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Bailin Studio

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1991 – 1999

Testament Images

[T]hese 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

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The Minyan Series: The Ten

  • Emanations [Sefirot] • 1991 48

    Emanations [Sefirot] • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

  • Golem • 1991 48

    Golem • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

  • Siren • 1991 48

    Siren • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

  • Ezekiel’s City • 1991 48

    Ezekiel’s City • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

  • Diagram Of The World • 1991 48

    Diagram Of The World • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

  • Amulet [Num 6:22-1/Psalm 121] • 1991 48

    Amulet [Num 6:22-1/Psalm 121] • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

  • Labrynth • 1991 48

    Labrynth • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

  • Vessel • 1991 48

    Vessel • 1991 48"x51" • Charcoal on paper • Private Collection, Little Rock, AR

  • The Count [Minyan] • 1991 48

    The Count [Minyan] • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

  • At The Center of the World [Kibleh • 1991 48

    At The Center of the World [Kibleh • 1991 48"x51" • Charcoal on paper • B'nai B'rith National Jewish Museum, Washington, DC

The Studies

  • THE BALLOON • 1992 • 26

    THE BALLOON • 1992 • 26"x30" • Charcoal on paper • Private Collection, PA

  • IF WE DON’T SURVIVE, REMEMBER [v2] • 1992 • Charcoal on canvas • 72 x 72 inches

    IF WE DON’T SURVIVE, REMEMBER [v2] • 1992 • Charcoal on canvas • 72 x 72 inches

  • IF WE DON’T SURVIVE, REMEMBER • 1992 • Charcoal on canvas • 72 x 72 inches

    IF WE DON’T SURVIVE, REMEMBER • 1992 • Charcoal on canvas • 72 x 72 inches

The Midrash Series

  • Pyramid [Moses & Aaron] • 1999 • Charcoal on paper • 96 x 157 inches

    Pyramid [Moses & Aaron] • 1999 • Charcoal on paper • 96 x 157 inches

  • Skin [Cain & Abel] • 1997 • Charcoal on paper • 96 x 144 inches

    Skin [Cain & Abel] • 1997 • Charcoal on paper • 96 x 144 inches

  • Breath [Expulsion] • 1996 • Charcoal on paper • 96 x 144 inches

    Breath [Expulsion] • 1996 • Charcoal on paper • 96 x 144 inches

  • Road [Job] • 1996 • Charcoal on paper • 96 x 168 inches • Arkansas State University, Jonesboro, AR

    Road [Job] • 1996 • Charcoal on paper • 96 x 168 inches • Arkansas State University, Jonesboro, AR

  • Rock [Abraham] • 1995 • Charcoal on paper • 96 x 168 inches

    Rock [Abraham] • 1995 • Charcoal on paper • 96 x 168 inches

  • Bone [Noah] • 1995 • Charcoal on paper • 96 x 168 inches

    Bone [Noah] • 1995 • Charcoal on paper • 96 x 168 inches

  • Salt [Lot's Wife] • 1994 • Charcoal on paper • 96 x 120 inches • Arkansas State University, Jonesboro, AR

    Salt [Lot's Wife] • 1994 • Charcoal on paper • 96 x 120 inches • Arkansas State University, Jonesboro, AR

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Statement

The TEN (or MINYAN) was a series of holocaust drawings I created that superimposed Kabbalah symbols or references onto documentary photographs. I hoped to provide some psychological closure by embracing the victims within Jewish mysticism. That was naive. However, an outcome of this series was the Midrash series and a new, more invigorated approach to mark making.

While working a full-time job, my Saturdays and Sundays were filled with taking care of young ones or finding time in the studio. When I was in the studio I worked very fast, completing a drawing/painting in a single setting. The problem was that I had little to sustain me during the rest of the week. My solution seemed counter-intuitive but served me in the long term: create a series of drawings that were so large and complicated that they couldn't possibly be finished in one day and, as a result, couldn't be shown in a gallery (removing the anxiety of finding a gallery and exhibiting.

My studio was located in the basement of a building and occupied half a city block. It could accommodate large drawings. My theme was taken from my childhood memories of bible stories that haunted me: The Expulsion, Cain, Lot's Wife, Noah, Job, Abraham, and Moses' breaking of the tablets. Each drawing took at least six months to create and the week long absence gave me a chance to meditate on the work. I was creating my own Midrash.

The MIDRASH, or more appropriately, Midrash Aggadah, examines the moral principles behind the bible stories and through the months of drawing I came to understand the stories. Throughout, I was influenced by The Book of J (Harold Bloom, author and David Rosenberg, translator).

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