SCULPTOR
Tim Baynes
Tim Baynes was born in Auckland, New Zealand, raised in both Zimbabwe and South Africa and now lives on a working farm in the KwaZulu Natal Midlands.
His introduction to clay started during COVID lockdown in 2020, keeping his mind active and taking the pressure off from not having a steady income. Now he spends a lot of his time working on clay sculptures on his farm in the Dargle Valley.
Much of his inspiration comes from indigenous African animals and his passion for both the land and the creatures that inhabit it. In using natural organic products he strives to invoke feelings of authenticity and reality.
Tim has a deep-rooted passion for both his traditional Nguni cattle and the culture associated with these animals.
The Nguni cattle breed are steeped in ancient tradition and often reflected in art. And just like the Nguni cattle, who gives us a calf with unique markings each year, he pit fires his works and they are ‘rebirthed’ from the earth, unique and unpredictable each time.
The temperature and moisture of the soil, the rocks, the materials used – and even how long the fire is allowed to burn – all have bearing on how the colours will turn out. This process is entirely variable as the elements deem them to be.
His combination of both traditional kiln firing (giving the sculpture strength) and pit firing (to bring out natural colour and strength) makes for remarkably lifelike results.
“Mother nature plays the largest role in my work, as without this influence, the smoke and flames I use would not be able to form, etch and work themselves into the clay, literally climbing into each piece and bringing them to life,” said Baynes.
“Once the fire has reached its peak, I close the pit with metal sheets and allow mother nature to weave her magic,” and added, “I open the pit the following morning after it has cooled – and birth my new creation.”
No two sculptures are ever the same. Each one is crafted by his hands, using different colour clay, different oxides and different fires each time.
He likens his work to birth. Each sculpture comes from the earth, initially in its raw form as wet clay and it emerges from the earth a second time as a finished sculpture. Each piece is created differently and no two ever look the same. And just like in life, each sculpture needs to be polished a little to give it some lustre and depth.
“I am also very calm about breakage and prefer to mend any broken pieces with a leaning towards the Japanese art of Kintsugi. This means breaking free from the obsession of perfectionism,” he said and concludes with, “My art reflects life – raw and unblemished at birth – but weathered, coloured and scarred as we progress and grow. “