CAMILLA TAYLOR

Camilla Taylor is a Los Angeles-based artist recognized for their monochromatic and deeply introspective works on paper and in sculpture. Taylor often explores figurative and architectural forms, reflecting both the inner lives of viewers and the collective human experience with its challenges. Beyond traditional gallery settings, Taylor creates site-specific installations in unique environments like swimming pools and desert gardens, bringing a sense of intimacy and thoughtfulness to unconventional environments. In any medium they work in, their approach remains sculptural and contemporary, grounded in a solid foundation of skill and craftsmanship that enables them to experiment meaningfully with form.

Their work has been showcased in various solo and group exhibitions across the U.S. and internationally, including solo exhibitions The Knot at the Museum of Art and History in Lancaster, CA (2024), which explores the tension between individualization and collective identity; Dry Tree at Track 16 Gallery in Los Angeles (2023), featuring sculptures, prints, and textiles that evoke multilayered conceptual themes centered around environmental realities; and 静かな友達 - Quiet Friend at Kanda and Oliveira Gallery in Tokyo, Japan (2022), which delves into themes of unchosen companionship and interconnectedness through their sculpture and printmaking. With a recent group show at the Holter Museum of Art in Helena, MT (2024), Taylor has been part of the Communities West biennial project since 2018, building a community among printmakers living in, or with deep ties to the Western United States. Other group exhibitions include Multiple Intersections at Rod Briggs Memorial Gallery, Long Beach, CA (2023), an exhibition that explores fine art printmaking and the uniqueness of each piece; Continuantat Noysky Projects, Hollywood, CA (2019), where Taylor’s glass figures silently grapple with the half-truths and hazy memories that shape identity, even as the body and relationships change; and Poiesis at Art Access Gallery, Salt Lake City, UT (2019), which features works that transition from two-dimensional prints to three-dimensional forms, embodying the concept of poiesis, or transformation.

With years of experience in art education, Taylor’s speaking engagements include Visiting Artist for the Art Ed: Issues and Trends class with Jamie Rees at BYU (2024); the Artist Lecture Series at Riverside Art Museum, Riverside, CA (2023); the Co-Terminus: Printmaking, Sculpture, and Installation panel discussion for SGCI at SCAD, Atlanta (2017); and The Illusion of Control curator’s talk at Brandstater Gallery, Riverside, CA (2018).

A few examples of recent exhibitions curated by Camilla Taylor include The Closed Eye at Cicada Curatorial (2024), a virtual exhibit featuring sculpture, printmaking, drawings, paintings, and collage. Rustle and Cry (2019) is a collaborative video installation with artist Hana S. Kim and the Occidental College Book Arts class, projected onto the facades of the Fowler-Johnson buildings in Los Angeles, CA. And, The Illusion of Control at Brandstater Gallery, Riverside, CA (2018) features various printmaking techniques such as lithography transfer, monoprint, chine-collé, collagraph, and direct painting on surfaces.

Taylor received their BFA from the University of Utah in 2006 and their MFA from California State University, Long Beach in 2011. They were a resident artist atVashon Artist Residency on Vashon Island and at Sitka Center for Art and Ecology in 2024, and at In Cahoots Printmaking Residency in Petaluma in 2022. They are currently a lecturer at the University of California, Los Angeles.

Taylor installing their 2023 exhibition Dry Tree at Track 16.

SELECTED WORKS