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4 pieces by Lloyd Gill
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£600
Bios - Nebular - morph
 
£600
Research - Realisation - Rest
 
£1050
To comprehend the impossible
 
£1050
Multiverse 2
 
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Lloyd Gill Paintings
I have been a professional Artist since graduation in 2002 at the University of Wales Institute Cardiff. I have shown my work widely throughout the UK and the Capital, London. I have won awards for my Art and recently won a publication in the Business magazine Funds Europe.
 
Education:
Oct 2003 – Dec 2003 NCFE in computers practitioners proficiency scheme (Advanced Professional – Developing Data Driven web applications using ASP) Appreciation of the concepts behind active server pages (ASP)Production of a data driven applicationJan 2003 – March 2003 NCFE Certificate in computer practitioners proficiency scheme (Advanced Web page creation)Understanding of the functionality of the web, Dynamic HTML, CSS (Cascading Style Sheets) Java Script, Java Applets, SSI data bases (forms)Oct 2002- Dec2002NCFE Certificate in computer practitioners proficiency scheme (web page creation)Understanding Netscape and the internetAdvanced skills in Photoshop, Dream weaver, Front pageInternet providers. Make full use of Netscape and hypertext linksSept 1999 - June 2002University of Wales Institute CardiffB.A. Fine Art Degree (hons) 2.2Sept 1998 - June1999Weston CollegePost A’ level National Diploma in Foundation Studies in Art and DesignGrade Distinction +1991-1998Broadoak School and Sixth Form Centre 7 GCSE’s, 2 A` LevelsMaths, English, Art, Science, Technology, Information Technology, Diplomaof Vocational Education.Art, Technology
 
Awards:
Weston College Governor’s Prize for Outstanding Achievement in the Creative Arts. 1999

Harry Walker RWA Memorial Young Artist Prize 2002

Funds Europe magazine, April 2006, pg 70. Funds Europe LTD.
 
Selected Commissions/collections:
Mrs Ingrid Hart, 'Figurative Space', painting, 120cm x 90cm, 2002.
 
Single Exhibitions:
none
 
Group Exhibitions:
23rd - 28th August 2006
Art in mind part 4
The Brick Lane Gallery,
196 Brick Lane, London, E1 6SA

20th - 26th July 2006
Throgmorton & Untitled Gallery
27A Throgmorton St, London, EC2N 2CN

10th June - 3rd July 2005
Salon des arts, 191 Queens gate, Kensington, London SW7 5EU

30 September – 11th October 2003
Euro Art Studios Urban Entrapment, Artists Ruth Hawkins and Lloyd Gill have collaborated together through the concepts of urban pressure
and the confinements of space.


2003
The Cheltenham group of Artists Exhibition Pittville Gallery University of Gloucestershire, Albert Road, Cheltenham Gloucestershire GL52 3JG 2003

2003
Crescent Arts The Crescent, Scarborough, North Yorkshire Yo11 2PW

2002
Blue Wing Gallery Bircan Kanet and Steve Harper216 Sandycombe Road, Surrey TW9 2EQ 2003

August 10 – Sept 15 2002
Bath Society of Artists 97th Annual Exhibition Victoria Art Gallery Bath

October 20th –December 5th 2002
Royal West of England 150th Autumn exhibition, Park Street, Bristol
 
Artist's Statement:
STATEMENT BY LLOYD GILL 2006My work embraces the simulated world, focusing attention on the interchange – ability of real and imaginary, actual and virtual. My work studies the relationship between spatial dimensions and perception in conjunction with art. I have a fascination with scientific theories that try to grasp an understanding of the universe. I have learnt to identify key spatial relationships within architecture, by photographing various architectural structures and observing architectural space. Depth, volume, mass and perspective are some of the important spatial aspects I look for in architecture. The spatial relationship is used as a platform to develop initial ideas into final work. The general purpose of the architecture is to create a composition for the spectator’s eye to travel around.Architecture is a habitat for my sub-conscious, a place where I can consume ideas and concepts. On a metaphorical level the empty spaces, i.e. corridors, are solid forms, sculptures of subatomic mass. They appear to be void of objects; but I see the void itself as the object. I am ultimately attempting to extend the matrix of interpretation, and to constantly shift the relationship between the viewer and the work.In the ‘Multiverse series’ the primary function, is to deliver the concept of two Universes colliding together and the expansion of space - time in direct relation to the event. The portraiture provides a human essence, to give a corresponding horizon between the viewer and the work. The viewer can make a connection between them-selves and the particular individuals in the paintings. Generally, our perception can understand what our mind recognises, and I new the viewer would recognise the human essence.The direct consequence of an event like a collision of our own Universe and a parallel Universe would be very complicated to explain using Quantum equation’s, but in theory, the basis is that all space - time would combine together with that of the parallel Universe. The human essence or molecular structure is splitting and joining to create new structures with the molecular structure of the surrounding architecture and space. Where the areas of skin have changed colour, the molecular structure has changed in relation to the event.The preparation work for a painting like ‘To comprehend the impossible’ was fairly extensive; through drawings of the models I used (friends), taking photographs and creating the composition. The abstraction of space - time has been inspired by the concept of higher dimensional space exposing itself, bleeding through gaps of three - dimensional space. This particular painting was created using photographs taken from a visit to London (I normally visit once or twice a year for inspiration). I look for architectural constructions such as buildings, (corporate or otherwise) that have the aspects I look for. Depth and perspective are vital parts to organise a construction between the photographs. The fragmentation comes secondary after the organisation of the photographs is over. I over - lap sections of the photographs, to emphasise the combining of the two Universes. At this point, the abstraction takes control and I let my sub - conscious deliver the rest of the composition.With colour decision, there is always the concept of higher dimensional space being abstract, in the sense it would change the colour of the architecture and hence the colour of skin over - lap. I would describe ‘Bios - nebular - morph’s’ colour co-ordination as a cool emotion of serenity and an idyllic unity. The colour is defined by shades of blue, which stand out amongst the other greens and greys.
 
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