Tom Taylor (sculptor)

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Tom Taylor
Taylor in 1977
Born(1925-05-07)7 May 1925
Christchurch
DiedJuly 1994 (aged 69)
Christchurch
Alma materCanterbury University College
Known forTeaching and sculpture
MovementSculptural modernism

Thomas John Taylor (1925–1994) was a New Zealand sculptor and educator. He spent his life in Christchurch and became an influential lecturer at the University of Canterbury (UC; Māori: Te Whare Wānanga o Waitaha).

Taylor studied architecture followed by sculpture at UC's predecessor. He joined the UC School of Fine Arts in Ilam as a lecturer specialising in sculpture and later led the sculpture department for over 20 years. Taylor taught modernism but encouraged his students to explore other movements. Some of his students went on to become notable artists.

As a sculptor, Taylor's prolific early and sparse late periods were figurative and modernist. In between, he spent a decade producing abstract fusions of sculpture and architecture. Taylor also designed houses and theatre sets, and he organised in the Christchurch arts community.

Taylor's contribution to sculpture is generally regarded to be the artists he taught rather than the works he produced.

Early life and education

Taylor was born in Christchurch on 7 May 1925.[1][2] He completed his schooling at St Kevin's College, Oamaru.[3] In 1939, while studying architectural drawing,[4] Taylor passed the examination to enter university (or matriculated) at 14+1⁄2 years old.[3] He worked as a draughtsman in the early years of World War II.[4] From 1943 to 1945,[3] Taylor served in the Royal New Zealand Navy as a surveyor in the East Indies.[4] After the war, he continued his studies at Canterbury University College. Taylor completed a degree in architectural construction in 1947,[5] and he completed a diploma at the School of Fine Arts in 1952.[6][7] Taylor studied figurative sculpture under Henry Eric John Doudney.[8][9][a]

Working life

Educator

Taylor spent the rest of his working life as an educator in Christchurch. He started as the art master of St Andrew's College,[13] while he was also a part-time lecturer in architectural history at the university.[4] In 1957, Canterbury University College became the University of Canterbury and the School of Fine Arts moved from the city centre to the suburb of Ilam.[14] Taylor joined the school in 1960 as a lecturer specialising in sculpture.[4] He led the sculpture department from 1969 until his retirement in January 1991.[15][4]

As late as the mid-1980s, Taylor taught and largely practiced modernism. But he was interested in his students's exploration of other movements and unconventional media.[16][17] A history of art in Canterbury listed Taylor's students who became sculptors:[18] Chris Booth, Neil Dawson, Rosemary Johnson, John Panting, Matt Pine,[19] Phil Price, Pauline Rhodes, Carl Sydow,[20] Bronwyn Taylor,[21] Merylyn Tweedie and Boyd Webb. Interviewed in Christchurch newspaper The Press, Dawson remembered Taylor as a highly intelligent but tough sculpture and art history lecturer. He continued "[Taylor] set challenges which would last for the rest of your life, and you can't ask for more than that from your teacher."[22]

Taylor continues to be generally regarded as an influential educator.[4][3][23][8][24]

Sculptor

Periods

Taylor's early work was figurative and often in concrete (see Sculpture). By the mid-1960s, he had the idea of fusing sculpture and architecture. In 1965, Taylor received the first Canterbury Society of Arts Guthrey Travel Award to visit Australia.[25][b] He was inspired by the massive steel work of Clement Meadmore.[28] For the next decade,[29][30] Taylor largely produced formal abstractions in steel.[23]

In 1969, Taylor received a Queen Elizabeth II Arts Council travel grant. He visited Europe to study sculpture in bronze with Quinto Ghermandi and steel with Rudolf Hoflehner.[31] On his return and without the knowledge of the University of Canterbury (UC) or the local authority, Taylor set up a foundry at the School of Fine Arts for casting bronze. It was later described as "... highly illegal ...".[4]

In December 1973, Taylor's marriage ended in divorce and,[32] in March 1975, a fire destroyed the UC sculpture block including Taylor's office.[33][4] He completed his last known formal abstraction in 1976 then returned to figurative work.[8] But Taylor only produced another two known works, both portrait heads, before he died in 1994.

