Kulturhuset, P2 Radio, November 2013 (Norwegian Radio National Broadcaster)
Zoya Taylor’s “Sweet Infidel” Wins First Prize: http://caribbeannewsservice.com/now/zoya-taylors-sweet-infidel-wins-first-prize/
ARC Magazine:Zoya Taylor and the Misfits: http://arcthemagazine.com/arc/2012/04/zoya-taylor-and-the-misfits/.
Leisha Chen-Young, SkyWritings Inflight Magazine, Air Jamaica Jan-Feb 2009: “Her canvases are filled with figures dominated by over-sized heads and childlike, androgynous bodies that are at times unsettling and uncomfortable, characters with wide-open eyes—pools of mystery, innocence and questions, all at the same time. In fact, she stresses that the imbalance represented in her characters mimic the absence of a synchronistic life. Now based in Oslo, Taylor returns to Jamaica after a ten-year absence. Although Taylor is formerly trained as a teacher in social work, she has turned her focus to painting full-time for the past 11 years, it is time that she came back home”.
Art Relish, Atlanta Georgia: “Zoya Taylor has developed a highly individualistic style of figuration and an incredibly idiosyncratic body of work that centers around a recurring cast of characters drawn partly from memories of a childhood spent in Jamaica, but very much a production of her psyche. Zoya Taylor was born in Vancouver, B.C. Canada. She spent her early childhood in Germany and moved with her Jamaican father and Canadian mother to Kingston, Jamaica when she was eight. She enjoys gallery representation in the USA, Jamaica, Germany and Norway. In 2009 she was awarded the President’s Award at the Florence Biennale in Florence, Italy. She currently lives in Oslo, Norway”.
Max Eternity, Editor and Publisher of Art Digital Magazine and contributing writer to Artworks Magazine: “Wisdom is in all these exhibiting women ́s minds, such as Zoya Taylor who paints her women proportioned as dolls,oversized heads with expressive world-weary, saucer sized eyes of elders”.
Michael Robinson, Art Critic, The Daily Gleaner, Jamaica, W.I.: “Her images have an emotive innocence that works well with the vibrant palette. Her large-eyed figures, painted in various contexts, allow for a universal connection to take place with the work through the ‘windows to the soul”.