"By removing people from the spaces, the work emphasises a sense of momentary isolation..."
- Charlie Haydn Taylor
Charlie Haydn Taylor (b.1996) was born in Jersey, Channel Islands.
His work evokes a sense of contemplation and isolation, where the lines between the fictional and autobiographical collide. Recent work explores ideas of momentary isolation through the deliberate absence of the human figure. This lack of physical presence allows the viewer to insert themselves into the scene as a first-person participant, occupying a remembered space rather than observing it from a distance. The works function as fragments of the artist’s memory, offering an intimate glimpse into what can be truly recalled of a place or scene, as if momentarily seeing into the artist’s mind. The stylistic approach of collaging photography alongside flat, minimalist blocks of colour is used to reference the way human memory functions. As these interiors are revisited through memory, they become increasingly fictional; each act of remembering alters the original space, reshaping it into something partially imagined rather than faithfully recalled. Much like memory, certain elements remain vivid and clearly defined—such as views, objects, or surfaces—while surrounding details dissolve into areas of flat colour. The inclusion of familiar objects, ranging from books and letters to household items and consumer products, provides visual anchors that allow the viewer to construct a narrative within each scene.
Since 2020, Haydn Taylor has exhibited extensively in the UK and has formed a strong reputation in Asia, with solo shows in Seoul, Beijing and Singapore. He is also prominent in the contemporary art scene on the island of Jersey, Channel Islands, where he was born.
His work also resides in large private collections including two major royal collections.
HELLO CHARLIE, THANK YOU FOR TAKING THE TIME TO WORK WITH 4BYSIX AGAIN, IT IS GREAT TO HAVE YOU BACK! TO BEGIN, COULD YOU TALK ABOUT HOW YOUR PERSONAL EXPERIENCES OF LIVING IN LONDON HAVE SHAPED THE EMOTIONAL AND VISUAL LANGUAGE OF YOUR PRACTICE?
Living in London for 10 years had a huge impact on my work and in fact formed the basis for everything I create today. When we choose to go and live in the middle of nowhere, isolation can seem like a blessing, being away from the crowds, however individual isolation when living in a city, which occurs naturally for many, is very different. This was definitely the experience I had when moving from a small island to a major city like London. This feeling set up what is now the main basis for the emotional language of my practice. Interestingly, I’m in the process of buying a house outside of London in a quiet village so take from that what you will!
HOW INTENTIONAL IS YOUR USE OF COLOUR IN COMMUNICATING ISOLATION WITHIN YOUR WORK? DO CERTAIN PALETTES, BLOCK COLOURS OR LEVELS OF SATURATION REFLECT DIFFERENT EMOTIONAL INTENSITIES OR LEVELS OF DISTANCE, AND HOW DO YOU DECIDE WHICH COLOURS BEST CONVEY THE SENSE OF SEPARATION OR QUIETNESS YOU WANT A PAINTING TO HOLD?
Once I had a grasp on the emotional language of my work and began thinking about the environments I wanted to portray, it quickly became obvious how important lighting was in order to create a contemplative atmosphere. My pieces are also a delve into memory, based on moments and environments I’ve come across in day to day life, whether on a train, in my house, in a hotel etc. The colours reflect an exaggerated memory of these moments whether using blue to create shadow or violet as moonlight. I can prove it’s importance by talking directly about my second piece from my time in Japan. The blue light in train stations is used to help prevent suicide as it has a psychological calming. If that doesn’t prove the importance of light and colour I don’t know what does! Same applies to art.
YOUR WORKS OFTEN DEPICT SPACES WITHOUT THE PRESENCE OF PEOPLE. IS THIS AN INTENTIONAL DECISION TO HEIGHTEN THE SENSE OF ISOLATION, AND DO YOU SEE IT AS A WAY OF EXTENDING THAT FEELING ONTO THE VIEWER, INVITING THEM TO OCCUPY THE SCENE BOTH EMOTIONALLY AND PSYCHOLOGICALLY?
Yes, the absence of the human figure is intentional. By removing people from the spaces, the work emphasises a sense of momentary isolation for an individual while leaving room for the viewer to project themselves into the scene. I find it allows the viewer to inhabit the space emotionally and psychologically, engaging with it as a first-person experience rooted in memory rather than as a detached observer. Essentially they are entering a memory of mine that has become diluted by my own recollection.
YOU HAVE RECENTLY MADE A NEW PIECE FEATURING A TRAIN ON CANVAS FOR 4BYSIX, HOW DOES IT FEEL TO BE BACK AND JOIN OUR INITIATIVE, VEHICLES FOR CHANGE? WHAT CAN YOU TELL US ABOUT THE WORK YOU HAVE PRODUCED?
I’m excited to be back for this as it’s such a great concept! The piece I created specifically for you is one of many memories I have from peaceful train journeys on my own, where in this instance the isolation can feel quite beautiful and peaceful. I have a memory of being on a train in the middle of summer with light blazing in through the window as I sat and read my book, juxtaposed against the high speed ‘busyness’ of outside the train as well as the busy advertising within.
FOLLOWING THE TOPIC OF PUBLIC TRANSPORT, HOW DO YOUR EXPERIENCES ON TRAINS INFLUENCE YOUR PERCEPTION OF ISOLATION IN CITIES, AND DO THESE MOMENTS OF SHARED SOLITUDE FEED INTO THE ATMOSPHERES OR NARRATIVES WITHIN THIS WORK?
Touching a bit more on what I said before, train journeys can have a range of feelings they stir up in you depending on circumstances. I have done some pieces depicting a train in the middle of the night and they feel much more melancholic and isolated from the idea that they are late at night with no one around. In contrast, the piece I created for you feels more hopeful. Peaceful as opposed to sad. Lighting and colour is important for me to achieve these differences.
SUSTAINABILITY IS BECOMING AN INCREASINGLY IMPORTANT CONVERSATION WITHIN THE ARTS. HOW DO YOU THINK ABOUT SUSTAINABILITY IN RELATION TO YOUR OWN PRACTICE, AND DOES IT INFLUENCE YOUR CHOICE OF MATERIALS, PROCESSES, OR THE WAY YOU APPROACH MAKING WORK?
I think sustainability is one of the most important factors when it comes to my process specifically. I plan all of my works digitally and nothing gets put to canvas until I am 100% happy with it. This has saved a lot of waste over the last 6 years!
LASTLY, HOW HAS LIFE IN THE STUDIO BEEN AND HOW ARE YOU FEELING ABOUT 2026? DO YOU HAVE ANY NEW AND EXCITING PROJECTS YOU ARE KEEN TO START?
Life in the studio has been a bit disjointed as I’m in the process of buying a house so I’ve been a bit nomadic, but at the same time that has allowed me to move around and be inspired by different places so I am grateful for that. I have an upcoming solo show in Singapore in April and will be painting the works in France, which I will be treating like a mini residency.
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