Troy Taylor
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Gridiron Calamity
2021
Pallets, astroturf, basketball, football, reclaimed wood, ratchet straps, hardware, bluefaces, garbage can
8 ft x 4 ft x 4 ft
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Gridiron Calamity, detail 01
2021
Pallets, astroturf, basketball, football, reclaimed wood, ratchet straps, hardware, bluefaces, garbage can
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Gridiron Calamity, detail 02
2021
Pallets, astroturf, basketball, football, reclaimed wood, ratchet straps, hardware, bluefaces, garbage can
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Untitled (2020)
2020
Reclaimed Wood, Astroturf, Hardware
28 in x 28 in
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The Vilification of the Tasmanian devil
2019
Wood, chalk marker, hardware, charcoal
3 ft x 3 ft
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The Vilification of the Tasmanian devil, detail 02
2019
Wood, chalk marker, hardware, charcoal
Statement
Troy Taylor (b. 1999) is a multidisciplinary artist from Germantown, Philadelphia. He currently attends Maryland Institute College of Art where he majors in Interdisciplinary Sculpture and is pursuing his Masters Degree in art education. His path began as an illustrator and expanded across the media as he began to work with organizations such as the Department of Making + Doing & Public Workshop in 2015, where Taylor learned how to use power tools and digital fabrication as methods of working. Working with team community members to build public, functional and accessible sculpture all across the tri-state area. In April 2017, Troy was featured in his first group show Feature Creep, under artist and curator Maximillian Lawrence. Since then, Troy’s work has spanned across the mediasphere, using woodworking, printmaking processes, welding and painting as well as interactive elements to give his viewers an entry way into the work. In 2021, he was featured in a group show Fresh Ruins at The Parlour Gallery in Baltimore, MD. His artistic process is not limited to creating art, as he sees his work in the trades as an outlet for labor and physicality.
Much of my work relates to my personal experience as a black man in America and critical sociology as it relates to race and popular culture. The change in views and perceptions of popular tropes and figures as we mature. What’s up with the vilification of the Tasmanian Devil? The history of the iconography, a symbol being used and the history of materials being used in the creative process are integral to the conversation that it holds. It is impossible to escape the tools that molded us into who we are today and my work is an outlet of these recurring thoughts and motifs. Whether it be politically, socially, emotionally or literally, the reclamation and exploration of self, phrases and materials help paint a picture of my understanding of the world as I perceive it.
Interdisciplinary Sculpture (BFA) Students
David Correa - not exhibiting
Gabriel Jacobs - not exhibiting