Suzanne Taylor’s work cannot be defined by simple genre categories. She is both an abstract painter and a photorealist. For this body of work she wanted to explore the relationship she has with both genres. Taylor took cues from the narrative of the still life paintings. These narratives are curious and sometimes dark in nature, which often demand a second and third read. She was interested in developing a relationship with the abstracts through color, texture and by pushing the visuals to its maximum. A good analogy would be if one were to take a pinhole camera and place it over the still life painting. Capturing a fragment or a moment in time. This fragment was then taken and shaken, distorted and given life. The agitated memory would be the desired result. Why agitate it? Well, the still life paintings are so quiet. So un-assuming and still. She wanted to take this whole experience and push it as far from the still and quiet into its own world of full-blown color and sound. Her abstract paintings are a complete departure from her photorealistic still life paintings. They are an exploration of color, typically on a large scale. They are loose and expressive. Instead of using brushes, she uses different found objects to push the limit, texture and maximize expressive movement. Her most successful abstract paintings are ones, which are self-evolutionary. They may start with an idea of a color palette and then evolve with application. She instinctively knows when the piece is complete. This departure is an adventure and a complete contrast to the still life paintings.