“The ambiguous complexity in Taylor’s heightened cognitive approach to glass sculpture is on some level consistent with his sculpture over the past forty years, suggesting that changes in one’s material process, regardless of subject matter and content, appear to carry the indelible stamp of the artist. This relatively recent turn in Taylor’s appears as a significant step forward but still within the cognizant domain of how this distinctly original point of view continues to move steadily from one project to the next, ultimately evoking the futurist Marinetti’s theater of simultaneity or theater of variety” depending on its translation – RW Flint, ed, Marinetti: Selected Writing, (Michael Taylor, A Geometry of Meaning, Hudson Hills, NY, 2. Robert C Morgan, Critic, Professor, Columbia University, having taught at New York University, and the School of Visual Arts, Barnard College, New York

- Robert Morgan