by Glasgow International with production and presentation support from Tramway.
Evangeline Baldwin of the Slaghammers feminist welding collective
Commissioned by Glasgow International with production and presentation support from Tramway.
Photo: Camara Taylor
axe laid root, diptych, 2024
Blackbrown iridescent glass, digital print, ink, 30x40cm
installation view, Soft Impressions, DCA Dundee, 2024
detail, axe laid root, 2024.
installation view, Soft Impressions, DCA Dundee, 2024
Photo: Courtesy DCA Dundee
Untitled (Melo’s fists, 2014), 2024
Giclee Print, Coloured Glass, Blackened oak frame, 81x55cm
Commissioned by Glasgow International 2024
Photo: Matthew Arthur Williams
Giclee Print, Coloured Glass, Blackened oak frame, 81x55cm
Commissioned by Glasgow International 2024
Photo: Matthew Arthur Williams
Untitled (Paul’s Hands, 1930)
Giclee Print, Coloured Glass, Blackened oak frame, 81x55cm, 2024
Commissioned by Glasgow International 2024
Photo: Matthew Arthur Williams
Giclee Print, Coloured Glass, Blackened oak frame, 81x55cm, 2024
Commissioned by Glasgow International 2024
Photo: Matthew Arthur Williams
Untitled (blue re/decomposition 2015, 2022), installation view, Collective Gallery, Edinburgh, 2022
Submerged Kodak Metallic Print; Acrylic Tray; Hand Painted Oak Frame;
Wray & Nephews Rum, scottish water,
82x46cm
cc: Brownes Beach, Barbados.
Submerged Kodak Metallic Print; Acrylic Tray; Hand Painted Oak Frame;
Wray & Nephews Rum, scottish water,
82x46cm
cc: Brownes Beach, Barbados.
Top: Photographed at 1 week
Bottom: Photographed at 3 weeks.
Photo: Tom Nolan
Bottom: Photographed at 3 weeks.
Photo: Tom Nolan
Untitled (re/decomposition 4, 1871, 2021, 2022)
Silver Gelatin Print; Blackened Oak Frame,
116 x 80cm, 2022
Photo: Tom Nolan
Silver Gelatin Print; Blackened Oak Frame,
116 x 80cm, 2022
Photo: Tom Nolan
cc: ‘Scottish Landscape’,1871, oil on canvas Robert S Duncanson;
rum and whiskey; accumulated matter (mould), stilled after (duration) one year.
rum and whiskey; accumulated matter (mould), stilled after (duration) one year.
witness
Digital collage, Lightbox,
120x173cm, 2022
Digital collage, Lightbox,
120x173cm, 2022
installation view, When Bodies Whisper, Timespan, Helmsdale, 2022
Untitled (green gene, 1785, 2001, 2021), installation view, Cubitt Gallery, London, 2021
vinyl, mdf, rope,
300x150cm
Photo: Vanessa Peterson
vinyl, mdf, rope,
300x150cm
Photo: Vanessa Peterson
cc: Source 1: Barbados, 2001, Family Album no. 5 Source 2. Group portrait of Sir John Taylor, 1st Baronet(1745-1786), his wife Elizabeth (d. 1821), and four of their six children; Sir Simon Richard Brissett, 2nd Bt. (1783-1815), Anna Susanna (1781-1853), Elizabeth (b. 1782) and Maria (1784-1829); also his elder brother the wealthy Jamaica sugar planter Simon Taylor (1740-1813) (seated). (pencil, pastel and bodycolour, 104 x 81.4 cm).Wiki Commons/Public Domain.
Untitled (re/de/composition 2), 125 x 74cm, 2021-
Robert S. Duncanson, Dog’s Head of Scotland (1870, oil on canvas, Museum of Fine Arts, Boston) reproduction on Fine Art Museum Archival Paper, acrylic tray, handframed in oak and submerged in rum, whiskey and water.
Duration - 3 weeks
Robert S. Duncanson, Dog’s Head of Scotland (1870, oil on canvas, Museum of Fine Arts, Boston) reproduction on Fine Art Museum Archival Paper, acrylic tray, handframed in oak and submerged in rum, whiskey and water.
Duration - 3 weeks
installation details, Untitled (re/de/compositions 1 - 4), 2021-
Duration - 4 weeks
Untitled (re/de/composition 3), 125 x 74cm, 2021-
Robert S. Duncanson, Ellen’s Isle, Loch Katrine (1871, oil on canvas, Detroit Insitute of Arts.) reproduction on Fine Art Museum Archival Paper, handframed in oak and submerged in rum, whiskey and water. Duration - 8 months
noodles who rave for abolition,
Engraved polished brass zippo lighter, 2020
Engraved polished brass zippo lighter, 2020
installation view, Empire of Love, GoMA, Glasgow, 2020
six engraved polished brass Zippo lighters, edition of 2
Commissioned by the Gallery of Modern Art, Glasgow for the exhibition Domestic Bliss.
Photo: Katie Bruce and Glasgow Museums
six engraved polished brass Zippo lighters, edition of 2
Commissioned by the Gallery of Modern Art, Glasgow for the exhibition Domestic Bliss.
Photo: Katie Bruce and Glasgow Museums
The lighters are engraved with text retrieved and reworked from James Boswell’s 1791 poem, ‘No Abolition of Empire, or the Universal Empire of Love’ in which he mocks his abolitionist contemporaries and calls for the continuation of Transatlantic Slavery.
An edition of the work entered the Glasgow Museums Collection via support from the National Acquisitions Fund.
An edition of the work entered the Glasgow Museums Collection via support from the National Acquisitions Fund.
installation view, Soft Impressions, DCA Dundee, 2025
Untitled (familiar document)
Inkjet Print, Gramophone needles, MDF, Walnut, 2014, 2025
Photo: Courtesy DCA Dundee
Inkjet Print, Gramophone needles, MDF, Walnut, 2014, 2025
Photo: Courtesy DCA Dundee
screaming by citation; lol ur so drama, installation view, Celine Gallery, 2019
2 channel video installation; a precarious hanging; black cling; black post-it; text; Auld Lang Syne by The Black on White Affair; A Scottish Landscape by Robert S.Duncanson 1871; African and Caribbeans in Scotland: A socio-geographical study by June Evans 1997; William Davidson and rumours of quartering and quicklime.
dimensions variable
Photo: Sulaïman Majali
2 channel video installation; a precarious hanging; black cling; black post-it; text; Auld Lang Syne by The Black on White Affair; A Scottish Landscape by Robert S.Duncanson 1871; African and Caribbeans in Scotland: A socio-geographical study by June Evans 1997; William Davidson and rumours of quartering and quicklime.
dimensions variable
Photo: Sulaïman Majali
limbo blues, 2017,
water damaged chroma key blue photographic background paper, vinyl print, dimensions variable
Photo: Ruth Mitchell