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Ali Bailey

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Sun, Moon and Steelworkers, 2010 Magazine Advertisements, Red Plexiglass, Frame 17 X 24" © A. Bailey
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Eskimos have y words for snow, 2010 Magazine Advertisement © A. Bailey
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East Meets West / Worked Out, 2010 Powder-coated Aluminum, Felt Blanket 100 X 79 X 72" © Ali Bailey
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Life, 2010 Found Magazine 35cm X 24cm X 4cm © A. Bailey
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Juncture (1982-present), 2010 Wood, Clay, Wire, Spray Paint, Pedestal 69 X 48 X 48" © Ali Bailey
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Four Rectangles (In the Black), 2010 Folded Magazine Advertisement, Frame © A. Bailey
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It's the Real Thing, 2010 Cut Magazine Advertisement, Frame © A. Bailey
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Ralph Lauren, 2010 Wood, Construction Adhesive, Paint Can, Paint 72 X 48 X 60" © Ali Bailey
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Ralph Lauren (detail), 2010 Wood, Construction Adhesive, Paint Can, Paint 72 X 48 X 60"
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Spectrum, 2010 Rotated Magazine Advertisement © A. Bailey
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Abstraction with Artifact, 2010 Wood, Construction Adhesive, Diet Coke Can, Pedestal 96 X 36 X 36" © Ali Bailey
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Abstraction with Artifact (detail), 2010 Wood, Construction Adhesive, Diet Coke Can, Pedestal 96 X 36 X 36" © A. Bailey
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Untitled (Baseball Plant), 2009 Cast Polyurethane, Brass, Epoxy, Oil Paint © A. Bailey
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Roadside Fungi, 2009 Plastic Water Bottles, Athletic Gear, Clear Polyurethane Resin © A. Bailey
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Stump (Led Zeppelin #1), 2009 Styrofoam, Hydrocal, Air-drying Clay, Modeling Putty, Silicone Adhesive, Oil Paint © A. Bailey
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Sleepwalker, 2009 Sleeping Bag, Basketball, Steel © A. Bailey
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Ice cream cone, 2008 Cast and Poured Polyurethane Resin, Oil Paint © A. Bailey
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Quick Facts
Birthplace
Bedford, UK
Birth year
1982
Lives in
Chicago
Works in
Chicago
Representing galleries
Tags
appropriation mixed-media abstract, conceptual, sculpture
Statement

Throughout my practice I have been interested in producing work that deals with the balance between what is real and what is the copy or “fiction”. There has also been a nascent sub-theme that engages a melancholy marked by failure, chance or loss. A destabilizing tension or push-pull between poles, described by the use of ‘made’ elements versus found materials and shifting relationships between object and display sets up a questioning of how meaning is defined.

A recent body of work incorporated realistic re-creations of objects that were collective symbols of loss, such as an old tree stump carved with rants, loves and personal poetics. These sculptures existed holistically, creating a dialogue with other works that were assemblages of found objects that were more obtuse in meaning and incorporated chance. This tension pushed me towards a new body of work that involves a more abstract language whose forms have a relationship to minimalism while addressing the ready-made with the use of commercial products and advertisements.

Now that I am directly using elements of commercial culture within my work, the underlining feelings of loss transgress to include a dialogue that probes beyond personal experience and into the broader, more complex relationship that one has with a capitalist society and objects at large. In one piece a tall tiered framework becomes an elaborate device to hold a can of coca-cola. Another holds a felt blanket. This oscillation between the real and the uncanny, the staged and the incidental, and the object and the pedestal points toward a struggle to understand these interventions and to contemplate their use and value as art objects.

Ali Bailey (b. 1982, Beford, UK)  recently moved from London to Chicago, IL. He received a BA in Fine Art from the University of Brighton in 2006. Bailey recently had a solo exhibition at Golden Gallery in Chicago and has an upcoming solo show at Andrew Rafacz Gallery in Chicago.