Katherine Taylor has created a life of art, culture and passion, beginning with her Eastern seaboard upbringing and lasting through her fifteen years of teaching literature and history while studying oil painting in the Southwest with some of the best artists of the region. Now living in Central Oregon, Taylor is a professional artist who devotes herself to painting images imbued with a treasury of meaning and symbology that comes from richly lived experiences. She continues to explore ways to lift the visual veil of metaphor and self-discovery by dedicating her work primarily to the female form. Taylor’s oil paintings are characterized by jewel hues, strong tonality, and a range of brushwork and palette knife application that creates lively, textured surfaces. Moody, mysterious settings showcase these figurative images, as well as her landscapes, still life, and portraiture.
Taylor’s signature artwork employs the dramatic chiaroscuro lighting and luminous glazing that the timeless influences of the Old Masters have had on her painting treatment. What began as a classical Flemish art training early in her career eventually led to her experimentation with the methods of Baroque Realism, Classical Naturalism, and Russian Impressionism. Her inexhaustible desire to excel in oils has taken her into the studios of contemporary masters such as Zhang Wen Xin, Richard McKinley, Sherrie McGraw, Kim English, Cheri Christensen, and Craig Srebnik, among others. The result of this rigorous fine art background is a body of work representing technical virtuosity while maintaining the original passion and singularity of her world view. Her paintings have been described as “soulful and luminous.”
Taylor’s work has been included in juried exhibitions and private collections in the United States and Europe. She is represented by select galleries in the Northwest and continues to teach and lecture on art.
When asked what about the painting process most moves her, Katherine Taylor remarks, "That's easy: the task of capturing the intercourse of light, color, and shape on my subject and the mood that somehow results from that heady mix. Mood is everything. I wouldn't call myself moody in the sense that I'm somber all the time because mood encompasses joy and ecstasy, as well as wistfulness and melancholy. I am all of that at different times and sometimes all at once. And I want my paintings to tell that story. It’s a story that feels like past and future while simultaneously taking place completely in the present.”
Taylor observes, "Describing why one is an artist to begin with is an ineffable task altogether. The only way to speak about it is from an oblique angle that may or may not hit the mark. Perhaps I can say it this way: painting for me is honoring, through creative imitation, that whole realm of emotional candy we're always eating but doing it with visuals."