His sculptures at Niagara are constructions in the burly vernacular of wire mesh. The sculptures have little mass and seem jokesy, as if the sculptor has enjoyed himself rolling around in cyclone wire or mesh. But once your imagination is enticed into the systematic passages within, you enter a gridlocked network where you're no longer in control. You feel caught in a Cartesian cage of claustrophobic coordinates. Taylor's work can be seen full-scale in the gardens at the Heide Museum of Modern Art and at Coliban Farm, just beyond Woodend.
Directions are available from both galleries.
Meanwhile, you think of painting as a precious object sequestered within a frame. Painting naturally occupies the periphery of a room and surrounds you. The whole tradition of fresco painting was established to engulf you as much as the architecture. Painting isn't intrinsically a solitary autonomous object on the wall. A bracing show at the Australian Centre for Contemporary Art shows how painting can envelop the spectator, just like sculpture.