Angie Taylor brings Punk to the NFT world

Angie Taylor brings Punk to the NFT world

Angie Taylor is one of 50 artists featured in “CRYPTO ART – Begins,” the first NFT book to chronicle the history and evolution of Crypto Art

“CRYPTO ART – Begins” chronicles the exciting beginnings and evolution of Crypto Art through the story and work of 50 of the world’s top artists who contributed to its birth and are still an active part of its present and future revolution with their NFT projects.

CRYPTO ART – Begins presents Angie Taylor

Angie Taylor uses her artistic skills as a sculptor and 3D animator to shape digital sculptures that come to life in the Crypto Art universe. 

His works offer a glimpse into the inner spectrum of the artist, managing to tell the experience of those who do not feel they belong to anything, with an irreverently Punk taste. 


Angie Taylor lived her adolescence in Scotland in the ’70s: in the middle of the Punk period. Her belonging to this counterculture is the first element of strong influence in her work, in which we can find references to the attitude of rebellion and anarchy typical of the movement.

In 1981 he moved briefly to Jamaica where he learned wood carving with a group of Jamaican Rastafarian friends. This experience merges with his Punk past and is reflected in his art which is characterized by a tribal essence. 

Taylor returned to Scotland to study art and obtained a degree in sculpture and drawing. His artistic practice always goes hand in hand with political activity in favour of issues such as anti-racism and LGBTQ rights.

The advent of the Internet is a revelation for Angie Taylor, leading her to embark on a long career path in animation.

In the 1990s, the brave choice to leave her profession to devote herself entirely to art led Angie Taylor to rediscover her connection with sculpture through 3D animation and virtual reality. 


Rebellion, social criticism and introspection are the common thread running through Angie Taylor’s NFT works. 

“Identity” (2022) shows us a creature hitting his own reflection in a bathroom mirror with a cell phone. 

The play of reflections that causes the image to be reproduced three times conveys the sense of oppression of having to manage the conflict between interiority and appearance, especially in contemporary times.

The destructive gesture is an act of rebellion against social impositions, a gesture of violence intended to awaken the spectator’s instinct of self-defence. 

We find the same Punk aesthetic again in “Drug Prowling Wolf” (2022). 

With this work Taylor gives a tribute image to “White Man in Hammersmith Palais”, with which the Clash sang the death of Punk. 

The tribute conceals, however, a warning aimed at the Crypto Art movement: don’t lose yourself. 


Eleonora Brizi, curator and founder of Breezy Art, who curated for The NFT Magazine the selection of 50 artists featured in the book “Crypto Art Begins” writes about artist Angie Taylor:

“Of the many issues we touched on in the interview with Angie Taylor, the role of artists in society was one of the most interesting. In Neolithic times, professions were assigned to people based on their inherent abilities, not gender or social class. Today, however, we classify people according to categories.” 

What are you waiting for? Find out all about the artists of “Crypto Art – begins”!

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