Process
The same sequence underlies each painting. It gives Baylis a route back when the work becomes uncertain and lets him concentrate on one decision at a time.
Method
Working sequence
Every chapter follows the same physical order. The images show only the finished surface of Relative Articulation, not earlier stages of its making.
Chapter 01 / 04
Baylis begins with quarter-inch Baltic birch. He applies water conditioner, sands it if needed, then stains and bleaches the panel. Once dry, three transparent-gesso layers prepare the surface while allowing the grain to remain visible.
Five full-surface glazes combine cold wax medium, Galkyd, mineral spirits, and a trace of transparent oil colour. Each layer dries for about one week.
Chapter 02 / 04
With the largest brushes, Baylis blocks broad abstract shapes, establishing light areas and warm and cool relationships. Every mark is intentional.
Five further full-surface glazes bring the total to ten, building depth and subtle shifts in colour.
Chapter 03 / 04
Medium brushes add the brightest saturated colour. These marks become reference points for later adjustments.
Baylis continually adjusts and responds to the colour relationships across the whole composition.
A range of brush sizes adds further layered marks across the painting.
Greys mixed from complementary colours are placed over brighter marks to tie the colours together.
Chapter 04 / 04
The final highlights are made with the smallest brush, predominantly in titanium white with traces of colour.
Each painting is both a single image and a field of individual marks. The full process takes about six months.
Complete artwork
Oil and cold wax on Baltic birch panel. Series 1.
View artwork record