Josiah Lloyd (°1989, New Smyrna Beach) makes paintings, photos and mixed media artworks. By applying abstraction, Lloyd creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His paintings never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works are a drawn reflection upon the art of painting itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. By manipulating the viewer to create confusion, he makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By studying sign processes, signification and communication, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. By demonstrating the omnipresent lingering of a ‘corporate world’, he uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By contesting the division between the realm of memory and the realm of experience, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By examining the ambiguity and origination via retakes and variations, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. Josiah Lloyd currently lives and works in Gainesville.
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