Richard Taylor artist

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Oil Paintings

A selection of oil paintings on various sizes of wooden board, depicting different elements in an otherworldly and accumulative style.

2025, oil and varnish on Melamine-faced plywood, 25x35cm. Lives in basement. — Research for the AGM
2025, oil and varnish on Melamine-faced plywood, 25x35cm. Lives in basement.

2022-25, oil on primed MDF, 22x26.5cm. Lives in basement. — View from Traveller’s Rest (I)
2022-25, oil on primed MDF, 22×26.5cm. Lives in basement.

2022-25, oil on primed MDF, 22x26.5cm. Lives in basement. — View from Traveller’s Rest (II)
2022-25, oil on primed MDF, 22×26.5cm. Lives in basement.

An oil painting featuring a solitary dark-trunked tree with a broad, dense green canopy dominating the foreground. The background is a mix of muted blue-green and dark earth tones, with a few small white dots visible beneath the tree, suggesting fallen blossoms or lights. — Mulberry
2023, oil and varnish on board, 25x18cm. Lives in Norwich.

A square, abstract oil painting characterized by heavy impasto and vibrant colour. The composition is dominated by a central, roughly circular mass of thick paint featuring a chaotic mix of greens, reds, blues, yellows, and white. Thick black lines slash diagonally across the colorful center, and there are a few small, metallic or highly reflective circular elements embedded in the paint. This central form sits against a pale, muted background of thin white and very light pink or gray wash. The overall texture is extremely rough and built up. — After Harry’s headbutt
2023, oil, coloured pen, flower petals and plastic mirror with varnish on wooden board, 29x26cm. Lives in basement.

A square abstract oil painting with a busy, layered composition, displayed on a light grey wall. The dominant colours are warm golds, oranges, reds, and pale greens, interspersed with bold streaks and dabs of thick white paint. The surface is highly textured, with evidence of various techniques including scrubbing, thick impasto, and thin washes. Diagonal lines of metallic gold run across the upper right, and several small ring or bubble shapes in orange and pink are scattered throughout the centre. The overall effect is complex and heavily worked, suggesting obscured figures or symbols. — Choose the correct talisman
2023, oil and pencil on unprimed wooden board, 25x27cm. Lives in Gateshead.

An intimate, vertical oil painting capturing a slightly elevated view of a circular garden pond filled with a murky, reddish-brown liquid. Two slender, pale-trunked trees stand within the composition, one seemingly growing from the center of the pond. The foreground features expressive strokes of deep pink and red paint suggesting vibrant flowers, while the background is a loose impression of a lush, green garden under dappled light. — Damstead
2021, oil on wooden board, 18x25cm. Lives in Philadelphia, PA.

A vertical oil painting depicting a landscape with a strong emphasis on orange and red tones. In the foreground, three prominent vertical white poles stand in a dark, reflective body of water. A blue, rounded object is partially submerged near the base of the central pole. The background features a dense, impressionistic forest in dark greens and reds, topped by an orange and pink sky with a curved, pale yellow streak. — Jagger poles on the cefn
2020, oil on wooden panel, 19x27cm. Lives in Brighton.

A square oil painting with a heavy, expressionistic style depicting a rocky, rugged landscape. The composition is dominated by large, angular boulders and rock formations painted in thick blocks of colour, including deep reds, mauves, slate greys, and patches of white. These rocks are surrounded and partially covered by dense bright and dark green foliage and brush. A notable feature is a long, narrow horizontal patch of yellow-ochre in the centre that suggests a flat stone or a sunlit area. The upper background is a simple, flat expanse of light grey or pale taupe, representing the sky. The painting has a strong, textured surface. — Picnic
2024, oil and emulsion with varnish on wooden board, 61x50cm. Lives in basement.

