May His Reign Be Eternal, 2022Architectural pin-plotting, watercolor, laser engraving, 26″ x 80″, detail
After the crucifixion of Christ, the cross – formerly a mere instrument of execution, became eternally bound to its symbolism. For early followers of Christ, the sight of the cross evoked trauma, and grief – to worship it might indicate contempt, mockery. Artists however, were drawn to the cross’ symbolic value; to turn away from it would be to turn away from the great sacrifice that was made on our behalf. Reluctantly, crosses depicting their half-naked and weeping savour began to appear in sites of worship. In accordance with the cultural decline of the Dark Ages, these early crosses were crude and almost sacrilege – the body of Christ cartoonish and gory, painted over thick primitively cut planks of wood. The makers of these idols argued that the crucifixion signified humility; it is humiliating to die, to have your naked dead body be looked upon.
Chris Lloyd’s current exhibition, In Solitude Until The End of Time, transports viewers to this medieval mind set. A time when God was to be feared, when carnage was to be idolised, when it was right to die for the Lord. Lloyd’s hanging multi-image pieces are like Medieval stained glass. Scribbly, boyish drawings of devils and swords are placed methodically between plebeian fear-slogans “We should never listen to the voice of Satan.” One gets the sense these works were created in the spirit of penance.
Lloyd blends mediums of watercolor, collage, laser engraving, architectural pin-plotting, as well as varying levels of expertise – to create an intoxicating sense of mania. Fuzzy vibrational backdrops are littered with snake bumper stickers, death metal logos, circles of white robed figures dancing in a frenzy. Lloyd’s works embody fear, humility, worship. And like the early crosses, they are earnest and beautiful, particularly Lloyd’s “Her Song Guides The Arrow” a long scroll depicting an angel-shaped blast of light. In Solitude Until The End of Time is on view at Entrance, NY until October 23rd. – Claire Milbrath
Her Song Guides The Arrow, 2022, Cyanotype, architectural pin-plotting, watercolor, laser engraving25″ x 80″
Infinite Pathways Before The Flame of The End, 2022, Cyanotype, watercolor, laser engraving, architectural pin-plotting48.75″ x 60.25″(Framed)
A Lost Soul Listening Among The Trees, 2022Architectural pin-plotting, image transfer, watercolor, 48.75″ x 61.25″(Framed)
Eternally Banished To Agony, 2022, Architectural pin-plotting, hand-sewn fabric, watercolor, laser engraving, 25″ x 80″, detail
Waters of Wide Agony, 2022, Architectural pin-plotting, laser engraving, watercolor, 25″ x 80, detail.
Editor’s Pick: Chris Lloyd
May His Reign Be Eternal, 2022Architectural pin-plotting, watercolor, laser engraving, 26″ x 80″, detail
After the crucifixion of Christ, the cross – formerly a mere instrument of execution, became eternally bound to its symbolism. For early followers of Christ, the sight of the cross evoked trauma, and grief – to worship it might indicate contempt, mockery. Artists however, were drawn to the cross’ symbolic value; to turn away from it would be to turn away from the great sacrifice that was made on our behalf. Reluctantly, crosses depicting their half-naked and weeping savour began to appear in sites of worship. In accordance with the cultural decline of the Dark Ages, these early crosses were crude and almost sacrilege – the body of Christ cartoonish and gory, painted over thick primitively cut planks of wood. The makers of these idols argued that the crucifixion signified humility; it is humiliating to die, to have your naked dead body be looked upon.
Chris Lloyd’s current exhibition, In Solitude Until The End of Time, transports viewers to this medieval mind set. A time when God was to be feared, when carnage was to be idolised, when it was right to die for the Lord. Lloyd’s hanging multi-image pieces are like Medieval stained glass. Scribbly, boyish drawings of devils and swords are placed methodically between plebeian fear-slogans “We should never listen to the voice of Satan.” One gets the sense these works were created in the spirit of penance.
Lloyd blends mediums of watercolor, collage, laser engraving, architectural pin-plotting, as well as varying levels of expertise – to create an intoxicating sense of mania. Fuzzy vibrational backdrops are littered with snake bumper stickers, death metal logos, circles of white robed figures dancing in a frenzy. Lloyd’s works embody fear, humility, worship. And like the early crosses, they are earnest and beautiful, particularly Lloyd’s “Her Song Guides The Arrow” a long scroll depicting an angel-shaped blast of light. In Solitude Until The End of Time is on view at Entrance, NY until October 23rd. – Claire Milbrath
Her Song Guides The Arrow, 2022, Cyanotype, architectural pin-plotting, watercolor, laser engraving25″ x 80″
Infinite Pathways Before The Flame of The End, 2022, Cyanotype, watercolor, laser engraving, architectural pin-plotting48.75″ x 60.25″(Framed)
A Lost Soul Listening Among The Trees, 2022Architectural pin-plotting, image transfer, watercolor, 48.75″ x 61.25″(Framed)
Eternally Banished To Agony, 2022, Architectural pin-plotting, hand-sewn fabric, watercolor, laser engraving, 25″ x 80″, detail
Waters of Wide Agony, 2022, Architectural pin-plotting, laser engraving, watercolor, 25″ x 80, detail.