Philip Taaffe
(B. 1955)
Ophiuran, Prismatic, 2014 Mixed media on canvas 76 ½ x 70 inches
Double Calligraphic Fountain, 2002 Oil on paper mounted on canvas 81 ½ x 54 ½ inches
gouache, and collage chine-collé. This rich
his own fusion of ancient myth and post-
process is part of what makes Taaffe’s
modern flair that the paintings can be
work exceptional. Although there is certain
meditative, complex, and deeply challenging.
“vocabulary,” so to speak, that is recognizable
Taaffe finds inspiration in all forms of
in most of his work, his “grammar” is wholly
religious, mystical, and occult practice.
his own.
Islamic arabesque—a geometric patterning
The works are predicated on the super-
of natural forms—could be laid upon his
imposition of multiple layers of medium and
handmade marbled paper, a technique that
imagery. The viewer is at once seduced by
most likely originated in China during the Tang
Philip Taaffe’s recent paintings are an
the familiarity of something in the painting,
dynasty. Other paintings incorporate distinct
exercise in various tensions, adding as much
then upon closer inspection is lured into
properties of ancient Greek mythology and
layered meaning to each individual work
its complexity. Taaffe’s work introduces
Meso-American religion. His access to, and
as there are layers of artistic process and
imagery from both the celestial sphere and
grasp of, arcane and esoteric knowledge of
materials. His materials include, but are not
its opposing, underworld counterpart. He
both near and far-off lands is staggering,
limited to, linocut, the use of rubber stamps,
weds the worlds of Eastern mysticism with
and his layering of these historical opticalities
silkscreening, stenciling, watercolor and
Western philosophy, the sacred with the
leads to a psychedelic synesthesia apt for
gold leaf, acrylic, enamel, paper marbling,
profane, and vitality with mortality. It is in
the twenty-first century.
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