Associations

Between the mid-1960s and early 1970s, Taylor alternated between membership of the Canterbury Society of Arts (CSA) and The Group.[34][35] He also helped to found two artists's groups: 20/20 Vision in the mid-1960s and The Sculptors' Group in the early 1970s (see Organiser). Taylor exhibited work with The Group, 20/20 Vision and the CSA (see Sculpture).

Critical evaluation

Few reviews of Taylor's sculptures have been found but those that have are positive.

Moraine (1967) was a freestanding sculpture and Taylor's first formal abstraction.[28] It was composed of forms welded from sheet steel. The work is in the collection of Christchurch Art Gallery (CAG; Māori: Te Puna o Waiwhetū). They noted how the smooth finish hid the technique used to make it.[29] In 1990, Taylor said it was his favourite work.[4]

An architectural sculpture for the IBM Centre, Wellington (1971) was also composed of steel forms. At over 4 metres high by 5 metres long,[36] it was Taylor's largest known work. Mounted in the portico at the front of the office block, vertical forms on the floor and ceiling curved to horizontal, merged then went through a gap in the glass curtain wall to end in the lobby. Architect Martin Hill sketched and reviewed the work for his Wellington Townscape column in The Dominion newspaper. He wrote it was "... a sensitively shaped vigorous form." which rewarded repeat viewing.[37] It was removed c. 1980 and is presumed to have been destroyed.[38]

Transit (1976) was another architectural sculpture and Taylor's last known formal abstraction. It was in the University of Auckland Medical School.[39] Mounted in a stair landing with a window, it was made of sheet steel on beams running between the walls and ceiling.[30] In his book New Zealand Sculpture: A History, art historian Michael Dunn wrote Transit was highly abstract and industrial looking. He noted how "... the beams appear to move in space, creating a contrast with the architecture and a frame for the view through the window ...".[8]

W. A. Sutton C.B.E. (1991–1992) was a bronze head of Taylor's former School of Fine Arts colleague and close friend the painter better known as Bill Sutton.[40][23] Produced during Taylor's retirement,[4] it was his last known work. Also in the CAG collection, they described it as "... modelled in a loose, spontaneous style that gives the work a sense of liveliness and immediacy."[40]

However, painter and art critic John Coley, who formed an artists's group with Taylor, and Dunn both wrote that Taylor's lasting contribution to sculpture was as an educator rather than a practitioner.[41][23]

Designer

Although Taylor only had initial training in architecture, he designed four houses in and around Christchurch (see Houses). The most notable was a modernist house and studio for the painter Bill Sutton.[42] Built in 1963, Sutton lived there until his death in 2000. It was one of the few houses in Richmond to survive the 2011 Christchurch earthquake. Owned by Christchurch City Council since 2019, it is used as an artist's residence.[43] In 2022, Heritage New Zealand (Māori: Pouhere Taonga) listed Sutton House and Garden as a category one historic place of special or outstanding significance.[44]

Between the early 1950s and early 1970s, Taylor designed sets for seven theatrical productions (see Theatre sets). Three were works of Shakespeare performed by the University of Canterbury Drama Society under the direction of Taylor's friend the author Ngaio Marsh.[3]

Taylor also worked on a few functional objects. He produced the lectern for the new modernist St Andrew's Church, Le Bons Bay, Canterbury opened in 1960.[45] Taylor also designed the seats for spectators of the 1974 British Commonwealth Games, which were held in Christchurch.[46]

Organiser

Taylor helped to found a number of art ventures, all based in Christchurch.