A large, square expressionistic oil painting of a dense forest or wooded area. The composition is dominated by rich greens and earthy browns, with thick, layered brushstrokes. Thin, white birch-like tree trunks angle across the foreground. In the dark background, a small, bright patch of blue (possibly a tent or structure) is visible amongst the trees. — Where you make me live
2024, oil and varnish on wooden board, 61x50cm. Lives in basement.

A square oil painting with a dark, expressive, and slightly surreal landscape. The composition features a deeply textured foreground of dark, reflective water or mud surrounded by tangled branches and abstract color reflections in browns, reds, greens, and pinks. In the mid-ground, a dense, pale-colored forest or thicket with bare trees stretches across the canvas. Two distinct, dark, elongated feather or flame-like shapes rise from the foreground on either side. The background is a dark, moody sky in deep blue and purple, with two large, abstract shapes—one light brown/ochre mound and one textured, vertical cloud-like form—rising above the trees. The painting is characterized by heavy impasto and a dramatic, complex colour palette. — Shooter
2024, oil and varnish on unprimed wooden board, 61x50cm. Lives in basement.

A square oil painting with a heavily textured, expressionistic style. The composition is divided into a vibrant green foreground of dense grass and a darker, brown and purple background. A central, large, conical, thatched-looking structure sits on the horizon line, dotted with small white shapes suggesting lights or blossoms. Two dark, roughly cylindrical red forms stand vertically in the green foreground. — Wanna be like Bambi
2021, oil and nail varnish on melamine plywood, 58x50cm. Lives in London.

A horizontal oil painting showing a figure viewed from the chest down standing in a field of tall, dense green grass and wildflowers. The figure wears a dark blue top and black trousers, and their hands are cupped together, holding a large bunch of long, bright green leaves or plants. — How to hold your weed
2020, oil and clear varnish on wooden panel, 14×19.5cm. Lives in Newtongrange, Midlothian.

An intimate, square oil painting featuring a central column of three or four rounded pink and beige stones piled on a base of darker rubble. The scene is rendered with thick brushstrokes in browns and muted greens, and includes the distinctive white bark of a birch-like tree on the right side. — Bosh
2020, oil and clear varnish on wooden panel, 14×19.5cm. Lives in Aberdeen.

An intimate oil painting with a heavy, textured surface, depicting a simple, rectilinear greenhouse structure. The transparent panes of glass reflect the surrounding, thickly painted environment of ochre and olive green. The composition focuses on the angularity of the white frame and the small, dark opening of a propped-up window. — Greenhouse
2020, oil and clear varnish on wooden panel, 14×19.5cm. Lives in London.

An intimate, horizontal oil painting with visible texture, capturing a moody, nocturnal landscape. The foreground is a jumble of richly colored boulders and bushes in saturated tones of magenta, moss green, and dark brown. Above, a dark tor forms the horizon line, silhouetted against a deep, star-dusted emerald sky. A single, brightly painted lime-green tree stands out on the left. — Night Tor
2020, oil and clear varnish on wooden panel, 14×19.5cm. Lives in Wareham.

An image of a small, vertically oriented oil painting with an abstract or heavily stylized landscape theme. The top half is dominated by a dark, reddish-maroon sky with a burst of lighter colours, primarily white, pink, and dark blue, suggesting clouds or an explosion. The bottom half is a dark, textured foreground in browns, deep greens, and hints of yellow and pink, possibly representing a field or rocky ground. The painting has a heavy impasto texture and is presented on a clean, light gray wall. — Smudge
2021, oil on varnished oak floorboard, 15.5x18cm. Lives in London.

A photo of a small, vertically oriented oil painting featuring an abstract or impressionistic landscape. The top half is dominated by a light blue and turquoise sky with textured, impasto white clouds. The bottom half shows a dark, rich brown foreground that slopes up towards the center, where a cluster of vibrant, intense red shapes suggests trees or bushes. The overall texture is rough and painterly, and the small artwork is displayed against a clean, light gray background. — Hump
2021, oil on varnished oak floorboard, 15.5x18cm. Lives in London.

