Born in England in 1933 Alan Taylor was brought up in a creative English family. Upon his arrival in New Zealand in 1953, Taylor became a journalist and academic, taking a strong interest in Maori history, art and architecture. Inspired by the decorative, traditional art of diverse indigenous peoples, Taylor’s paintings are closely studied for this. Landscape is recognisable and birds and wildlife are depicted in inconographically Maori folk art style.
Taylor’s passion for pattern and colour was inspired and fuelled by Maori folk art. A fascination which has led him to write and publish various articles on Polynesian and Maori art work, in particular that of traditional tattooing. Taylor has published two books: “The Maori Builds” and “Maori Folk Art”; texts which explore and define the impact of European settlement in New Zealand on traditional native art forms. “Maori Folk Art” in particular is a detailed, illustrated history or pre-European society and its art through to the cultural developments in the 20th Century.
Taylor’s artwork documents colonial visions of Pakeha entering the Maori landscape, providing unique visual documentations of Maori land issues such as colonial land grabs, war and marches.
Works generally depict scenes of thriving landscapes, within which ranges of iconographic elements reside – fish, birds, lush flowers, mountains and figures are often presented and shroud potent political messages and comments. Using complex symbolism common to 19th Century, Maori folk art tells a story which as a viewer we can choose to read through or ignore. These symbols of Maori folk art work as communicational devices – the range and detail of his icons evoking great spirituality and emanating energy. They tell us (perhaps without us knowing exactly why) that beneath the vivid flourishing landscape and within the icons of each piece, that something is wrong-that something disturbing and sinister lies among the flowers and birds and blue sky.
Expressionist through his bright palette, Taylor’s paintings can initially appear simple and innocent. This is their immediate attraction to the eye.
Upon further scrutinising, one can see that Taylor is addressing potent themes of colonial history, war and destruction. Taylor’s works recall early topographic renderings of the land and contacts between two peoples but depicted from the Maori perspective of the land – in all its plentiful glory, being slowly marked with European settlement.
In the 1960’s Alan’s interest in the art 9of indigenous peoples led him to become involved in the study of Maori sites along the shores of the Manukau Harbour. His distinctive landform paintings are based on looking down on the landscape of this area. Alan has lived in a number of Maori communities, his home being Ihumatao Pa in Mangere. He designed the Maoritangi sculpture for the Te Puea Marae. This was unveiled by the then Governor-General, Sir Bernard Fergusson. The preservation of the East Coast meeting House, Rongopai, is largely attributed to Alan.
More Artwork by Alan Taylor
