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Painting is silent poetry, and poetry is painting that speaks. Simonides

Brian Richard Taylor

As with the Medieval Italian original, my Harlequin is not gender specific (Alequino-Alequino). The traits I attribute to Harlequin can be observed in either sex.

I use Harlequin to represent that so familiar individual we see manipulating the goodwill, trust and loyalty of those about them. He is one of those who believe that altruism is a weakness to be exploited, thereby providing confirmation of his authority and superiority, not only to others but also to himself. If questioned, he is unable or unwilling, to recognise that any of his actions could adversely effect others.

Usually I use nudity to depict vulnerability and/or naivety although there are occasions when it is intended to suggest surreptitious manipulation. I rarely intend nudity to be provocative or erotic.
I am somewhat reluctant to discuss my work in any greater depth, as I believe that a work of art must stand on its own ‘presence’. Art must be able to speak for itself. Because of this and the conviction that art is more visceral than cerebral, I feel it is problematic for an artist to attempt verbal explanation. We, each of us, have our own highly personalized library of implanted references, and regardless of the level of sophistication, all interpretations are valid.

Furthermore, I have noticed that the ‘explanations’ offered by artists, often seem to be more an exercise in marketing and self promotion than occasions of aesthetic revelation. Even so, for myself, I am much more comfortable with tongue in cheek than plum in mouth.

Brian Richard Taylor

1934 Born Perth, Western Australia (WA)
  First memory of drawing on bed head with yellow crayon.

1976 Resigned from R.A.A.F. as Warrant Officer.
1972-1974 Stationed Sale, Victoria. Instructed local art group.
1971-1972 Stationed South Australia – Exhibited with Contemporary Art Society, further service Vietnam, (casualty), did not paint for some years from this point.
1968 Service in Vietnam (Tet Offensive).
1966 Service in North East Thailand.
1964-1967 Stationed Sydney - studied under Desiderious Orban.
1961-1964 Stationed Wagga, New South Wales (NSW). Exhibited with local art group. Attended workshops with Sali Herman, Guy Warren, Justin O’Brien, Jim Gleeson and John Ogburn. Won several country prizes for painting.
Accepted invitations to instruct Art Groups at Tumberumba, Tumut, Young and Leeton.
1958-1960 Stationed Rathmines, NSW, mentored by neighbour, Bill Dobell, experimented with carved wood and small lost wax sculptures.
1956 Enlisted in R.A.A.F. - Ground defence duties.
1949-1956 Various employment including cadet artist, housepainter, signwriter.

1996 Won York Painting Prize
1995 Won Northam Sculpture Prize
1986 Won Melville Sculpture Prize
1985 Commendation Albany Prize
  Won “Houghton Sculpture Prize” Gomboc Gallery
1984 Won Albany Woollen Mills Prize
1982 Commendation Albany Prize


1993 Andrew Drummond Memorial, Carnarvon Civic Centre Gardens
  Numerous portrait and genre commissions over the years

Murdoch University
Hollywood Senior High School
Leeton Shire Council, NSW
Albany Woollen Mills
Private collections in United Kingdom, USA, Germany and mainland states of Australia.

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