By Natalie Willis. Maxwell Taylor is arguably the father of Bahamian art and his social critique of The Bahamas gives us good reason to believe so. Though Brent Malone is often hailed as such, he often referred the title to Taylor and we like to believe this was less to do with Malone’s graciousness (though certainly he was) and more to do with his admiration of the man. Taylor, along with his contemporaries Kendal Hanna and Brent Malone, all served particular functions in helping us to break down what visual culture in The Bahamas, and particularly engagement with it, can and should mean. First and foremost, all were intensely dedicated in perfecting their craft but their approaches to our landscape – physical, social, and spiritual – are as wildly different as the men themselves.
“Burma Road” (c2008) by Maxwell Taylor
