Aliyah Taylor sinks into shadows.  Then she sinks into shadows of shadows and, upon resurfacing, introduces subjects rather than objects.  An aura of the physical endures in her two dimensional work.

What is it to make and in what capacity does this practice give rise to meaning?  We are coordinated in space somewhere at the junction of x y and z, and yet our ontological nature is constantly striking against this impeding notion.  Aliyah seeks a deeper connection to knowledge through synchronized measures of interrupting and arranging, bending and rearranging matter.  Objects defer their post—function and fixity of nature—are given over to Aliyah’s innate handling of surface.

The idiosyncratic textures satisfy the firing off of impulses equally variegated: mind and matter affirm each other.  No piece is autonomous unto itself; no gesture is traceable to what can be defined as the root of all gestures.  Her assemblages form a network in which there are as many missed connections as there are connections.  Nothing is codified, no circuit closed; only the mere uninterruptedness of surface.