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Lloyd Durling
updated: 05/11/2012
website: lloyddurling.blogspot.co.uk
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Angel
Black Heart
Corolla
1959
Hole
Shapes Of Things
Wonderful Woman
Canopy
Underdog
In The Black
Im Kopf
Umbra
Habit
 
 
Portfolio Keywords:  nature
 
 
Angel by Lloyd Durling
Angel
Pen & Oil on Paper
2011
14 " x  14 " 
Black Heart by Lloyd Durling
Black Heart
Oil & Pen on Paper
2011
14 " x  14 " 
Corolla by Lloyd Durling
Corolla
Oil & Pen on Paper
2012
40 " x  27 " 
1959 by Lloyd Durling
1959
Oil & Pen on Paper
2011
14 " x  20 " 
Hole by Lloyd Durling
Hole
Oil & Pen on Paper
2011
14 " x  14 " 
Shapes Of Things by Lloyd Durling
Shapes Of Things
Oil & Pen on Paper
2011
14 " x  14 " 
Wonderful Woman by Lloyd Durling
Wonderful Woman
Oil & Pen on Paper
2011
14 14 " x  14 14 " 
Canopy by Lloyd Durling
Canopy
Oil & collage on Paper
2012
7 " x  5 " 
Underdog by Lloyd Durling
Underdog
Oil & Pen on Paper
2011
14" x  14" 
In The Black by Lloyd Durling
In The Black
Oil & Pen on Paper
2011
50 " x  50 " 
Im Kopf by Lloyd Durling
Im Kopf
Oil & Pen on Paper
2012
40" x  27" 
Umbra by Lloyd Durling
Umbra
Oil on Glassine
2012
7" x  6" 
Habit by Lloyd Durling
Habit
Oil & collage on Paper
2012
7" x  5" 

Artist Statement


 

At the heart of the work is a duality between form and non form. But this duality is not a Manichean statement, it is far more worldly and smart for such a simplistic light/dark, good/evil analogy. It is too engrossed in sensuality and the corporeal to endure such restriction.  

     The apparent economy of structure is the result of a cumulative process whereby each repeated mark has its own micro-aura of overlap and placement that is mirrored by the work as a whole. But rather than being a mere a struggle for effect, the charm or trance of repetition creates a dynamism akin to a static discharge. The simplicity of the dominant media, felt-tip and oil, the use of paper as support, brings us straight to the surface. The importance of surface cannot be underestimated. Line is replaced by areas of contact, overlap and omission. Space is filled around an image. Areas left blank depart from their role as suggestive silhouette and resonate with the absence of form. Here we are drawn into immediate participation, our need for information becomes the driving force. And ultimately this is what it’s about. Information. 

     Earlier work, which deals with stripped-down environments, carries a certain cinematic retro-sheen, and with it the concept of the edit. Difficult to locate historically, it seems the question being asked is when does the present slip into the past, and how much of that perception is mediated through the fictions we are exposed to. Recent work focuses on the overtly sexual/sensual nature of plants, as well as what might be perceived as an inherent cruelty. Stylistically, in the suggestion of collage and tearing, we find discreet references to the work of Clyfford Still, another key influence. Form is once again conveyed through accumulation and omission, but with the added complexity of suggested forms. The system of communication established between artist, object and viewer relies  on  transient relationships between narrative, mark making and meaning.      

 

Text By Patrick Brandon, Artist & Writer living in Bristol, UK 

     


 

Artist Bio / CV

 

b.Solihull 1979. UK

 

Education

2003 - 2004 The University of the Arts, London

1997 - 2000 Birmingham Institute of Art & Design

1995 - 1997 Solihull College of Technology

 

Solo Exhibitions

2013

Black Snow, Pfluger68, Berlin, Germany 

2011

Bit Part, Chateau de Sacy, Picardy, France

Assembly, Chapter, Cardiff, UK

2010

Laughter Staggers On, Golden, Chicago

2006

Schadenfreude, Royal Academy of Arts Sackler Project Gallery, London

Somewhere Better Than This, Pippy Houldsworth, London

 

Selected Group Exhibitions

2012

As Little As It Needs, As Much As It Can Take. Motorcade/FlashParade, Bristol, UK 

2011

London Calling, Orange County Center for Contemporary Art 

Mailto, Drift Station Gallery, Nebraska, U.S.A

2010

Sweet Dis/order, Whitworth Art Gallery & Museum, Manchester, UK

2009

(....), Omphalos Arte Contemporanea, Bari, Italy

Hanging In The Balance, Pippy Houldsworth, London

2008

Rotate, Contemporary Art Society, London

2007

Loners’ Island, g39, Cardiff

Things We Lost In The Fire, City Art Gallery, Leicester

Salon 2007 New British Painting & Works On Paper, London

2006

Outpost Contemporary Art, Los Angeles

 

Publications

Artslant, Laughter Staggers On, June 2010, Review by Robyn Farrell Roulo 

Drawn In, AN Magazine, July 2009, Review by Nigel Davies

Supernature, Art Cornwall, Review by Patrick Brandon

Matchbox, 12th February 2009

The First Post, 9th February 2009, Review by Neal Brown

One In The Other, g39 Publication, 2008

Revolver, New Wave In Cornish Art, Publication by Smith & Stox

The Guardian, 15th December 2007, Review by Jessica Lack

The Guardian, 10th March 2007, Review by Robert Clark

Garageland Magazine, Issue 2, Article by Gordon Dalton

Kulturflash, Issue 172, March 2007

 

Collections, Residencies & Awards

The Eaton Fund, Awarded 2011

Ateliers d’artistes de Sacy Residency, France, 2011

Oppenheim John-Downes Memorial Trust, Awarded 2010

Museum of Engraving Collection, Paleologi Castle, Italy

Progressive Art Collection, USA

Whitworth Art Gallery & Museum, Manchester, UK

Nomura Bank, Japan

Fidelity PLC, London

Private Collection of Gillian Anderson

Private Collections In The United Kingdom & U.S.A