I’m Lloyd, a recent graduate of a BA Fine Art course at Norwich University of the Arts. I’m originally from Essex, and dread the thought of having to move home temporarily due to finances. I am fascinated by live art, in particular art that focuses on the moment – sharing it’s time and space with the viewer. The complexity of human nature never fails to amaze me, and often features in one way or another within my work, whether that is physically or conceptually. It will probably not be a surprise that I like sharing time with people, hanging out, having little adventures, having a drink (my choice is a mojito), playing sports, watching/listening/dancing to music, eating cheese. I also have a strange fascination with cats, I would particularly like a sphinx cat.
With a focus on questioning our understanding of reality, my practice attempts to challenge judgement of our surroundings by exploiting the ambiguity of perception. I often use formal tricks within spaces intended to momentarily deceive by suggesting defying physical possibility. By exploring notions of the overlooked and the mundane, I use the everyday as a tool for eliciting curiosity to question deeper meaning.
The use of objects / places that demonstrate associations with insignificance draw focus to the importance of illusionism and deception within the work. Control becomes an integral aspect for me, using restriction as a way of halting a pivotal shift between illusion and realisation of the truth. With these boundaries blurred one can find themselves in a transitional state of flux – a kind of non -place in -between. It is a place of immense curiosity, yet overwhelming fear. Such a dislocation from security can, simultaneously, dislocate us from our own identity, and project our attention into a place where we become completely self-aware of our presence. The choice of what to believe of this liminal space will ultimately and infinitely come back to one’s own mind.
We can never perceive outside of our own perceptions - experiencing for yourself is paramount.
“The truth is not distant or obscure. It is right in front of your face; the trouble is it’s hard to see.”
Michael Craig-Martin (2013)
Duck/Rabbit, an installation featuring an additional unannounced performance of identical twins within the space, 2014.
The series presents a profound interrogation of self-awareness through an offering experience of precise theatrical duality.
Perception is brought to our attention in the piece through exploitation of ambiguity. In a physical sense the piece questions understanding of space through the suggestion of a ‘mirror’. I use a frame and a precise duplication of objects to create the illusion. The absence of oneself in the reflection of the ‘mirror’ offers an inability to simultaneously be in the ‘heterotopia’ place expected and the point of location before it. There is an invitation for curiosity and wander to be projected into the space of ‘otherness’. Paradoxically, such allure into a place of uncertainty can leave one feeling dislocated from the security of perceived ‘reality’. It’s ironic that in a desperate search for one’s absent self, they are greeted with a complete awareness of self- presence.
Nothing makes you as self-aware as nothing.
I see the work as a forever changing installation, a continuous work in progress – evolving with different contexts, various interests that arise or realisation of significance in objects/things/people. It probably comes from my constant dissatisfaction in things that I create, as I’m sure it does with every artist. In a sense, the work could be compared to a painting, which has room for constant addition. What quantifies a finished piece of work? It’s a question that I often ask myself as a learning artist. In fact, does it ever need to be finished? I like this idea – just as a work can sometimes not be realised, a work can also not be finished. It could also be compared to our perception and layers that might support this. For example, as we experience and develop knowledge and understanding of something, our perception of it is liable to change. We may never perceive the same thing twice. I think the idea of having a piece of work that is always changing, may allow for Walter Benjamin’s concept of ‘aura’ to apply. The ‘one- timedness’ he discusses will be relevant as the piece will rarely be seen the same, or at least if it is it will most likely be perceived in a different way due to a change in context.
I have recently become fascinated in time and experiencing within the moment. I featured identical twins in an unannounced performance as part of Duck/Rabbit at my Degree Show 2014. I would like to further exploration of coincidental moments in time and use this method of illusion to question ‘reality’.
“It was so carefully synchronised” “We left feeling energised by the experience”.
Steve Doubtfire – visitor of Norwich University of the Arts Degree Show 2014.