The first hill I fell in love with was a man-made hill; as a child
in the vast flatlands of Chicagoland, it was our only “mountain”.
It provided hours of sledding and sliding in the winter and running,
rolling and pretending in the summer. Growing up in the midwest,
with it’s monotonous landscapes, and vast flat fields, I longed
for “real landscapes”: landscapes with drama and challenges.
Like the ones I saw in old western flicks and TV dramas (such as
Monument Valley, southern Utah and Arizona, the Eastern Sierras,
Death Valley, etc.), the majestic mountain scenes depicted in paintings
hanging over neighbors’ sofas (Colorado), and Ansel Adams’
photographs in calendars.
As soon as I was able to, I moved to west to California, and spent
most of my adult life here.
It satisfied my longing for more elevated and dramatic landscapes,
which I never tired of seeing and photographing. Later, I became
interested in the complex relationships between humans and the greater
environment, and questions of what constituted Nature. Still captivated
by the simple mound, as a stand-in for my idealized imaginary landscape,
I began to seek out these forms. The hills and mounds I found were
manmade, just as my first hill was. The remains of roadbuilding,
construction, or the product of mines and quarries, they came in
a wide variety of shapes, sizes and materials. Often they were isolated
in a flat desolate landscape; they were the spaces between the known
and productive terrain, and, as such nobody came to contemplate
or notice their silent beauty.
Seen without vegetation, architecture or figures, these landscapes
conceal their identity of time, location, climate and scale. A human
presence is implied, and often added to by the dispersed lines in
the sky that never stood behind the hill of my childhood. Skies
are transient, while stone is almost forever. These simple landscapes
are enthralling, yet foreboding to me. I invite the viewer to consider
these sky/scapes as enduring spaces of our presence, our influence
and what will remain.
Empty Signs, 2015
While traveling long stretches on rural highways, I’ve found
myself delighting in the sight of billboards without a message.
Advertisements that have become obsolete, painted over, faded away
or peeled off their surfaces through natural entropy. As a long
time graphic designer, I appreciate the seemingly empty space more
than I would ever enjoy what to me is generally terrible typography.
More than that, though, I see these rectilinear surfaces as abstract
or colorfield paintings, framed by the desert landscape itself.
Or, in some way the artificial structures act as a kind of inverted
frame to delineate the nearly unseen dry and unused landscapes.
These “Empty Signs” also speak to our ever changing
culture, its communications technologies and consumer desires as
reflected in our landscape.
MFA Fine Art | Art Center College of Design, Pasadena, California
BFA Graphic Design | University of Illinois, Champaign, IllinoisExhibitions
Scientificous Manifest Gallery, Cincinnati, OH
Landscapes Center for Fine Art Photography, Main Gallery, Fort Collins,
Neither Here Nor There Manifest Gallery, Cincinnati, OH
The Built Environment PhotoPlace Gallery, Middlebury, VT
Greyscale Black Box Gallery, Portland, OR
Far Away Places Darkroom Gallery, Essex Junction, VT
Forgotten A Smith Gallery, Johnson City, TX
Black and White: Mastering the Art of Photography Black Box Gallery,
Unseen WUJO Gallery, Los Angeles, CA
Rare Earth Darkroom Gallery, Essex Junction, VT
Environmental Concern and Photography PhotoPlace Gallery Annex,
Box Squared Center for Fine Art Photography, Main Gallery, Fort
Stories, Memories, Histories Center for Fine Art Photography Gallery,
Fort Collins, CO
Color Story Darkroom Gallery, Essex Junction, VT
Mainland Keirnan Gallery, Lexington, VA
Lines Walked and Crossed and Otherwise PhotoPlace Gallery Annex
Simply Center for Fine Art Photography, Fort Collins, CO
Illusion Center for Fine Art Photography, Fort Collins, CO
Macro/Micro: Photographic Extremes Darkroom Gallery, Essex Junction,
Gardens A Smith Gallery, Johnson City, TX
America A Smith Gallery, Johnson City, TX
Simplicity A Smith Gallery, Johnson City, TX
Abstract Visions Flash Gallery, Lakewood, CO
Direct Objects: Still Life as Subject PhotoPlace Gallery, Middlebury,
Spherical A Smith Gallery, Johnson City, TX
A World of Maps Anchorage Museum of History and Art, Anchorage,
National Print Show ARC Gallery/Educational Foundation, Chicago,
WIPI 30th Anniversary Exhibition: Black and White and Color: First
Place Grand Prize | Jurors: Stephen Perloff, founder and editor
of The Photo Review and Susan Spiritus, founder and director of
Susan Spiritus Gallery, Newport Beach, CA
Work included in Shots Magazine, Issue #119, 2012 | Minneapolis,
Women in Photography 2013 Competition: Out of Focus: Objects, Juror
Choice Gallery, Special Recognition | Juried by Allegra Wilde, Founder
of Eyeist, Online Photography Reviews
Women in Photography 2012 Competition: Honorable Mention | Jurors:
and Hanna Sloan, Los Angeles, CA
Work selected for Abstraction, FStop Magazine, Issue #45, 2011
Spherical: Creativity Award | A Smith Gallery, 2011
Member, Houston Center for Photography, Houston, Texas
Member, Center for Fine Art Photography, Fort Collins, Colorado
Charter Member, Women in Photography International (WIPI), Los Angeles,
Member, Society for Photographic Education (SPE)
Member, American Society of Media Photographers (ASMP)www.ktaylor.com
- JULY 2015 - MARCH 2016
In early 2016, Taylor’s “TerraForms” portfolio
was selected by curator Maggie Blanchard for The Center for Fine
Art Photography’s Portfolio Showcase 9. Her work will be exhibited
in The Center’s Gould Gallery from July 15-September 15, 2016.
In addition, her twelve-image portfolio will be published in the
Center’s Annual Portfolio ShowCase Book. Five large scale
photographs from this portfolio were also exhibited at Santa Fe’s
Center for Contemporary Arts’ Munoz Waxman Main Gallery entitled
“The Land Mark Show”. Juried by Grace Kook-Anderson,
the show was exhibited from October through December 2015. From
May 6 through June 10, 2016, two of Taylor’s works will be
exhibited in “Landscapes 2016” at The Center for Fine
Art Photography in Fort Collins, Colorado..
Recent Group exhibitions also include (2016): “Abandoned Landscape”
at the Southeast Center for Photography in Greenville, South Carolina,
“Memory Palace” and “Secret Garden” at Manifest
Gallery in Cincinnati, Ohio,
and (2015) “Viewpoint: Landscape and Architecture” at
the Black Box Gallery in Portland, Oregon, “In Celebration
of Trees” at PhotoPlace Gallery in Middlebury, Vermont, “Square”
at the Southeast Center for Photography in Greenville, SC, and “Black
and White” at PhotoPlace Gallery in Middlebury, Vermont.
In the upcoming two years, Taylor is planning to continue her exploration
of landscapes marked and abandoned by human endeavor—though
she will go back further in human history to revisit places of stone
and built remains located in the Near East and Northern Africa.
In Photography International CHARTER Member (2008)
©Copyright for all images remains the property of exhibited
photographer, and promotional use for Women In Photography International.
All inquiries regarding use of and purchasing image use rights must
be directed to the photographer.
File created 5/04/15
j - 5/04
Update, completed 5/05/2015
Biography Final, February 2016 - WIPI group library submission