"I am continually interested in the self-inflicted demise mankind faces within our Anthropocene era and our behaviour within it. Although my outlook is fearful and pessimistic, I try to create a contrary world of destruction, beauty and fatalistic humour."
Stewart works as a Printmaker from his Devon Studio, combining elements of site-specific photography, painting and drawing. He is presently engaged in a project called the 'Tree Portraits' which is made up of over 200 monoprints, some of which were exhibited as multiples in ”The Tree Portraits I” for both Art Number 23 ‘New Era’, and the Woolwich Contemporary Print Fair Online Edition in late 2020. These were derived from photos taken near his previous home in East London and moved into print using Gelliplates.
Stewart Taylor originally found huge flexibility in working with this new method (without requiring a printing press of any kind), which allowed him to print in situ when traveling around the USA, Spain and Portugal, and gave an immediacy to observing the landscape around him. This practice gradually evolved from what was a simple engagement with his surroundings to deeper conversations about man’s place in nature, and how we have forgotten to connect and truly engage with it. In the Tree Portraits Series, the selected medium emphasizes the unique character of each tree. This suite of prints has been nourished further by extensive reading, additional education (Knepp Rewilding Workshops in Sussex, UK) and involvement with a rewilding project, minutes away from his Devon home.
Stewart previously was a keyholder at East London Printmakers for over a decade (where he remains a Member), he was Project Leader of the Mile End – Copperfield Road Studio Build for their successful move from London Fields, and during his time there worked exclusively using silkscreen.
After graduating in Fine Art at UCA Farnham in 1994 he moved to the Artichoke Print Workshop in London until 2001, where he specialised in Photo Etching.
Stewart has exhibited regularly at the Affordable Art Fairs since its inception in 1999, and at the aforementioned Woolwich Contemporary Print Fair, the RA Summer Show and the National Original Print Show, where he won the Great Art Prize in 2018.
This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist