MICHAEL TAYLOR

These works resonate with the artist’s broader practice, particularly the ‘palm works’, where palm trees similarly stand in for human figures. In both the palm works and the flower paintings, the absence of a literal figure creates a space that alludes to human presence through symbolic means. The flowers, in their absence of narrative-setting space or familiar context, act as stand-ins for human characters, embodying the tension between presence and absence. Colour and stylisation enhance this effect, allowing the works to speak indirectly to human narratives without the need for explicit representation.

The vibrant use of colour further underscores the imagined, symbolic nature of these scenes. Through bold contrasts of light and shadow, these paintings suggest a tension between the notions of self-reward and doubt, reflecting the inherent imperfection of the arrangements themselves. The exaggerated character of the imagined flowers holds an essence of camp, introducing a playful, ironic quality. In this sense, the works explore ideas of self-expression and identity, questioning what beauty represents and how objects are beautified. By drawing attention to these exaggerated forms, the works engage with broader discussions around the roles we assign to decoration and the conventions of identity within domestic spaces.

The arrangements foreground notions of self-awareness through the absence of an explicit character or figure. They serve as a reflection of how one perceives oneself, constructing a narrative of identity through the creation of these symbolic ‘trophies’ for the domestic space. By inviting contemplation on the role of personal decoration, these works prompt a broader inquiry into how objects of beauty function as mirrors of the self and the narratives we construct about our lived experience.