Approved: 04.12.2008

Lloyd Durling

Archived
Approved: 04.12.2008

At the heart of Durling's work is a duality between form and non form. But this duality is not a Manichean statement, it is far more worldly and smart for such a simplistic light/dark, good/evil analogy. It is too engrossed in sensuality and the corporeal to endure such restriction.
The apparent economy of structure is the result of a cumulative process whereby each repeated mark has its own micro-aura

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  • Location: London
 

Biography

At the heart of Durling's work is a duality between form and non form. But this duality is not a Manichean statement, it is far more worldly and smart for such a simplistic light/dark, good/evil analogy. It is too engrossed in sensuality and the corporeal to endure such restriction. The apparent economy of structure is the result of a cumulative process whereby each repeated mark has its own micro-aura of overlap and placement that is mirrored by the work as a whole. But rather than being a mere a struggle for effect, the charm or trance of repetition creates a dynamism akin to a static discharge. The simplicity of his dominant media, felt-tip and oil, the use of paper as support, brings us straight to the surface. The importance of surface cannot be underestimated. Line is replaced by areas of contact, overlap and omission. Space is filled around an image. Areas left blank depart from their role as suggestive silhouette and resonate with the absence of form. Here we are drawn into immediate participation, our need for information becomes the driving force. And ultimately this is what it's about. Information. Earlier work, which deals with stripped-down environments, carries a certain cinematic retro-sheen, and with it the concept of the edit. Difficult to locate historically, it seems the question being asked is when does the present slip into the past, and how much of that perception is mediated through the fictions we are exposed to. Durling has cited an indebtedness to the cinematography of Claude Chabrol, taking particular note of the textural collision between atavistic expression and social convention, the calm surface disrupted by unexpected bursts of brutality in films such as Le Femme infidèle, Le Boucher, or Que la bête meure. Recent work focuses on the overtly sexual/sensual nature of plants, as well as what might be perceived as an inherent cruelty. Stylistically, in the suggestion of collage and tearing, we find discreet references to the work of Clyfford Still, another key influence. Form is once again conveyed through accumulation and omission, but with the added complexity of suggested forms.

CV & Education

Solo exhibitions 2011 - Assembly, Chapter, Cardiff, Wales 2011 - Bit part, Chateau de Sacy, France 2010 - Laughter Staggers On, Golden, Chicago, U.S.A 2006 - Schadenfreude, Royal Academy of Arts Project Space, London 2006 - Somewhere Better Than This, Pippy Houldsworth, London Group exhibitions 2011 - London Callling, Orange County Center for Contemporary Art, Los Angeles 2011 - Mailto, Drift Station Gallery, Nebraska 2011 - Print, Newlyn Art Gallery, Cornwall 2010 - Sweet Dis/order, Whitworth Museum & Art Gallery, Manchester 2009 - (......), Omphalos Arte Contemporanea, Bari, Italy 2009 - Hanging In The Balance, Pippy Houldsworth, London 2008 - Rotate, Contemporary Art Society, London 2007 - Things We Lost In The Fire, City Art Gallery, Leicester 2006 - Things We Lost In The Fire, Transition, London Other 2011 - Private Collections, UK, United States, Japan 2009 - Progressive Art Collection, Ohio, United States 2009 - Whitworth Art Gallery Collection, Manchester, UK