In 1964,[26] John Coley and Taylor inspired contemporary artists interested in experimentation to form 20/20 Vision. The group held annual exhibitions until 1968.[47]

Taylor and Carl Sydow, a former student of his,[20] founded The Sculptors' Group in 1970.[12] The group organised lectures and held three exhibitions, but it disbanded in 1972 when members moved from South to North Island or overseas for study or work opportunities.[17] In the early 1970s, Taylor also served on the council of the Canterbury Society of Arts.[48]

In 1980, printmaker Jule Einhorn set up the Gingko Print Workshop and Gallery for Works on Paper with the help of Taylor and his School of Fine Arts colleague the printmaker Barry Cleavin.[49] Gingko was in the Christchurch Arts Centre where Taylor served as a member of the board.[23] The workshop closed in 1992.[50]

Personal life

Taylor and his wife Patricia, known as Paddy, had three children.[3] They divorced in 1973 after Tom and his next partner Joan Livingstone began their relationship.[32][51] The following year, Livingstone opened Labyrinth Gallery, a commercial art gallery in Christchurch city centre.[52] It closed in the late 1970s.[17] In Taylor's final years his partner was Jule Einhorn.[51] Taylor died in July 1994 (aged 69).[53]

Works

Sculpture

YearTitle, subject or locationTypeMediumDimensionsNotes
1960World War II airman in flying kitStatueClay for concrete10 ft 10 in (330 cm) tallCommissioned for the Brevet Club, Christchurch. The model was completed.[54] However, the sculpture was not cast as the mould had been damaged, and the club were concerned that the statue would become dated.[55] See also Icarus falling (1964).
1962John BaskcombHeadPlaster for bronzeCommissioned but not collected by the English character actor.[56] Shown at The Group exhibition.[57]
1963Head of H. Winston RhodesHeadConcreteHarold Winston Rhodes was a University of Canterbury (UC) lecturer in English. Shown at The Group exhibition.[58] See also Harold Winston Rhodes (1989).
1964Icarus fallingBas-reliefConcreteCommissioned for the Brevet Club, Christchurch.[55][59] Viewable at Spitfire Square, Christchurch. See also Gallery.
1965Echoing figureStatuePlasterLife-sizeMoulded from life.[60] Shown at the first 20/20 Vision exhibition.[61]
1966Professor J.G.A. PocockHeadPlastic for bronzePocock was a political historian who studied and lectured at UC and its predecessors. Shown at the Canterbury Society of Arts (CSA) exhibition.[62] Destroyed by the 1975 fire.[4][33]
c. 1967Sculpture of a girlPlaster120 cm × 25 cm × 20 cm (47.2 in × 9.8 in × 7.9 in)Gifted to a friend. Now in the UC collection.[63]
1967ShakespeareMemorialSteel13 ft × 3 ft (396 cm × 91 cm)[64]Commissioned by Ngaio Marsh for a theatre at UC. A 1964 design for concrete did not progress beyond a drawing and sketch model.[65][66][67] The work in steel was etched with Shakespeare's portrait by Barry Cleavin.[64] In 1990, Taylor said it was his least favourite work.[4] Removed in the 1990s.[66]
1967MoraineFreestandingSteel130 cm × 100 cm × 147 cm (51 in × 39 in × 58 in)[29]First formal abstraction.[28] In 1990, Taylor said it was his favourite work.[4] Bequeathed by Bill Sutton to Christchurch Art Gallery (CAG), it remains in their collection.[29]
1967–1968TuarauFreestandingSteel18 in × 15 in × 15 in (46 cm × 38 cm × 38 cm)[28]
1968The Sum of the SquaresFreestandingSteel67.7 cm × 148.6 cm × 75 cm (26.7 in × 58.5 in × 29.5 in)In the CAG collection.[68]
1968ClimacticFreestandingMetalShown and offered for sale at The Group exhibition.[69][70]
1968St IvoFreestandingMetalShown and offered for sale at The Group exhibition.[71][70]
1971IBM Centre, WellingtonArchitecturalSteel14.5 ft × 17 ft (440 cm × 520 cm)Commissioned for 155–161 The Terrace, Wellington by owners A.M.P. Society,[36] following an international competition.[72] Reviewed.[37] Removed c. 1980 and presumed destroyed.[38]
1973Palladian SubdivisionInstallationMulti-mediaLocated in a CSA gallery, a Palladian floor plan with piles of building materials later offered for sale in a mock auction.[73] Conceptual and performance art.
1973Queen Elizabeth II (QEII) Park, ChristchurchFountainWaterCommissioned for the 1974 British Commonwealth Games. Water arced into an artificial lake,[74][75] just south of the QEII Stadium Sports Centre. Damaged beyond repair by the 2011 Christchurch earthquake, the stadium was demolished and the lake was filled in.[76][77]
1976TransitArchitecturalSteel270 cm × 420 cm × 330 cm (110 in × 170 in × 130 in)[30]Commissioned for the University of Auckland Medical School.[39] Reviewed.[8] Last known formal abstraction.
1989Harold Winston RhodesHeadBronze37 cm × 23 cm × 26 cm (14.6 in × 9.1 in × 10.2 in)[78]The model of the UC professor of English survived the 1975 fire.[4] Cast as a memorial between 1987 and 1989.[79][80][c] In the UC collection.[78] See also Head of H. Winston Rhodes (1963).
1991–1992W. A. Sutton C.B.E.HeadBronze34 cm × 21 cm × 20 cm (13.4 in × 8.3 in × 7.9 in)[40]Produced during retirement.[4] In the CAG collection.[40]

