STATEMENT BY LLOYD GILL 2007
My work embraces the simulated world, focusing attention on the interchange - ability of real and imaginary, actual and virtual. My work studies the relationship between spatial dimensions and perception in conjunction with art. I have a fascination with scientific theories that try to grasp an understanding of the universe. I have learnt to identify key spatial relationships within architecture, by photographing various architectural structures and observing architectural space. Depth, volume, mass and perspective are some of the important spatial aspects I look for in architecture. The spatial relationship is used as a platform to develop initial ideas into final work. The general purpose of the architecture is to create a composition for the spectator's eye to travel around.
Architecture is a habitat for my sub-conscious, a place where I can consume ideas and concepts. On a metaphorical level the empty spaces, i.e. corridors, are solid forms, sculptures of subatomic mass. They appear to be void of objects; but I see the void itself as the object. I am ultimately attempting to extend the matrix of interpretation, and to constantly shift the relationship between the viewer and the work.
In the 'Multiverse series' the primary function, is to deliver the concept of two Universes colliding together and the expansion of space - time in direct relation to the event. The portraiture provides a human essence, to give a corresponding horizon between the viewer and the work. The viewer can make a connection between them-selves and the particular individuals in the paintings. Generally, our perception can understand what our mind recognises, and I new the viewer would recognise the human essence.
The direct consequence of an event like a collision of our own Universe and a parallel Universe would be very complicated to explain using Quantum equation's, but in theory, the basis is that all space - time would combine together with that of the parallel Universe. The human essence or molecular structure is splitting and joining to create new structures with the molecular structure of the surrounding architecture and space. Where the areas of skin have changed colour, the molecular structure has changed in relation to the event.

The preparation work for a painting like 'To comprehend the impossible' was fairly extensive; through drawings of the models I used (friends), taking photographs and creating the composition. The abstraction of space - time has been inspired by the concept of higher dimensional space exposing itself, bleeding through gaps of three - dimensional space. This particular painting was created using photographs taken from a visit to London (I normally visit once or twice a year for inspiration). I look for architectural constructions such as buildings, (corporate or otherwise) that have the aspects I look for. Depth and perspective are vital parts to organise a construction between the photographs. The fragmentation comes secondary after the organisation of the photographs is over. I over - lap sections of the photographs, to emphasise the combining of the two Universes. At this point, the abstraction takes control and I let my sub - conscious deliver the rest of the composition.

With colour decision, there is always the concept of higher dimensional space being abstract, in the sense it would change the colour of the architecture and hence the colour of skin over - lap. I would describe 'Bios - nebular - morph's' colour co-ordination as a cool emotion of serenity and an idyllic unity. The colour is defined by shades of blue, which stand out amongst the other greens and greys.

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Last updated 25 .03 .07