Meet Cody Bayne | Artist

We had the good fortune of connecting with Cody Bayne and we’ve shared our conversation below.

Hi Cody, we’d love to hear about how you approach risk and risk-taking
As an artist, risk taking is a fundamental part of my life and career. I have always believed in taking calculated risks in pursuit of my artistic goals, and this has often required deep sacrifices and cuts to what most would consider a “normal” life. My choices, which some may view as profoundly risky, have often left those close to me bewildered, but I firmly believe that these risks are necessary for me to achieve my artistic vision. I have made a deliberate decision not to bring a relationship or family into my choices, as I understand the demands and uncertainties of my art career. My approach to my career seems to be as if I am jumping out of a plane without a parachute, yet I always find a way to put it on while I am careening to the ground, lol. So far, I have always managed to land safely, but I understand that this is not a journey that everyone would be willing to take with me, but if any dudes out there wanna try there’s only one caveat, *must bring your own parachute*, lol.

Risk taking has had a profound impact on my personal life, but it has also been essential to my success as an artist. I have learned to embrace the uncertainty and unpredictability of my artistic path, and I use it to drive me forward. I am constantly seeking new challenges and opportunities, and I am never afraid to take a risk in the pursuit of my goals. Ultimately, risk taking is what defines me as an artist, and it is what has allowed me to create the work that I am most proud of.

Alright, so let’s move onto what keeps you busy professionally?

Honestly EVERYTHING keeps me busy. Something I know all creatives can understand is that if I’m doing it right, I make it appear as though I am never working whilst pretty much working 24/7. My schedule is basically a blend of normal everydayness -errands, gym, hikes fit in around either working in the studio, sourcing, mapping or harvesting materials while also building a secondary business called projectOBJKT which serves as a way to support may creative path during the lean months. Though my time is filled with a lot of busy work, I never stray from from the core vision of my pursuit.  I ensure that each piece of my work comes from a place deeply connected to my own voice and experiences. I always ask myself, “Is this mine to say?” This approach sets me apart and helps me create unique and meaningful pieces of art. I would add that my approach to materials aids this point of few as what is paramount is that I use materials harvested directly from the walls and streets of the city. The materials are witness to time and place. I can’t underline that point enough. This is a paramount tenet to my practice. The “life” the materials lead before I harvest them imbues them with a certain truth and vibration that I can’t replicate alone in the studio. I am in partnership with the environs I coexist in.  Too often creatives usurp the voices of others or jack the style of another. I try to pay homage when homage is due, give credit and own what is mine and that which is true to my voice. I am always most excited about what is next and what is possible on the stepping stone of each success I find. Right now limitations are more external like the proper space to work at scale I desire, representation in my home city and executing to completion several projects that have been living on the drawing board for far too long.. but isn’t that something that artists can list. I just get excited thinking about it.

I am proud of my ability to face adversity and come out better on the other side. The hurdles and constant pressures that come with being an artist can be tough, but I never give up. I’ve been knocked down, but I always bounce back. This resilience is what sets me apart and has helped me get to where I am today. Getting to where I am professionally was not easy. I’ve had many false starts and trusted some nefarious people, but I’ve learned from my mistakes and never let those experiences define me. Instead, I regrouped, trusted my vision and jumped to my feet even when I landed on my butt I turned hardships into new opportunities by creating new bodies of work. Because in the end, all I really need is the “act of making” and my relationship to it. I got to where I am today through grit, determination and sacrifice. I gave up some pretty important things including financial security, relationships, and time with friends and family to achieve my goals, but it all seems worth it. I’d say comeback in a few years and check on with me concerning my thoughts about what I have given up. I am still moving forward, but I am definitely on my way. What may have sparked at age 14 in Stockholm upon seeing a Rauschenberg for the first time took some time to gestate basically until 2007. I was in Berlin on a break from nightlife work  & pre-production of a short film I was about to shoot. Why a film? I asked myself that while thereat the time it was because I lived in Los Angeles and I was like “I should be making a film”. That time in Berlin became a pivotal moment pivotal moment in my life and the direction I was heading. I realized that my life wasn’t aligned with my thoughts and dreams. I’m not a filmmaker. I realized I’m a visual artist and need to be making in the physical space. I brought that energy and focus home with me to Los Angeles and realigned. I had been on a train speeding along, but heading to the wrong destination. So, I took a leap of faith and jumped off. This experience is related to my willingness to take risks and pursue my passions. It was a bumpy jump but I am still here

What I want people to know about my story is that it highlights the importance of following one’s passion and being true to oneself. My journey serves as a reminder that success does not come easy, it doesn’t look like you thought it would, nor is it guaranteed, but with hard work, determination, and a willingness to take risks, anything is possible.

