The surfaces of Lloyd Martin’s paintings offer pulsating linear movement, blurring the boundaries of precision with his graphic patterning. His meticulous handling of paint and color allow the eye to focus on individual squares and rectangles while registering a larger picture plane in-the-making — inferring a painting within the painting. As quoted in the artist’s 2006 catalogue essay by Wang Pin-Hua, “with these frame-like lines, Martin creates a seemingly wider structure of multi-layered space by dividing and reconstructing the images, making the paintings extend far beyond the boundaries of the pictures”.
Curator Lisa Russell writes, “Lloyd Martin’s reductive abstractions speak to the essential nature of painting and form…The interplay of elements is like echoes that resonate and leave one with a feeling of suspended time. Contemplative in nature, these eloquent paintings act as meditations, eliciting both visceral and cerebral responses.”
In his monumental triptych, Large Alloy (2013), the painting’s sheer size offers viewers an immersive experience, an invitation into Martin’s world. The work presents like a visual, secular meditation, encouraging viewers to quiet their minds and take in the movement of Martin’s bands of color.
I’ve approached this triptych format a number of times over the years. Earlier, it was a way to extend or add to an image that was developing in my studio explorations. As with collage it enabled un-predictable possibilities. With this composition, the three panel format was a way to extend the horizontal rhythms scanning across the surface. I decided to use a taller center panel which added a vertical thrust and acts as a foil to the left right motion. I am also pleased with the added reading that the painting can reference northern renaissance altarpieces as well as contemporary art history’s use of large scale to engage the body (viewer). –Lloyd Martin