Welsh ( b.1954 )
|Image size||10.4 inches x 14.4 inches ( 26.5cm x 36.5cm )|
|Frame size||16.7 inches x 20.1 inches ( 42.5cm x 51cm )|
Available for sale from Big Sky Fine Art; this original painting by Keith Bayliss dates from the last decade of the 20th Century.
The colour wash and ink artwork is presented and supplied in a contemporary but complimentary frame (which is shown in these photographs), mounted using conservation materials and behind non reflective Tru Vue UltraVue® UV70 glass.
This piece is in superb condition. It wants for nothing and is supplied ready to hang and display.
The artwork is signed with a monogram lower left.
Keith Bayliss is a superb Welsh visual artist who works in a variety of mediums, including pencil and ink on paper, oil on canvas, relief printing and small mixed media sculptural constructions. He was born in Swansea, South Wales in 1954 and continues to be based there. After graduation from Sheffield Polytechnic with a degree in Fine Arts he worked in a psychiatric hospital for over a decade, then as Community Arts Officer based at the Glynn Vivian Art Gallery & Museum. Since 1991 he has worked as a freelance artists and arts educator, undertaking school, gallery and workshops, residencies, festivals and projects. He has worked with all areas of educations, the elderly, special needs and those with disability, both creating and facilitating educational projects. Throughout this time he has created stunning art, collaborated widely with musicians, poets and writers, and exhibited regularly. He has made significant contributions to making art accessible and community engagement and facilitated and curated projects both in his native Wales and throughout Europe. Bayliss has also written articles for scholastic publications and Art & Craft Magazine on numerous projects. He has written for BARN, a Welsh cultural magazine, on, among others, Josef Herman, Fred James and John Piper.
Bayliss’s work is almost always figurative and intensely expressive. He features angels, fools, child-adults and voyagers seemingly adrift in a world which we view with a sense of wonder. His gift is to enable us to see as they do. It has been said that whilst their bodies are often presented as frail and schematic, their faces are beautiful and brimming with detail, because he knows where to invest telling details and how to pare away the extraneous. He thus suggests complex ideas through deceptive simplicity of form. There is a sense of tenderness, of the fragility of humanity that captures the viewer. Bayliss depicts the human form in ways instantly recognisable as embodying shock, wonder, reflections and the wounds of a thoughtful life. His figures are naked, both proud and vulnerable.
The settings of his works are often undefined or unrecognisable places, often featuring the curve of a hill or a moon. His protagonists are usually single or in pairs, sometimes interacting, sometimes opposing, and sometimes with a bird or an animal as a companion.
Bayliss’s work is allegorical, influenced by myths, folklore and biblical tales. He has illustrated books and poems and exhibited widely. In 2008 Keith Bayliss was the first artist invited to exhibit inside St David’s Cathedral, on the western tip of Wales, as part of the new St David’s Festival of Music and the Arts. He created a series of stunning figurative images, creating works to fit the stone apex, trefoil and cinquefoil shapes of the cathedral windows and other interior cavities and spaces. This portrayed his intuitive grasp of sculptural extension and use of symbolism. He then contributed his talents as the Festival’s visual arts organiser from 2014-18, inviting subsequent artists who exhibited work in the cathedral.
In recent years Bayliss has worked in collaboration with other artists or sculptors, including his son Joseph, a musician, who has provided relevant soundscapes for exhibition spaces.
Bayliss tries to resist the temptation to provide explanations for his works, which he considers to develop over time. He says “I start with an idea but as time passes, the work dictates how, when and if, it has reached a conclusion. It is a dialogue between myself and the developing visual image. I am just the facilitator. The work ‘re-makes’ itself with each new visitor it encounters and the story changes. You the observer complete the work.”
Moonlight Embrace is an original Keith Bayliss work in colourwash and ink. It depicts a naked couple in an intimate embrace, against a background of an open landscape, and a full moon.
The couple are recognisably human, but they have a sculptural quality, and appear almost as ancient mythical beasts. There is something naive, timeless and utterly captivating about the scene.