[2] Taçon was trained as a violinist and moved with her adopted mother to Toronto in 1924 to pursue a degree in music.
Charles Comfort, who worked at the show as a docent, was convinced that many artists, Taçon among them, experimented with non-representational painting because of it.
Although she continued to perform and study the violin in New York and Europe, notably in Switzerland with Oscar Studer during the summer of 1935, her husband's career as a painter and instructor of art and modern languages influenced her in her decision to pursue painting and, particularly, abstraction.
"[4] Taçon used collage in her early years, employing the term "paper plastics," to describe these works.
She may have come across this term through the writing Hilla Rebay, curator of the Museum of Non-Objective Painting in New York, who used it in a catalogue as early as 1939.
Starting in 1942, Taçon's work was included in a series of group shows by the Guggenheim Foundation and in 1943 she joined the museum as a hostess and guide.
The Art Gallery of Toronto included her in the exhibition Four Canadian Artists, also featuring Jessie Faunt, Michael Forster, and Gordon Webber.