



Looking forward, 2020
Looking Forward is a reflective work that considers time as both material and gesture. Created using oil, acrylic, and cotton fabrics on canvas, the painting brings together painted surfaces and textile elements, blurring the boundaries between image and object.
Layers of fabric and pigment create a sense of accumulation and erosion, suggesting movement through time rather than a fixed moment. Forms appear partially revealed, as if emerging from beneath the surface, reinforcing a dialogue between presence and absence.
Subtle yet resolute, Looking Forward holds a quiet tension between memory and anticipation. The work invites contemplation, offering a space where past and future coexist, felt through texture, rhythm, and material trace rather than narrative.
Details:
Oil, acrylic and cotton fabrics on canvas
170 × 130 cm
Unique work
VAT not included
Please note, this painting is shipped rolled – we are here to help you find a framer near you to stretch the work.
Pairs well with

Looking forward, 2020
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"Living in an age of the ‘re’, my work dissolves the boundaries between past and present, allowing multiple histories to be experienced simultaneously.”
- Diana Taylor
ABOUT THE ARTIST
Diana Taylor (b. 1977, UK) lives and works in London. She is a painter whose practice explores materiality, memory, and time through layered processes. Taylor completed a practice-based PhD with the William Morris Gallery through Sheffield Hallam University in 2023 and holds an MFA in Painting from the Slade School of Fine Art, London (2010).
Her work has been presented in solo exhibitions at Bobinska Brownlee, London; William Morris Gallery, London; and Artseen Contemporary, Nicosia, among others, and in group exhibitions across the UK and Europe. In 2025, she was a recipient of an Andrew W. Mellon short-term Fellowship at the Huntington, California.
CURATOR´S NOTE
What draws us to Looking Forward is its material sensitivity to time. Through the integration of oil, acrylic, and cotton fabrics, Diana Taylor allows the surface to hold traces of both construction and erosion. The work feels provisional yet grounded, as if shaped by looking back while remaining open to what lies ahead. It is a painting that resists resolution, inviting viewers to linger within its quiet tension between memory and possibility.
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