From his days as a young graffiti artist in London with the moniker Intro, he knew he wanted to do environmental art, but he figured it would be a retirement hobby.
他年輕時曾以“Intro”為綽號在倫敦做涂鴉藝術家，當時他知道自己想做環(huán)保藝術，但覺得那會是他退休后的愛好。
He has led a vagabond life — at one point, he designed theater sets in London — that by the mid-2000s took him to Grenada, where he initially planned to open a dive shop but reconsidered the idea for one critical reason: “I couldn’t deal with the public,” he said.
他曾經過著四處漂泊的生活——有一段時間在倫敦設計舞臺布景——2005年左右他來到格林納達島。剛開始，他計劃開一家潛水館，但是有個重要的原因讓他有些動搖，“我不會跟人打交道，”他說。
Instead, dabbling with sculpturing in his unhappiness and lamenting the damage to the reefs there, he sank his savings of about $50,000 into the lightning strike of an idea for underwater works that would represent the “serious time bomb” of humans’ consequences on nature and the hope for recovery.
帶著抑郁的情緒，他開始嘗試創(chuàng)作雕塑，同時也為當地珊瑚礁遭到的破壞深感痛惜，所以他把大約5萬美元的積蓄投到了一個大膽的想法上：他要創(chuàng)作一個水下作品，代表著一顆“危急的定時炸彈”，象征著人類破壞自然的后果與修復自然的希望。
It grew into an underwater park of 65 works, a collection that includes the oft-photographed “Lost Correspondent” — a lonely man typing at his desk in the vast blue water — and “Vicissitudes,” a ring of 28 boys and girls with African features clasping hands at the bottom of the sea.
最后，它變成了一個擁有65件作品的水下公園，其中包括那個經常成為拍照對象的“失落的通訊員”(Lost Correspondent)——一個孤獨的男人在他的書桌前打字，周圍是廣闊的藍色海水;還有《滄桑變遷》(Vicissitudes)：具有非洲人特征的28個男孩和女孩手拉手圍成一圈，站在海底。
Some have interpreted the ring of submerged figures as a statement on slavery. But Mr. Taylor said that the models were local children and that he sought to convey the message of “change and children taking on the characteristics of their environment.”
有人認為這一圈水底人物象征著奴役。但是泰勒先生說，這些雕塑的原型是當地的孩子，他想要傳遞的意思是“變化，以及孩子們的形象所呈現的環(huán)境特征”。
The work was damaged by storms, with part of it collapsing, so on a recent afternoon Mr. Taylor was putting the finishing touches on a sturdier replacement that will soon be carried by ship to Grenada.
這件作品被暴風雨毀壞了，有一部分倒塌了，所以Mr. Taylor制作了更堅實的替代品，在最近的一個下午為它完成了最后潤色，它很快會被用船運到格林納達島。
The notice that the Grenada works received drew the attention of officials here at the National Marine Park, an aquatic preserve off Cancún visited by about 750,000 people annually. They had started building small, ball-like artificial reefs to lure people away from the damaged natural one, and, with federal financing, they wanted Mr. Taylor to design thousands of sculptures. So far there has been money for about 500.
格林納達島的作品受到的關注，引起了墨西哥國家水族公園的官員們的注意。該公園是離坎昆不遠的水生物自然保護區(qū)，每年有75萬人前來參觀。他們早就開始修建一些小型的球狀人造珊瑚礁，以吸引人們遠離遭到破壞的天然珊瑚礁。他們得到了墨西哥聯邦政府的資助，想讓Mr. Taylor設計上千個雕塑。到目前為止，已有制作大約500個作品的經費到位了。
It seemed natural to use local residents as models, Mr. Taylor said, and after carefully screening them for what he called “strong lines and good bone structure,” he subjected the volunteers to a two-hour molding process that included a head-to-toe blanket of paste.
拿當地人做模特是很自然的，Mr. Taylor說，他仔細挑選出那些“線條清晰、骨架勻稱”的模特，要求這些志愿參與的模特們參與兩個小時的制模過程，其中包括在他們身上從頭到腳涂上一層粘土。
The one common feature of the statues: their eyes are closed, seeming to give them an added air of intrigue, but it is simply because the molding materials would otherwise get in the models’ eyes.
這些雕塑有個共同特征：他們的眼睛是閉著的，好像給他們增加了一絲詭異色彩，但是這其實是因為不閉上眼的話，制模的材料會進到模特的眼睛里。
“I was afraid when they started covering me,” said Joaquín Adame Sutter, a 53-year-old fisherman who was the model for “Man on Fire,” a statue with fire coral protruding from the skin. “I said let’s do my body first, and tomorrow you can do my face. It was a funny feeling, you know.”
“他們開始往我身上涂東西的時候，我有點害怕，”53歲的(Joaquín Adame Sutter)說。他是雕塑“著火的男人”(Man on Fire)的模特，這個雕塑從皮膚上長出了火珊瑚。“我說先涂身體吧，明天你們可以涂我的臉。你知道，那種感覺很好玩�！�
The success of the museum has led to some commercial work for Mr. Taylor, including designing an undersea metallic piano sculpture for the magician David Copperfield’s private Bahamas island. It plays recorded music.
博物館的成功給Mr. Taylor帶來了一些商業(yè)工作，包括為魔術師David在巴哈馬群島的私人小島設計一個海底金屬鋼琴雕塑。這個雕塑能播放預先錄好的音樂。
And Mr. Taylor’s photographs and sculptures were exhibited last month by the Jonathan LeVine Gallery in Manhattan.
Mr. Taylor的海底作品照片和雕塑上個月在曼哈頓的喬納森·萊文藝術館(Jonathan LeVine Gallery)展出。
Still, a dream project he is developing in his head would hardly be accessible, an antidote to the wide exposure of his art. It would be a provocative political work (he declined to give specifics) that would be submerged in the deep sea in an unspecified ocean, to be seen only, perhaps, in photographs.
他頭腦中還在醞釀一個夢想中的項目，相對于他那些被廣泛曝光的作品來說是一種平衡，但是這個計劃很難實現。那會是一個具有煽動性的政治作品(他拒絕透露細節(jié))，將被沉到深海里，而且不會告知具體沉在哪里，這樣也許只能在照片里看到。
“So much of life is built around myth,” he said, hinting at the message. “I would put it so a hundred ships would never find it.”
“生活的很大一部分是建立在神話上的，”他說，隱隱透露出一點信息：“我會把它放在一個上百只船也找不到的地方�！�
