Sketchbooks and Sculptures: The Artistic Journey of Jim Taylor ’77

When Jim Taylor `77 reflects on his time at Cincinnati Country Day School, he remembers the spark that lit the fire for a lifelong journey of creativity, craftsmanship, and purposeful work. A retired educator and full-time artist based in Eugene, Oregon, Taylor credits his Country Day experience with giving him both the confidence and the foundation to build a career that defied convention.

“I really found out what academic rigor was at Country Day,” says Jim. “We were challenged to think critically, to speak our minds, and to make connections across disciplines. That was a big deal for me.”

Jim transferred to Country Day in the fall of 1972 for his eighth-grade year. Coming from a very large public junior high school, he was drawn to the school’s small class sizes and felt that it was exactly what he needed to move forward in his educational experience. One of his earliest affirmations as an artist came when he won the school’s short story award, a moment that showed him that creativity could be recognized, even rewarded. Encouraged by thoughtful teachers and an environment that supported curiosity, Jim began to explore the arts more seriously, taking up oil painting in the makeshift art studio under the theater stage and diving into art history with legendary Country Day educator Tony Strauss.

One vivid memory, emblematic of his journey, is the day a bronze sculpture of a torso by the French sculptor Auguste Rodin caught his eye while visiting the Cincinnati Art Museum with his mother. The form struck him so deeply that he returned to Country Day and asked former Upper School Fine Arts program founder and teacher Phyllis Pierce for some clay.

“That moment stayed with me,” he says. “I still reference the human torso in much of my work today.”

Those early explorations bloomed into a career that combined his talents as a sculptor, painter, and educator. He worked in the prestigious Johnson Atelier sculpture foundry for a decade, collaborating with renowned artists from around the world before transitioning to education, where he inspired college and high school students to see themselves as problem-solvers through creative expression.

But the story Jim is most passionate about telling, one he shares often with students and young artists, is that of the working artist who not only survives but thrives.

“I’ve spent my whole life disproving the ‘starving artist’ myth,” he says. “There’s always opportunity out there. If you invest in your skills, think creatively, and, when necessary, also more like a businessperson, you can survive as an artist.”

One of the biggest challenges Jim believes that artists can face, especially early on in their careers, is when they may find it tough to find the time to be in the studio, creating and practicing their craft. In the early 1990s, Jim faced this same dilemma when he was working five jobs to simply earn a living.

“I was teaching part-time at three different schools, working as a welder for an air conditioning company, and carving Styrofoam model airplanes for an aviation company,” says Jim. “The smartest thing I did was carry a small sketchbook everywhere I went. Whenever I had time, I would sketch an idea for a sculpture or painting. Or, if I had my small watercolor kit with me, I would paint the landscape.”

As a visual arts educator, many of the projects he assigned to his students often involved a lot of problem-solving. In his 3D design class, his students would have to make giant-sized versions of the food they ate or design an entire city together as a class. They had to think critically about how they could pull off these challenging assignments.

“Watching students solve creative problems was one of the greatest joys of teaching,” he says.

Jim loved helping students discover their creative voice, especially those who didn't consider themselves artistic.

 “Create for yourself first. Don’t worry about what others think. What matters isn’t what you’ve done – it’s what you’re going to do next. Stay humble, stay curious, and above all, keep going.”

Even now that Jim is retired, he continues to sculpt, paint, and play music with local jazz ensembles. His days are full, his hands are rarely idle, and his joy is evident.

“There’s always been a lot of grunt work in art,” he says, laughing. “But I’m still having a great time. When I’m in the studio, I don’t think about anything else. I’m just having fun.”