Artist in Focus: Claire Bayliss

201 words

Louisa Elderton

This page was made some time ago and may contain information which is now out of date

Time had moved over and accumulated upon the

surfaces of this place

in such a way as to render it enchanted.

Objects could be reinvented in guises that spoke of

their origin

and destruction; rock into sand, sand into glass,

glass returned to rock.

A place in which some strange poetry has settled; a

garden as night is falling. [1]

I interviewed Claire Bayliss this week to discuss the form that her practice takes and her thoughts about being included in Jerwood Encounters: Surface Noise. She described how ‘my practice is rooted in an experience of landscape, and relies on the invention of an imaginative location of time … the landscape that I associate with the work is not the monumental, majestic nature that is intrinsically linked with the notions of the sublime and transcendence, but is conditioned by a quieter non-specific ‘English’ landscape.’ [2] The notion of the archaic landscape permeates her work, as she explores how rock is a repository of time, a marker, and a record of time past. Watch this video of the interview to gain further insight into Claire Bayliss’ printmaking practice.

[1] Claire Bayliss, poem written in response to Neolithic/extant, 2010.

[2] Claire Bayliss, artist statement, 22nd February 2011.