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.
他年轻时曾以“Intro”为绰号在伦敦做涂鸦艺术家，当时他知道自己想做环保艺术，但觉得那会是他退休后的爱好。
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.
他曾经过着四处漂泊的生活——有一段时间在伦敦设计舞台布景——2005年左右他来到格林纳达岛。刚开始，他计划开一家潜水馆，但是有个重要的原因让他有些动摇，“我不会跟人打交道，”他说。
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.
带着抑郁的情绪，他开始尝试创作雕塑，同时也为当地珊瑚礁遭到的破坏深感痛惜，所以他把大约5万美元的积蓄投到了一个大胆的想法上：他要创作一个水下作品，代表着一颗“危急的定时炸弹”，象征着人类破坏自然的后果与修复自然的希望。
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，它变成了一个拥有65件作品的水下公园，其中包括那个经常成为拍照对象的“失落的通讯员”(Lost Correspondent)——一个孤独的男人在他的书桌前打字，周围是广阔的蓝色海水;还有《沧桑变迁》(Vicissitudes)：具有非洲人特征的28个男孩和女孩手拉手围成一圈，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.”
有人认为这一圈水底人物象征着奴役。但是泰勒先生说，这些雕塑的原型是当地的孩子，他想要传递的意思是“变化，以及孩子们的形象所呈现的环境特征”。
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.
这件作品被暴风雨毁坏了，有一部分倒塌了，所以Mr. Taylor制作了更坚实的替代品，在最近的一个下午为它完成了最后润色，它很快会被用船运到格林纳达岛。
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.
格林纳达岛的作品受到的关注，引起了墨西哥国家水族公园的官员们的注意。该公园是离坎昆不远的水生物自然保护区，每年有75万人前来参观。他们早就开始修建一些小型的球状人造珊瑚礁，以吸引人们远离遭到破坏的天然珊瑚礁。他们得到了墨西哥联邦政府的资助，想让Mr. Taylor设计上千个雕塑。到目前为止，已有制作大约500个作品的经费到位了。
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.
拿当地人做模特是很自然的，Mr. Taylor说，他仔细挑选出那些“线条清晰、骨架匀称”的模特，要求这些志愿参与的模特们参与两个小时的制模过程，其中包括在他们身上从头到脚涂上一层粘土。
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.
这些雕塑有个共同特征：他们的眼睛是闭着的，好像给他们增加了一丝诡异色彩，但是这其实是因为不闭上眼的话，制模的材料会进到模特的眼睛里。
“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.”
“他们开始往我身上涂东西的时候，我有点害怕，”53岁的(Joaquín Adame Sutter)说。他是雕塑“着火的男人”(Man on Fire)的模特，这个雕塑从皮肤上长出了火珊瑚。“我说先涂身体吧，明天你们可以涂我的脸。你知道，那种感觉很好玩。”
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.
博物馆的成功给Mr. Taylor带来了一些商业工作，包括为魔术师David在巴哈马群岛的私人小岛设计一个海底金属钢琴雕塑。这个雕塑能播放预先录好的音乐。
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个月在曼哈顿的乔纳森·莱文艺术馆(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.
他头脑中还在酝酿一个梦想中的项目，相对于他那些被广泛曝光的作品来说是一种平衡，但是这个计划很难实现。那会是一个具有煽动性的政治作品(他拒绝透露细节)，将被沉到深海里，而且不会告知具体沉在哪里，这样也许只能在照片里看到。
“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话上的，”他说，隐隐透露出一点信息：“我会把它放在一个上百只船也找不到的地方。”