The year of completion is not known for the following works: a head of Ngaio Marsh modelled c. 1975,[4] Bust of Derrick Breach and Wave.[81]

Houses

YearAddressNotes
19506 Sherwood Lane, Cashmere, ChristchurchAn art deco house.[82]
196320 Templar Street, Richmond, ChristchurchBetter known as Sutton House and Garden.[44]
196823 Merlincote Crescent, Governors Bay, CanterburyFor author Margaret Mahy who lived there until her death in 2012.[83][42]
Late 1980s2202 West Coast Road, Kirwee, CanterburyFor a friend of Taylor's who built the house.[84]

Sources conflict on whether Taylor designed a house and studio on Gloucester Street, Christchurch for his School of Fine Arts colleague the painter and potter Doris Lusk.[42][85]

Theatre sets

YearWorkProduced by
1953Shakespeare, Julius CaesarCanterbury University College Drama Society and Ngaio Marsh[86]
1960Edward Wooll, Libel!St Andrew's College, Christchurch[87]
1964Shakespeare, Julius CaesarUniversity of Canterbury (UC) Drama Society and Marsh[88]
1967Shakespeare, Twelfth NightUC Drama Society and Marsh[64]
1972Henry Purcell, The Fairy-QueenUC School of Music[89]
1972Shakespeare, Henry VMarsh[90]
1972Henrik Ibsen, Peer GyntUC Drama Society[91]

Notes

  1. Henry Eric John Doudney was called Eric in some sources,[10][11] while others called him John.[12][9]
  2. Sources conflict on the year Taylor received the Canterbury Society of Arts (CSA) Guthrey Travel Award. According to Feeney (2008), a thesis on the CSA, it was 1965.[25] But other sources give different years: 1964 and 1966.[26][27]
  3. Sources conflict on the year the bronze head of Harold Winston Rhodes was completed. According to the Macmillan Brown Library it was 1973.[78] According to other sources, the model was completed by 1975,[4][33] but funds to cast the work were only found after Rhodes died in 1987.[79] The model for this work may have been Head of H. Winston Rhodes (1963) in concrete. However, the whereabouts of that work is not known and there are no known dimensions for or photographs of it so a comparison cannot be made.

Citations

References

  • Taylor, Tom at Find New Zealand Artists
  • "Tom Taylor". Public Art Heritage Aotearoa New Zealand. n.d. Retrieved 9 June 2026.
  • Hubert, Gina (9 December 2012). "Fountain". Canterbury Stories. Christchurch City Libraries. Retrieved 22 January 2026. A photograph of a c. 1974 postcard of the fountain designed by Tom Taylor for Queen Elizabeth II (QEII) Park, Christchurch. The postcard was displayed at the Farewell to QEII event on 9 December 2012.