Timothy Taylor was born in Pennsylvania, USA. His father gave him private painting lessons as a young boy, and he continued art throughout the school years, going on to earn a Bachelor’s degree in Art from the California State University, and an MA in Art from The Claremont Graduate School. After art school Taylor went to medical school and was known to be welding sculpture in the parking garage off-hours as he continued taking art electives at The George Washington University.

In the early 1990’s Taylor became active in theater performance and making stage sets in Northern California, including a huge forest backdrop for “Wind in the Willows” and a working time machine for “Time After Time” (which during an accident in the final show it got jammed moving wildly forward and Taylor has not been able to fix it). So, racing the clock, he then went to the Johnson Atelier as an Apprentice in 1999, worked on commission with sculptor Andrew Pitynski.

Immediately afterward, he designed exhibits for the Nashville Imaginarium Children’s Museum in Tennessee.  He has had residencies at the International Ceramics Studio in Kecskemet, Hungary, and at Italy’s Wassard Elea in Ascea.  His works have been exhibited in California,Washington, D.C., Hawaii, Italy, France and Spain.  One of his porcelain sculptures is in the Latvia Small Porcelain Museum of Riga.  His art has been published in several art books and catalogues, mostly since 2009, when a few critics seemed to have caught Taylor's eye.

In 2008 Taylor became a resident of the Commonwealth of the Marianas Islands where he made four large cement “Artifacts” which were left in the wild to be grown over and photographed. He filmed the process and took the footage to the Universal Studios New York Film Academy in 2010, where he earned a second Master's degree (MFA). After an experimental period characterized by process explorations and some theorizing about post-postmodernism, Taylor has re-visited his early painting style, and is sculpting small works for metals. He also continues to paint and build peices containing and designed to be lit with UV light, never quite having left the stage.

The more recent works played on local color and light and on new and old technology applied to the abstract.