A large, vertical expressionistic oil painting of a dramatic, rugged coastal landscape. A blocky, brown castle sits atop a cliff face in the upper center. The cliffs and foreground are painted in dark browns and reds, featuring a bright horizontal slash of red paint mid-ground. In the lower foreground, a dark, angular shape resembling a boat or overturned sail dominates the bottom section. The sky is dark and turbulent, streaked with orange, pink, and white clouds. — Fast Castle
2021, oil and varnish on wooden board, 68x95cm. Lives in Singapore.

A richly textured, horizontal oil painting featuring a dense, almost chaotic forest scene. The composition is defined by a deep, dark palette of emerald and teal greens contrasted with vivid, fluorescent pinks and reds that suggest overgrown, blossoming rhododendron bushes. Four or five dark vertical lines represent trees, guiding the eye into a central tangle of color and shadow. — Enter rhododendron maze
2020, oil on wood, 34x18cm. Lives in Margate.

A vertical, thickly painted oil-on-wood scene featuring a solitary gnarled tree that anchors the composition, with a subtle figure discernible against its trunk. The ground plane is divided into a heavily worked, reflective dark blue and teal pool in the foreground and a strip of vibrant yellow-green earth behind it. A central burst of golden yellow light appears beneath the dark limbs of the tree, suggesting an artificial or otherworldly glow. — Don’t archive dark souls
2020, oil and coloured pen on wooden board, 20x25cm. Lives in Cardigan, Wales.

A horizontal oil painting with a loose, painterly style. It depicts a low, dark green hill or mountain rising from the center of a calm, reflective body of water. The water below is painted in horizontal bands of blue, green, and white. The scene is capped by a dramatic sky featuring thick strokes of yellow, orange, and pink with prominent white clouds. — Border Wash
2020, oil on wood, 32x18cm. Lives in Flintshire.

A horizontal oil painting depicting a camp and boating scene. Two figures are seated or standing in a brightly painted blue and yellow canoe on a brown waterway, with one figure (in red) extending their arm. On the shore, two stylized tents (one red, one yellow) sit near a cluster of tall plants with white, lacy flower heads, resembling hogweed. The background is a mix of muted green, brown, and ochre. — Hogweed and hand
2021, oil and clear varnish on wooden board, 34x24cm. Lives in Oakland, CA.

A loose oil painting of a hilly landscape with two red-capped dark forms in a bright green field under a dramatic, pink and grey sky. — Every day is a bank holiday
2022, oil on melamine plywood, 30x28cm. Lives in Dronfield, Derbyshire.

A loose, horizontal oil painting of a coastal landscape with a single red tree on a grassy mound and large white cumulus clouds in a blue sky. — Sanctuary
2021, oil on wooden board, 32x16cm. Lives in Amsterdam.

A colourful, horizontal oil painting showing an aerial view of a circular stone enclosure in green and blue, with a prominent oval red-orange cloud hovering over a dark blue sea and a cloudy sky. — Sweet Potato Sky
2022, oil and clear varnish on laminated wooden floorboard, 34x19cm. Lives in Croydon.

An intimate, vertical oil painting with a heavy, atmospheric quality. The foreground water is rendered with agitated, dark brushstrokes of teal, indigo, and black, partially obscuring a floating human figure whose pale limbs and face are visible. The surrounding landscape is a rough mosaic of moody greens and browns. — Swim Bod
2022, oil and clear varnish on laminated wooden floorboard, 34x19cm. Lives in Dronfield, Derbyshire.

A horizontal oil painting in an expressionistic style depicting a busy, colourful street scene or market stall. The composition is dominated by a row of vibrant, segmented canopy-like shapes in the upper-center, painted with thick strokes of white, pink, orange, green, and blue. A thick band of deep blue runs across the middle, suggesting a dark awning or shadowed area. The background is composed of vertical strokes of muted green and yellow, suggesting trees or a blurred cityscape. The foreground is dark and brown, with various abstract dabs of color representing figures, goods, or structural elements. — Super Street
2022, oil on wooden panel, 27x18cm. Lives in Bergen.

