Artist interview with Chimene Taylor

Orkney-based Chimene Taylor weaves together her skills with textiles and pate de verre to create sculptures and wall art inspired by her island landscape. Linda Banks finds out more.

What led you to start working with glass?

I started my creative journey working with textiles 30 years ago. This led to an apprenticeship in tapestry weaving and becoming editor of the British Tapestry Group journal. Then, 10 years ago, my father died unexpectedly and suddenly, and I found I could no longer sit and weave; the stillness was too overwhelming. I had done a short workshop in copper foiling, and this led me to explore more about working with glass.

What glass techniques have you used, and which do you prefer?

I took several workshops and masterclasses in stained glass and painting with enamels, plus Glasgow-based Stephen Richard kindly allowed me to learn at his glass studio during my holidays from work. Initially I made and sold stained glass panels at local art fairs in Orkney.

Then I found the world of fused glass and continued to learn through workshops. When I discovered pate de verre, I was immediately captivated by it and took many masterclasses with numerous amazing teachers, to whom I am very grateful. I found non-traditional pate de verre methods worked well for my mixed media pieces. However, now I am investigating how to use traditional pate de verre methods, as I like the textured and more translucent results that can be achieved when using powdered glass frits. With my background in textiles, I am now loving being able to weave again and tend to make mixed media pieces where I combine textiles with glass.

Please tell us more about your creative approach. Do you draw your ideas out or dive straight in with the materials?

When an idea comes to mind, I will reflect on it over weeks, or sometimes months, particularly if it involves incorporating woven pieces to it, as I must work out a mechanism for adding the weaving to the glass. This is followed by numerous sketches and occasional samples to get the right colours and effects.

Next, I usually make a wax or clay sculpture, which forms the basis of the pieces I am hoping to achieve. For non-traditional pate de verre pieces, I make a silicon mould, and with the traditional method, an investment mould.

I often attach a copper wrap to the glass, which I fire and can then weave on.

What message(s) do you want to convey through your art?

There are two aspects to my work. First, I am inspired by nature and my surrounding landscape, especially the sea and its wildness and beauty. I also find inspiration in Japanese art. My work is full of texture and irregular in outline and I believe in embellishing any irregularities with gilding to bring out their beauty. This reflects my philosophy in following the concept of Wabi-sabi, which means accepting beauty that is imperfect, impermanent and incomplete in nature.

In addition, I am a doctor, and this influences my conceptual work. I have a number of works at the sketchbook stage on topics about which I feel very strongly. I would like to develop these further, in collaboration with other artists and/or as a solo exhibition. A piece linked with this was the glass mask I made to convey the impact of the COVID-19 pandemic. I felt it was a representation of those difficult years as it became part of our new way of life. It protected us, but also hid us behind it and, for some, helped with the fear. For health professionals, it became part of our uniform; it affected communication with our patients and others, but also helped us to hide our emotions through those difficult times.

What is your favourite tool or piece of equipment and why?

I love my ‘dentistry’ metal sculpting tool set. I could not do without it.

Do you have a favourite piece or collection you have made? Why is it your favourite?

I love the mask, as it took a lot of work to make, but was also an emotional catharsis for me as I reflected on my experiences during COVID-19. I also love my collection of the sea and islands. I feel it reflects the beauty and colour of the landscape around me.

Where do you show and sell your work?

I mostly sell my work in local galleries in Orkney and at my studio. I have had pieces in galleries in Aberdeenshire and Fife, as well as a stall at the Aberdeen Art Fair.

Where is your creative practice heading next?

Last year was a very busy year, with several individual exhibitions and the art fair. I found myself having to produce a lot of work, but not having enough time to reflect. I plan to slow down in 2025 and develop my conceptual work, as previously described.

I also would like to make more mixed media pieces, using weaving and Japanese techniques, such as Katazome and Yuzen, to produce more wall panels.

Finally, I need to set up a webpage, which is long overdue!

See more of Chimene Taylor’s work and contact her via her CGS member page: https://cgs.org.uk/artists/chimene-taylor/

Main feature image: ‘Blue Anemone’ mixed media work featuring pate de verre glass and textiles. All photos by the artist.