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Jess Taylor

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Jess Taylor

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TheDeepestCircleOfHell.jpg

View Master

In September 2014, I presented a solo exhibition titled 'View Master' in FELTspace, Adelaide.

This body of worked continued to explore my fascination with violent imagery, methods of representation, and their ramifications. In particular, I was interested in the idea that one would play out violent fantasies through the very medium that imparted them, that representations of violence could inspire a yearning for violence so influenced by these images that images and falsehoods would be the only way to fulfill them.


The things in View Master are made to be seen. Made to be touched, looked upon, looked into or investigated; their function is dependent on viewer interaction. This invitation extended to the viewer in part allows one to experience representations of violence the same way that I do; with a sense of fun, light-heartedness; a fascination. More than this, the invitation aims to mimic the one extended by all representations of violence; the invitation to engage, and in doing so, invites a consideration of our own implicit role in the way these images bleed into reality.

View Master

In September 2014, I presented a solo exhibition titled 'View Master' in FELTspace, Adelaide.

This body of worked continued to explore my fascination with violent imagery, methods of representation, and their ramifications. In particular, I was interested in the idea that one would play out violent fantasies through the very medium that imparted them, that representations of violence could inspire a yearning for violence so influenced by these images that images and falsehoods would be the only way to fulfill them.


The things in View Master are made to be seen. Made to be touched, looked upon, looked into or investigated; their function is dependent on viewer interaction. This invitation extended to the viewer in part allows one to experience representations of violence the same way that I do; with a sense of fun, light-heartedness; a fascination. More than this, the invitation aims to mimic the one extended by all representations of violence; the invitation to engage, and in doing so, invites a consideration of our own implicit role in the way these images bleed into reality.

Tell The Truth And God Will Save You

Tell The Truth And God Will Save You

Gold Plated Steel, 2014

The Bad Apple Spoils The Bunch

The Bad Apple Spoils The Bunch

Gold Plated Steel, 2014

The Deepest Circle Of Hell Is Reserved For Betrayers And Mutineers

The Deepest Circle Of Hell Is Reserved For Betrayers And Mutineers

Gold Plated Steel, 2014

I Killed Her, I Raped Her, And I Smashed Her Head, Like This

I Killed Her, I Raped Her, And I Smashed Her Head, Like This

Gold Plated Steel, 2014

I Am Not Here To Make Any Friends

I Am Not Here To Make Any Friends

Gold Plated Steel, 2014

Not The First Time I've Gutted A Pig

Not The First Time I've Gutted A Pig

Gold Plated Steel, 2014

I Can't Control Myself Because I Don't Know How (1)

I Can't Control Myself Because I Don't Know How (1)

Digital Print, 3D glasses. 2014

I Can't Control Myself Because I Don't Know How (2)

I Can't Control Myself Because I Don't Know How (2)

Digital Print, 3D Glasses. 2014

I Can't Control Myself Because I Don't Know How (3)

I Can't Control Myself Because I Don't Know How (3)

Digital Print, 3D glasses. 2014

I Can't Control Myself Because I Don't Know How (4)

I Can't Control Myself Because I Don't Know How (4)

Digital Print, 3D glasses. 2014

View Master (Spring In My Step), Slide 1 of 7 (detail)

View Master (Spring In My Step), Slide 1 of 7 (detail)

View Master, View Master Reel. 2014

View Master (Spring In My Step). Slide 2/7 (detail)

View Master (Spring In My Step). Slide 2/7 (detail)

View Master, View Master Reel. 2014

Fight Club (detail)

Fight Club (detail)

Lenticular Print, 2014

Everything We Has Lies In Pieces (detail)

Everything We Has Lies In Pieces (detail)

Lenticular Print, 2014

Everything We Has Fucking Dies (detail)

Everything We Has Fucking Dies (detail)

Lenticular Print, 2014

Everything We Has Dies Tonight (detail)

Everything We Has Dies Tonight (detail)

Lenticular Print, 2014

View Master

View Master

Installation shot at FELTspace, Adelaide

I Can't Control Myself Because I Don't Know How

I Can't Control Myself Because I Don't Know How

Installation shot at FELTspace, Adelaide

Gold Steel Series and 'Vulnerable'

Gold Steel Series and 'Vulnerable'

Installation shot at FELTspace, Adelaide

I Killed Her, I Raped Her, And I Smashed Her Head, Like This

I Killed Her, I Raped Her, And I Smashed Her Head, Like This

Installation shot at FELTspace, Adelaide

I Am Not Here To Make Any Friends

I Am Not Here To Make Any Friends

Installation shot at FELTspace, Adelaide

Tell The Truth And God Will Save You

Tell The Truth And God Will Save You

Installation shot at FELTspace, Adelaide

The Bad Apple Spoils The Bunch

The Bad Apple Spoils The Bunch

Installation shot at FELTspace, Adelaide

The Deepest Circle Of Hell Is Reserved For Betrayers And Mutineers

The Deepest Circle Of Hell Is Reserved For Betrayers And Mutineers

Installation shot at FELTspace, Adelaide

Not The First Time I've Gutted A Pig

Not The First Time I've Gutted A Pig

Installation shot at FELTspace, Adelaide

Everything We Had Dies Tonight

Everything We Had Dies Tonight

Installation shot at FELTspace, Adelaide

'Everything We Had' series

'Everything We Had' series

Installation shot at FELTspace, Adelaide

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