During the Covid Pandemic, I relocated across the country. As anyone who has sorted, packed, and thrown away 40+ years of accumulation, the move was mentally and physically exhausting. When I drew, I drew in my small sketchbook. Those drawings focused, appropriately, on images of floods, fires, and loss.
— David Bailin • 2021
A series inspired by the poem The Fire Cycle by Zachary Schomburg from his book, Scary, No Scary, published by Black Ocean Press, 2009. After several years working on the large-scale Erasing Series, I'm drawing small. The poem, The Fire Cycle, inspired me with so many visual ideas of solicitude and sublime immolation that I couldn't resist exploring his brilliant vision.
— David Bailin • 2019
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
From his early Holocaust drawings, in which he superimposed symbols of the Kabbalah over scenes of outrage, to his series of Biblical scenes set in the midcentury, to today's erasings, works that reference the loss of memory and personality, Bailin's narratives offer us a way to think about the human condition. We can be cruel, we can be banal, and eventually we aren't anymore.
— Leslie Newell Peacock • Bailin. Criswell. Peters • 2015
Bailin’s new works feel less specifically narrative and more atmospheric. Bailin has talked about how essential mark making is to his process, and this approach is certainly evident in his drawings. The drawings in “Dreams and Disasters” are ephemeral and dreamlike, as the show’s title suggests, 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. In his efforts to accrete images from constituent parts, Bailin adopts a multiplicity of implements, yielding various textures and marks. His works skirt the edge of abstraction and approach drawing as text, and as theater, rich in surface and movement.
— Christopher Michno • Exhibition Review • art ltd, 2014
[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. One drawing has its roots in an episode from the story of Winnie the Pooh. 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
…Bailin's anonymous but expressive figures interact directly with the elements, often at some peril to themselves. For all their mystery and even ominous surreality there is an antic spirit to these drawings. In fact, in more than a few of his rough-hewn but detailed charcoals, Bailin sets up man (and woman) as the fall guy for nature's own slapstick brand of humors.
— Peter Frank, LA Weekly, 12/27/2002-1/2/2003
Bailin's drawings … remain complex and not easily deciphered.…In the end, his works are contemporary: the new context he provides for these psychologically—charged fragments, juxtaposed one against the other, reflects one of the major problems of modern life—the anxieties that arise from the stream of highly-charged emotional situations that arise daily, the desire for the simple life, and the complexity of the questions that arise when one is finally alone.
— Ruth Pasquine • In Search of a Hero • 2004
Bailin’s paintings are informed and intelligent works of art. Works of art that question the viewer’s knowledge and perception. That question art itself. And, isn’t that exactly what I asked for? […] Bailin’s paintings are heady stuff, powerful and thought-provoking images.
— Cory Dugan • David William Bailin • Number: Spring 1988
David Bailin is famous for alarming curators and museum guards by altering or attempting to alter his own works after they’ve been installed. One minute David is busily rubbing out and redrawing, the next he’s being strong-armed out of the place. But this is a perfectly natural thing to do, as far as David is concerned, since his drawings are never really finished. They are left unfixed and open to revision—even though they flaunt their incompleteness on a grand scale.
— Warren Criswell • World In Progress • 2000
"Disparate Acts" is an attempt at a form of music theater in which all elements of performance – language, dance, music, gesture, lighting, sets, and space are part of an integrated event, with no element relegated to a secondary or decorative role. The production's structure of abrupt, isolated scenes has been chosen in part to dramatize those unexpected, fleeting moments of sudden realization which occur in daily life. However, 'Disparate Acts", is concerned primarily with showing the correspondences that exist between even the most diverse actions, as well as between the various art forms through which these actions can be represented. By juxtaposing disparate elements, it endeavors to manifest a transcendent "whole".
— John S. Patterson • The Villager • 1979
I moved to New York in the summer of 1976 and I completed a number of large scale paintings dealing with memory, location and material. But I soon came to realize that narrative art in the conceptual 1970s was problematic. As a result I developed several performances that brought my painting ideas into a theatrical space and permitted me to explore in depth image and language. The following performance works were presented during that period at various locations around New York City.
— David Bailin, Theater Promotional Materials • 1978
Epiphany from the studio