His British art-school training has shaped the way Bayliss works. He thinks of himself as an artist, designer and craftsperson; and loves it when one area of his bailiwick influences another.
He says- “From my gallery work, to model making for public art projects, I often think through my hands, engaging with materials and methods directly. When I work this way, with problems and processes, old and new, I’m internally focussed, contemplative and quiet. Making public artwork, on the other hand, feels more externally focussed. It’s a multi-layered process, where creativity is woven with compromise”
His public art works not only engage viewers in an interplay of light, color, and activated space. Often, they include community members in their development and fabrication.
“I love engaging others and working collaboratively with a broad range of individuals, including students and community members in the development, fabrication, and installation of my work. I am as energized by directing volunteers, as I am by collaborating with engineers, architects, and skilled fabricators. I encourage everyone involved to bring their contributions wholeheartedly to the artwork, this way, not only is the product improved beyond measure, it becomes theirs too! When I see that happening, I get very happy.”
I try to imagine the experience of a viewer and their interaction with the work before I seek it’s form. This way I can direct the design towards an ideal outcome, sharpening and refining as I go.
Designing for glass factories like Rosenthal and Blenko, has allowed me to take part in a special back-and-forth between artist and artisan. I love the challenge of stretching glassmakers’ abilities at the same time as honoring tradition, and pushing stylistic boundaries.
Recently, as a consultant to a ground-breaking makerspace initiative in Indianapolis, I have researched tools and techniques for creativity testing and training. Adding to years of using techniques developed by Edward de Bono in my studio teaching.