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"The focus of my career as a painter has consistently been my explorations in the particular medium of painting. My training and work history have led me to believe that this inquiry also includes a need to contribute to the dialog and role of painting. This of course is a personal journey that has sprung from my belief in its relevance to our culture and influences from broader visual confluences. The intent of the works I have completed have been derived from observations of architectural incidents. These compositions are geometric constructions. Unlike the reductionists interests of mid-century, (20th), painting and sculpture, these works do not contemplate an end game. A formal rigor that may suggest innate or static staging, instead exact a capacity for incident and nuance. An implicit pictoral space advanced by a series of organized painting events.
The process begins by photographing my immediate surroundings, yet that influence may later be detected only in a color situation or spatial metaphor. The compositions reflect synthetic rhythms such as the serrations found in ventilation or heating units, or alterations of architectural situations.
Maureen Mullarkey describes these results in a recent review in the New York Sun as 'seductive minimalism, one that retains some whisper of lived experience. His subject is the transformative nature of time and use, the wrenching yet natural events of decay and revitalization of the urban landscape around his studio. Martin's imagery is stunningly simple, pared down to a kind of rhythmic symmetry of his own devising.'"
- Lloyd Martin
Lloyd Martin. Finestrae (series). Oil on canvas, 48" x 48" (above)
The artist, Lloyd Martin (left)