Strata is Susan Aaron Taylor’s work at the University of Michigan NCRC Connection Gallery
Susan Aaron Taylor’s dynamic, charged sculptures, on view currently at NCRC Connection Gallery at the University of Michigan, confront the viewer like visitors from another world. Beginning with an image drawn from a dream or an astral journey (Taylor is a student of Jungian psychology and shamanic practice) she curates a collection of challenging, specific materials into forms that utterly transcend craft. Taylor’s sculptures are charged with an eerie liveliness- sharp, appraising eyes, extended claws, bared teeth, sensuous, bejeweled fur- and seem to exist in their own open-ended narratives, in which time assumes a dream-like quality, collapsed and overlapping. Susan Aaron Taylor: Strata is a retrospective, encompassing different bodies of work that explore, from different perspectives, a channeling of massive power.
The studio where Taylor nurses her visions into corporeal forms is a bright, warm space, part alchemical laboratory, part cabinet of natural curiosities. Leading me around her studio, Taylor opens drawers, draws back curtains, pulls out boxes, revealing piles of glittering stones, cords of elegantly twisted wood, curls of birchbark, mounds of multicolored felt. Beginning with an armature of found wood, each form is carefully and lovingly built, of bones, shells, quills, beads, crystals, cacti, and a hand-stitched felt “pelt” into an incredibly powerful assemblage that seamlessly evokes a recognizable animal- cats, polar bears, water rats. These creatures feel both archetypal and individual. Each projects a state of emotional extremity that could vary from viewer to viewer- the half-reclined posture and exposed bones of “Guide,” for example, presents a puzzling paradox between title and content- power invested with touching vulnerability.
Each clearly has a story to tell. Though they come from a very personal place, Taylor is reluctant to reveal her own associations with her sculptures- she finds it more interesting to learn what they evoke for viewers. It is a tenet of Jungian psychoanalysis that each symbol that appears in a dream has a meaning unique to the dreamer.
The vivid blue dressing that surrounds “Water Rat” could be a ruffled skirt or a watery environment. The rat is depicted with her forelegs raised toward the sky in a gesture that could be read as despair or exaltation. The rat is clearly a mother- her body is studded with erect nipples tipped with shimmering beads. It’s an unusual combination of signs- lowly rodent and fertility goddess.
The ladder that “Polar Bear” climbs straddles multiple worlds- it could represent a conduit to the shamanic upper world, or index a cage through which the defiant, porcupine quilled face of the creature snarls, depending upon the angle by which one views it. Either way, the being’s survival is uncertain. It’s elongated legs balance precariously on diminutive masses of ice that threaten to float apart in warming seas.
“Tiger Teapot” adds yet another intriguing layer of imagery, being both a functioning teapot (it technically contains an inner chamber, lid and spout, though Taylor points out that her teapots “can only really be used for a return to those childhood tea parties where what was being served was imagination and wonder.”) and a sly, enigmatically smiling creature mid-prowl.
The tea service format ropes the ritual act, the gathering around vessels invested with fragrant brew, into the dream-symbol narrative Taylor presents in tantalizingly vague, multifaceted flashes of insight. Expertly weaving the half-remembered visuals of dreams with iconic objects that resonate with ritual, Taylor sets the stage for viewers to have their own experience of journey and revelation. With her incredible command of materials and craft and the profound, yet somehow light-hearted feel of her sculptures, she makes for a good guide.
Susan Aaron Taylor: Strata is on view at Connections Gallery, North Campus, University of Michigan, from September 5 through December 12, 2017