Keith Bayliss took over R&J's Instagram page from 25th - 31st January 2021.
DAY ONE: Monday 25th January
Two years ago, I produced four large works in oil on canvas as a central facet of my Yo Lo Fi/Fe Welais i exhibition in The Tannery at MoMA Machynlleth (May/June2019). Each exhibition is an opportunity to make new work and this exhibition was created specifically for the space in which it was displayed.Yo lo fi/Fe welais i, in part, pays homage to a creative friendship with my long-time friend, the late writer and teacher Malcolm Parr, who died in 2020. It was a friendship and working relationship which proved to be of fundamental importance to my development as an artist. The exhibition was also a personal visual response to influences and situations that are currently at play in the world.
The exhibition also featured eleven small figures, seated “visitors” and Shrine - first shown in Susana and the Elders at Oriel Q in Narberth. This subject has fascinated artists for centuries – the story is an old and sadly continuing one. Aspects of its drama are enacted in some form each day with sometimes tragic consequences.... A painting titled ‘Swsana’, produced many years ago was the starting point for this exhibition. The three main protagonists in the story, Swsana and the two elders, are made as half life-size figures in a self-contained environment or enclosure and created from wooden screens painted with seated and falling figures.
Images 1-5: Yo Lo Fi at The Tannery, MoMa Machynlleth Images 6-8: Swsana at Oriel Q Narberth
DAY TWO: Tuesday 26th January
My most recent exhibitions have all incorporated a sound element produced by my son, the musician Joseph Bayliss. These haunting soundscapes are an integral and complementary part of the environment and often feature the poetry of David Thomas as a part of this audio visual collage. Included here is a short clip from their work on ‘Shrine’.
Full length versions and additional soundtracks can be listened to on my website www.keithbayliss.co.uk
Shrine was a response to the current phenomena of roadside shrines appearing everywhere. They are attached to trees, park benches, viewed from the roadside or a public path. Old places of remembering and contemplation are falling into disuse, becoming redundant, we are a people in need of the spiritual. It is an ongoing subject matter and interest for me. We are lost, spiritually adrift. We inhabit a world of roadside shrines and makeshift memorials. Art provides a scrapbook resource of images removed from our experience, a place of reference but many of us cannot read them. But still they are important. They contain something essential.
The first collaboration for Joe and I was Hortus Conclusus: The Enclosed Garden at Mission Gallery in 2012. This site specific exhibition saw a change in my practice and set in place ideas and imagery I continue to develop. Am grateful to Clive Hick Jenkins for the kind words he wrote about my work at that time.
1: ‘Feet’ from Hortus Conclusus 2-4: Shrine installation (Oriel Q & MoMa Machynlleth) 5-6: Hortus Conclusus, Mission Gallery 2012 7: Quote from Clive Hicks Jenkins essay, ‘Keith Bayliss and the Hortus Conclusus 2011
DAY THREE: Wednesday 27th January