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Taylor
relies heavily on his models, working with them repeatedly and asking
them for ever more fantastic shapes, yet he does little to direct them,
believing that only the combination of their awareness of their own
body and it's position in the light with his reaction to that interplay
will give them the image they're looking for. "If I knew what I was
looking for I would have painted it years ago and been done with it"
says Taylor, who began taking pictures at 7 with his mother's Box
Brownie "but it's not an image I need, it's a process, every one of my
photographs is a part of the whole mechanism, yet they must not be
taken as a body of work. Two or three, maybe 6 or 7 images can be
grouped together but what really matters is the single image that
sticks in your head, the image that represents the resolution of the
clash between culture and genetics." In other words, it's the single
work that is important, that single moment, not the average of the
thousands of photographs he's taken over the years.
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