Gareth Lloyd

Due to his pronounced drawing skills, Gareth Lloyd, a native of U.K., was encouraged to pursue a career in the arts from a very early age.

In 1976 at 16 years of age, Gareth left school and enrolled in Berkshire College of Art. At that time, he recalls having an ‘all too provincial’ idea of ‘fine art.’ Thus, he opted for technical drawing with the goal of achieving conventional employment. Two events during that period he describes as having shaped his intentions toward a more expansive world view: his father’s death and the discovery of Pop Art, in particular Roy Lichtenstein’s ‘Portrait of Madame Cézane’.



In 1981, Gareth applied to complete his post-graduate year in Fine Art at St. Martins School of Art, where he attended John Stezaker’s lectures.

In his essay: ‘The Gothic Cut’, the artist pays homage to Stezaker’s work in relation to Lichtenstein’s. (See attached document to read this essay). Gareth also travelled to New York in 1987 to document American painting during the post war period in order to pay homage to Leo Castelli, Lichtenstein’s former art dealer.

Upon graduation from St. Martin’s, Gareth took up various teaching positions and financed his first solo show at Riverside Studios in Hammersmith, followed by another in Madrid. Subsequently two essays on Gareth’s work appeared in ‘Cornermag’: ‘Gareth Lloyd: Towards an Aesthetic of Dissent’ by Maria Maciel and ‘Leaving the 20th Century’ by Jeremy Reed.

With a public profile in place, Gareth applied for financial support from the Arts Council and ‘Difference Exchange’ in order to consolidate his productivity as well as to provide him with time to reflect on the human condition, some of which he spent in a Northern Thailand monastery (2010/11). While there, the Abbott gave him access to ample studio space in exchange for teaching drawing and English. Affected by this experience, Gareth’s work took on new accents and he began to experiment with and utilise new materials. In particular, he was moved by the exquisite casting process that produced statues from molten lava, unique to that particular monastic institution.

Back in London, Gareth also explored his connections to France, attending lectures by Jacques Derrida in order to keep abreast of developments in European philosophy, and working in an old farmhouse in Aubusson, Limousin, in order to extend his painting techniques. His daughter Aona Ines, a French citizen, was born in 2012.

Since Brexit, Gareth has moved his paintings into storage with the anticipation of working at a larger scale. Recently, he has re-evaluated his vast collection of photo-negatives, repurposing them simply as ‘instants’.

YOUR Gareth Lloyd