Photography: Babiche Martens
Immerse yourself in Kayla Bacon’s psychedelic artwork. The Raglan-based creative is drawn to geometric abstraction and creating textured, layered artwork. Everything is bursting with colour, and it’s impossible to pick a favourite.
Tell us about your creative journey so far.
There’s something about me that usually surprises most people. Before I decided to pursue a creative career, I was working full-time as an automotive technician. I’m a qualified auto electrician by trade but like many others, when lockdown hit, I found myself reconnecting with my creativity. I came to the realisation that being a spanner-swinging grease monkey wasn’t for me anymore.
In 2021, I began my Bachelor of Contemporary Art at Wintec. Back then, I was painting pet portraits and selling them for an absolute steal. However, it was in my second year of study that I struck gold. With the right push in the right direction from my amazing tutors, I created my first laser-cut, pattern-based series. I found what some might call my ‘niche’. Since graduating, I’ve been focused on growing my creative practice. I’m still figuring it out as I go, but that’s all part of the fun.
What drew you to geometric abstraction?
My love for 1970s pattern design. The bold colours, repeating motifs and unapologetic flair of that era have always resonated with me. The ’70s aesthetic is woven into every aspect of my life, from my wardrobe to my interior decor, and even my car, which is a classic from 1975. So naturally, it began to flow into my creative work as well.
In the early stages of exploring geometric forms, I discovered that when I applied a certain set of principles, like repetition, layering and colour, a kind of visual magic started to happen. These patterns I was creating felt like they were moving. That optical energy, that sense of rhythm and vibration, was what truly sealed my love for geometric abstraction. It wasn’t just design; it felt alive and elevated.
What comes first – the design or the colour palette?
Design, always. With design, I see it as a more structured style of working – I like to call it ‘the boring phase’. It requires a lot of screen time, a lot of math and a lot of failed designs, literally hundreds. Colour comes later in the process – this is where I can be more playful and less intentional. Most of the time I’m scrambling with whatever I have left because there’s a delay with my spray paint order.
Walk us through your creative process. How long does a piece take?
I get asked this question all the time, and I always find it hard to answer. It’s difficult to pinpoint an exact timeframe for each piece because my process isn’t linear. I work in series – and every series begins with a concept. For example, to create a body of work that gives the illusion of shifting colours using only flat colour and pattern.
From there, I move into the design phase, which is often the most time-consuming. This is where I work out all the kinks, like structural integrity and visual effects. I’ll usually go through a few prototypes before I feel like I’ve nailed it. Once I’m confident in the design, I begin creating the final pieces. Even then, things still shift. I tweak, adjust and refine as I go. Finishing off with my favourite, painting and assembling.
Are there any specific places or objects that you get inspiration from?
Literally anything with a pattern can spark inspiration. It could be the wallpaper at granny’s house, the bathroom tiles in that fancy restaurant, or the detailing on that villa’s veranda. I’m constantly collecting visual references, sometimes without even realising it. I also draw a lot of inspiration from iconic artists like Bridget Riley, Richard Anuszkiewicz and James Turrell, basically anyone who creates an experience through their work. Whether it’s optical, spatial, or emotional, I’m fascinated by the way artists can manipulate perception and play with the viewer’s senses.
What’s on the horizon for your art?
Exposure, exposure, exposure. I still consider myself new to this gig, with plenty of room to learn and grow. You’ll catch me jumping at any opportunity that comes my way, spreading my art as far and wide as I possibly can. And honestly, I’m just embracing it all and taking full ownership of this really cool, unique form of art that I’ve created.
How can our readers find you and your work?
To view my work in person, I am currently represented by two galleries: Artist at Work Gallery in Raglan and The Mandarin Tree in Gordonton.
You can also find me online by heading to my website www.kaylabaconart.com or by following me on Instagram @kaylabacon_art for some behind-the-scenes action, availability on pieces and upcoming events.
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