One of Richard Taylor's oil paintings. An expressionistic oil painting of a rugged landscape. In the foreground are two large, layered limestone boulders formations in shades of orange, rust, and blue-green, topped with small, burnt-orange trees. The middle ground is covered in dense red-brown scrub. In the distance, rolling purple- and blue-hued hills meet a dark blue sky with bright, white, dramatic clouds. A dark, vertical element resembling a totem or post stands behind the right rock formation. — Ox Stones
2022-2025, oil and varnish on Melamine-faced plywood, 53x35cm. Lives in basement.

An abstract oil painting on a black background, featuring a large, central, organic mass divided into an upper section of muddied orange and brown tones and a lower section of dense textured green. Various thick, colorful lines, loops, and drips—including black, white, red, and yellow—drape vertically and horizontally across the central form. — Panda pops and chlorine
2025, oil and varnish on solid oak worktop, 65x45cm. Lives in Cambuslang.

A square oil painting with an abstract and figural theme. The painting is dominated by dark, textured tones of black and deep brown, speckled with tiny white and gold marks suggesting a starry or chaotic void. In the center, there is a bright, circular opening or portal framed by rings of vibrant red, yellow, and green. Inside the circle, a few small figures are visible in a brightly lit space, one appearing to be standing and looking up, and another seated or lying down. A thin white line drops from the top center edge of the composition, leading towards the central glowing area. The painting has a rough, highly textured surface. — Sniff Rip and Licker
2022, oil and varnish on melamine plywood, 28×31.5cm. Lives in Forte dei Marmi, Tuscany, Italy.

One of Richard Taylor's oil paintings. An expressionistic oil painting of a pale-skinned figure's head with wide eyes next to a dark plush toy, surrounded by simplified, animalistic shapes and painted in earthy greens and browns. — Sleeping with Plushie
2025, oil and varnish on MDF, 21x31cm. Lives in basement.

A small, horizontally oriented oil portrait of a person. The subject's head and shoulders are centered against a very dark, nearly black background composed of heavy, vertical brushstrokes. The subject, painted with dark skin tones in warm browns and reds, is looking forward or slightly to the viewer's left. The face is brightly illuminated, with emphasis on the eyes. The most prominent feature is the open mouth with a visible tongue colored in vibrant pink and red. The painting uses visible, thick brushstrokes and has a textured, expressive style. A small patch of ochre or gold color is visible on the subject's right shoulder. — Shit licker
2022, oil and varnish on wooden board, 24x21cm. Lives in Ibrox, Glasgow.

A square oil painting featuring a simplified, slightly surreal landscape. The central element is a large, cylindrical or tower-like form in muted gray and blue tones that dominates the composition, stretching from the middle ground almost to the top. The top of the tower blends into a light, textured sky painted in white, pale blue, and soft pinks. The foreground is a dense, colorful band of trees and foliage in shades of deep green, brown, pink, and white, giving way to a simple green horizon line behind them. The painting has visible, expressive brushwork and is displayed on a light gray wall. — Tongue
2021, oil and varnish on wooden board, 60x49cm. Lives in Margate.

A wide, horizontal oil painting depicting a dramatic, textured landscape with three figures. The foreground is a dense field of rough, colorful foliage painted with thick strokes of dark brown, red, ochre, and green, suggesting moorland or brush. In the center, a large, rounded, reddish-brown boulder anchors the scene. To the left of the boulder, a small human figure dressed in blue is partially visible within the brush, and another figure with a red top is visible further below and to the left of the boulder. To the right, a large red stag with prominent white antlers stands facing the viewer. The background features rolling hills in deep blue and vibrant green, topped by a wide sky with textured white and pale blue clouds. The overall style is expressive and painterly. — Stog
2023, oil and varnish on wooden board, 80x58cm. Lives in Paisley, Renfrewshire.

Richard Taylor artist

Artist in Glasgow