Any places to eat or things to do that you can share with our readers? If they have a friend visiting town, what are some spots they could take them to?
oh this is a fun question. Where the hell do I start? I am going to assume the gloves are off and I can eat and drink anything and not sleep. I would start like this
Day 1
We will stay super local. I’d grab donuts from California Donuts and grab coffee probably from Bloom & Plume Coffee we’d eat and drink on a walk around Echo park Lake and I’d say let’s get on the swan boats to burn off the donuts after that a  nap on the lawn. For lunch we would run by Larchmont Village Wine,Spirits & Cheese and hope they haven’t run out of bread then grab a sandwich to go for a required visit to the Observatory. Dinner that night will be at Vinotecca my favorite wine bar on Hillhurst.
Day 2
This day will be the first day trip and will be dedicated to Angeles Crest National forest. A picnic and hike and since I am making it perfect, the super moon will be coming out that night. Picnic packed from sandwiches picked up at Maciel’s Plant-Based Butcher and Deli in Highland park we will head up the HWY 2 through La Canada/Flintridge and into the forest stopping for views and vistas until we hit Buckhorn campground. I’ll take a left into the campground and go to the Buckhorn trailhead. It’s a lovely shaded hike to a swimming hole. On the way back we will stop at Charleton Flats day area and park while we wait to watch the Super moon rise over the mountain horizon.
Day 3
Hollywood and Museum Row. Breakfast at the Griddle. Walk of fame from Rosevelt Hotel to Vine St .. look at Hollywood and Highland but don’t go in, lol, then down to Museums. LACMA for sure, then the Academy Museum after that a choice between the Peterson or the Tar Pits. We will eat in the courtyard cafe at LACMA .. For dinner we will hit Mezcalero DTLA for tacos and incredible cocktails.
Day 4
Beach day likely head to Point Dume State Park. Gotta get there early to stake umbrella space and toss a giant blanket on the sand and because we are full tourist mode  that day, we will go to Paradise Cove and overpay for everything and then Uber home after those drinks
Day 5
We’ll slow down this day.. grab a smoothie from Nature Well and gallery hop. Definitely Regen Projects, Deitch gallery, Mathew Marks and probably a jaunt to Gagosian afterwards  Cross town to Chinatown to see my fave gallery in town Charlie James Gallery and finally end up at Hauser Wirth after popping around the Arts District. We will grab early drinks at Manula then dinner at Dama in the fashion district with any luck there will be some shows opening at the Bendix Bdlg to complete the marathon
Day 6
Find a pool & backyard cook out and chill all the fuck long day
Day 7
Day trip out to Vazquez Rocks and in perfect timing the California Poppy preserve is in full bloom and we check it out. The a fast drive back to DTLA for a sunset drink in the lobby of the Intercontinental Hotel bc the view from the 70th floor is necessary from there dinner down the street at The Moxy which I assume will be open by then followed by a nightcap at Hotel Fiqueroa out by the pool
And finally sleep annnnnnnd nope I’m not driving you to LAX.

Who else deserves some credit and recognition?
“I want to give a massive shoutout to Jes Navarro, Rebecca Wilson, and Jason Ostro for their unwavering support and guidance in my artistic journey early on. Jes, who discovered me on Instagram in 2014, offered me my first show at Gold Haus Gallery, played a pivotal role in supporting my career early on. Rebecca Wilson’s recognition of my work by including me on the “Rising Stars” 2016 list at Saatchi Art was a turning point for my career at the time. And, I cannot forget the early support and encouragement I received from Jason Ostro at Gabba Gallery here in Los Angeles as well. However, my journey began long before that. It all started when I was 14 years old, during a student exchange in Stockholm, where I stumbled upon Robert Rauschenberg’s “Monogram”,1955-1959 at the MODERNA MUSEET. If you follow the lineage you will find that it’s that work opened my eyes and gave me the confidence to pursue art on my terms. There are actually a lot of artists I have never met that echo within my and escape in many ways. Recently I released a suite of 10 prints called OVERTURE from a body of work I created in 2014 called “101 Nights with Pierre Soulages”. During that time I spent 3 months making the work and I had a imaginary relationship with the artist as mentor which in turn lead me to develop a particular vernacular unique to my work so back to the previous question where I mentioned not having relationships due to risks I guess in a way I do have imaginary ones but as risks seem to pay off. ;-D. I also definitely want to recognize Pamela Walsh of Pamela Walsh Gallery who shows my work in Palo Alto. It’s very grounding to have someone in your corner like her. When you have people that believe in your work when you’re facing conflict, doubt and demons, it ballasts you.

Website: www.codybayne.com

Instagram: @codybaynestudio @codybayne_official

Twitter: @codybayne

Facebook: https://www.facebook.com/codybayne.artist