Merryn Lloyd works with pigment and beeswax. Melting and mixing are the main concerns of her studio practice, with her resulting paintings acting as a record-keeping tool. Using the landscape as inspiration, she experiments with shape, composition, colour and ground. Lloyd’s paintings form a record of her successes and failures in the studio, and often it is her failed paintings that end up being her greatest successes. Lloyd’s small paintings invite further readings when they combine to form larger, more complex bodies of work. Here they act as counterpoints to each other, drawing attention to the symmetries and oppositions between texture, stroke, layering and line.
Lloyd graduated from a Bachelor of Visual Art (Painting), Monash University, 2008. Recent exhibitions includeMaterial, edition 5, edited by John Nixon and Danny Lacey, 2014; Pavilion, curated by David Homewood, TCB Art Inc, Melbourne, 2014; Method and Gesture, Utopian Slumps, Melbourne, 2013; Soft Eyes, curated by Pip Wallis, TCB Art Inc Melbourne, 2013; painting/sculpture/floor work/wall work, Stockroom, Kyneton, 2013; Slide, Gertrude Contemporary, Melbourne, 2011; Merryn then Renee, Platform Contemporary Art Spaces, Melbourne, 2011; Sample Window, curated by Patrice Sharkey, Platform Contemporary Art Spaces, Melbourne, 2010; Abstract Now, curated by Danny Lacy, Shepparton Art Gallery, Shepparton, 2010; Whole Pieces, curated by Pip Wallis, Seventh Gallery, Melbourne, 2010; and Merryn Lloyd / Renee Cosgrave, The Narrows, Melbourne, 2010. Lloyd has worked collaboratively with fellow artist Renee Cosgrave on Window Painting at Monash University Museum of Art, Melbourne, 2013; Print Workshop, curated by Warren Taylor, The Narrows, Melbourne, 2008 and Guadare Impare (To look, to learn), Monash University, Prato, Italy, 2007.