So he wanted a revolutionary modernization of the most traditional and outdated artistic methodologies at a moment when even the most advanced technology of sculpture would see the low conceptualist tradition express itself without shame. His reaction, to look straight up.

Taylor’s work in the bakery owes much to initial revelations, and from appropriation; Marcel Broodthaers. One wonders, moreover, why the importance of Marcel Broodthaers in this matter is far from being as widely recognized as it should legitimately be. Indeed, and since 1999, during a trip he made with Derek Sullivan in the country of Flanders, the work of Broodthaers made him see the possibilities of renewal contained in the old leaven of Western Europe.

And since then, his work has constantly developed. His original view on artisanal fabrication, which resides in the omniscient creative freedom of collaborations, has now resulted in a work of art of a new style, directly emerging from Brussels time and space, specifically from Beeldhouwersstraat street, and this is where The Nine Fingers of Malakoff comes from.

In the bakery, as a malleable form which fortunately even smell like fermentation, must be recognized the ancient lineage of today’s two most lively structures of communication: the art of storytelling and video art, in their continuing interaction. The bakery is the story to the test of the spoken word, the memory that is not repeated.

The Nine Fingers of Malakoff is four pages long, up to one meter eighty. This experience is coming from the East where it will return: it is indeed intended that the project will be shown again in his gallery in Brussels, but only on pagan holidays. In order to break free from the traditional transdisciplinary and post-studio practices still available in the West, Taylor decided that the project should be kept clandestine on the other days. Thereby reviving a psychedelic-folk tradition, The Nine Fingers of Malakoff will now be visible as sculptures and as written objects for the occasion.

The theme of The Nine Fingers of Malakoff is precisely about a mystical adventure to everywhere without worrying about returning. It is a praise for exile and the underground leak. This nebulae escape is a growing sculpture in every sense just as was this drawing Taylor saw with Sullivan on a trip to Berlin. There is no guidance, no compass, we go in both directions, from a center that is not otherwise defined.

It is also the story of an odyssey beyond the Crystal Ship, to no return, the flight of days at any time, and at all sides, a story of a hero (Zin Taylor, of course) on his journey through life, a true wanderer discovering new territories that has been forgotten, and, riding on his lyrical way of moving the Frontier, they are reappearing with the story of The Nine Fingers of Malakoff.

We are still discovering the mists of Flanders and the flute music of Sub, naturally. In short, all the techniques of the “nouveau roman” cannot grasp this together, and the School of Insight here would give up weapons confronted to the complexity of the object viewed.

The journey between continents and galaxies, or in the labyrinths of life, is what best explains Taylor. In a n-dimensional continuum (that time is the funniest and most beautiful), Taylor appears to be the sculptor of all science fiction - WPSSC, Unidentified Floating Objects, 2026. But against the general spirit of this genre, which is concerned with the implementation of aggressive domination of gender, class and race, the creatures encountered in the sculpture of Taylor are happy accidents. Heir to the revolutionary universalism, Taylor is the first to launch the following brotherly slogan “Monsters of all planets, unite.” The long journey is not over.