Mixed media on canvas

24” x 16”


Inspired by the poem "Writing While Driving Across the Tappan Zee Bridge"  by Anique Taylor




A fog so dense, I drive ahead 

enclosed in a separate world. A member 

of the generation raised ignored and unseen, I 

swallow each day like a fisherman afraid of the ocean. 


The first thing I learned in college after 

the in loco parentis lecture on the necessity 

of virginity, was how to roll a joint. I paced corn

fields reciting poems to communities of stars, as night 

sky engulfed the land. The first time I left, I hitchhiked into 

dawn, sawdust puppets tucked into cloth laundry bag on one shoulder, 

a broken guitar on the other. Out Route 68, I boomeranged back to suburban 

cocktail parties, adults embarrassed by love, scotch & cigarettes embedded in their cells.


Across the Tappan Zee, where slabs of concrete had 

     crashed into the river leaving openings in pavement 

          large enough to see down into the Hudson. I examine 

               my wrinkled face in the mirror. A ghost of myself ringed 

                         with colored mists, the clown in me gives me courage. 


Some pray to the crescent 

moon. Lucky ones drive ahead as if 

there’s nothing to fear. Some scribble on paper 

scraps on the steering wheel, to capture whatever we can.  


We balance, one legged

toppling un-metered through dreams 

to risk the unknown before the absorption 

of all palpable light. We sing and we sing wanting

only to touch the moving silhouette before it disappears


—  © Anique Taylor




Painting for me is a constant, energizing connecting of opposites -- place/displacement, certainty/mystery. As a former playwright, I tend to see the figures in my paintings as characters with an implied before and after, where “beingness” itself is relational and in flux. My primary interest is to capture layers of consciousness, the precarious balance of time/ timelessness, the overlap of memories.  I usually work in series, with different subject matter brought together under one theme, such as “School Days,” “The Shape of Water,” “Silence of Nowhere.”In my latest series, I’ve focused entirely on the narrative of masculinity -- men clothed, naked, solid, disintegrating. While male painters have traditionally objectified women as sirens, muses, demons, mothers, etc.  I am reaching for a holistic depiction of maleness, not as “mankind” but as a specific gender in a state of disarray and off-balance,  which reflects my feelings of where I stand today as a female (feminist) artist looking at men-- an anxious stance. In my series “Silence of Nowhere,”  I’m capturing the sense of expectancy, of looking outward, but also searching from within. My practice often involves taking the same scene and varying it slightly in different panels, like frames of a film, to signify the passage of time. I start with ink or charcoal and add thin layers of acrylic and watch a drama unfold.

"Crossing the Tappan Zee" Josepha Gutelius


    Emerge Gallery & Art Space

    228A Main Street, Saugerties, NY  (845) 247-7515

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