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People also looked forC Series Catalog Confessions of A Conformist Series Dreams Disasters Series Fire Cycle Series Gatherings Series Ghosts Series Midrash Series Paper Trails Series Prophet Series The Erasing Series Washingtons Profile Series C Confessions of A Conformist Dreams Disasters Erasing Exhibition Catalogs Fire Cycle Gatherings Ghosts Midrash Paper Trails Prophet Washingtons Profile Large Scale Drawings Large Scale Narrative Drawings Medium Scale Drawing Publication Small Narrative Drawings
I draw until the figure and the environment have weight—plasticity and narrative. I draw until I find a hook that sustains my viewing for more than a couple of days. If that hook doesn't last, then I go back to revising. Whatever began the drawing–the studies, the initial idea–is started again when I pick up my piece of charcoal. These drawings are the results of those searches.
I create drawings in a series. Each series starts with an idea that determines not only the subject matter but also the techniques to create it. If you like one of the drawings one this page, you should visit the complete series and view the other drawings.
The most current series are highlighted below.
I dislike crowds. They make me uncomfortable. Especially groups of people congregating around a single idea or ideology. They are the Cossacks that terrorized my ancestors and who terrorize us now. This series shows only the gathering. What threatens them is rarely real but it is they who haunt my dreams.
— David Bailin • 2022
After several years working on the large-scale Erasing Series, I'm drawing small. The poem, The Fire Cycle, by Zachary Schomburg from his book Scary, No Scary, published by Black Ocean Press, 2009, inspired me with so many visual ideas of solicitude and sublime immolation that I couldn't resist exploring his brilliant vision.
In his artist statement about his current drawing series, "The Erasing," Bailin, 62, writes: "As an artist who witnessed the waning of my father’s personhood through the dissolution of his memory, I wrestled with how to convey the devastating personal and human experience of memory loss without relying on visual clichés." The answer to that question is revealed in the creative process of the artworks of "The Erasing": draw, erase part of the drawing, repeat, repeat, repeat.
— Ellis Widner • Into The Void • 2017
The drawings in [this series] are ephemeral and dreamlike, […] and the figures and settings emerge out of Bailin’s marks—marks of abstraction, gesture, texture, and motion—as if surfacing within one’s consciousness out of white noise. […] His works skirt the edge of abstraction...
— Christopher Michno • Exhibition Review • art ltd, 2014
Bailin … presents incidents that mark a transition in ordinary lives–the ordinary lives of what seem to age minor captains of industry or their mid-level subordinates–to something outside the ordinary. Drawn in charcoal (and coffee!) on large sheets of paper, Bailin’s rough-hewn but beautifully detailed pictures present us with men in crisis–that is, men who seem to have grasped that their crises have overcome them and require resistance or escape.
— Peter Frank • Haiku Reviews • Huffipost.com, 2012
[Bailin's] interiors and landscapes made since 2001 are as likely to resonate with texts by Eco or Borges as with anonymous images plucked from old magazines and newspapers. […] Bailin approaches each blank page as if a theatrical space to be occupied, activated. Each sheet becomes the site of a performance—Bailin’s own gestural charcoal dance and his character’s parallel search for a place, a form, a moment of reprieve.
— Leah Ollman • Catalog Essay • 2008
Lines of Thought
Observations on Art and art process from the studio
The four versions of Slippage before the finished drawing as an example of my process.
This show features the work of ten Koplin Del Rio artists and completes the series of three IDENTITY exhibitions introducing the gallery’s artists to a Seattle audience.
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