C. (All Thumbs) 1997

Editor: Al Taylor’s "C. (All Thumbs)," made in 1997, presents us with a black and white, mixed-media print featuring a hand and thumb, playfully adorned with looping lines. It’s both simple and surreal. What can you tell me about this piece, particularly its use of materials and the process involved? Curator: Well, it’s compelling to see how Taylor challenges the separation between photography and drawing. He layers different processes – the initial photographic image, then the applied graphic lines. Considering his interest in everyday objects and their inherent qualities, it suggests an almost artisanal approach to image-making. How does this process strike you, especially thinking about production and labour? Editor: It’s interesting you say that, it feels almost... handmade. Not mass-produced like we often think of with photography. It makes me wonder about the repetitive act of looping those lines; like a craftsman dedicated to one task. Do you see a comment on consumption within that? Curator: Absolutely. The crude loops and the presentation elevate the mundane. By emphasizing the materiality of image-making – the photographic print, the ink, the artist's hand – Taylor seems to push against the instantaneity of mass media and commodification. The "all thumbs" might refer to the clumsiness or imperfections inherent in that manual process. How does the interplay of textures play a role in all of this? Editor: The contrast between the smooth photographic texture and the bold graphic lines emphasizes each element, making me think about what’s real and what’s added, a layering of realities or perceptions. It’s much more thought-provoking when you focus on the materials used and how it was made, beyond just seeing the image at face value. Curator: Indeed. Taylor transforms the commonplace into something quite profound through the conscious application of process and the elevation of the tactile.