In The Court Of The Easter Queen © 2020, acrylic on canvas, 24 x 36
Dab Art Co. is pleased to announce IN THE COURT OF THE EASTER QUEEN, a solo exhibition of works from Los Angeles based artist Terri Lloyd.
The exhibition features nine works from the Easter Queen series. Included are photos I used to abstract the stories I have told. If nothing else, it’s fun just to see the old imagery.
The exhibit runs March 6 through June 30, 2021.
Artist talk in May, TBA.
Didn’t have time to take more photos, it was a busy and bouyant evening. Big thanks to stARTup art fair, The Kinney, and Venice Art Crawl for making this evening possible.
Emily Maddigan’s boots reflect her work, so does that ca-razy jacket!
Architectural works of Rich Lanet (in back). And Lily Phan setting up next to him.
The process intensive works of David Koeth.
(L) Myopia, (r) Releasing, by moi.
Courtyard view with Ray and Josephine from stARTup.
Emily Maddigan’s shamanic sculptures.
Miguel: The Sordid Triangle Of A Pig In Parts © 2018
I’ve been working on expanding the Mudras works to include what I call portraits. These are images of other people’s hands and then my zen interpretation of that person.
Our way of communicating isn’t limited to words on a blank screen, let alone the noise that comes from our mouths. I’d argue much more of a story is told in how we use our hands and our bodies to convey our selves.
This concept developed as my dad was dying. I took photos of him to capture his transition from this world to where ever it is we go, consciousness goes after so many years of life.
I started the series using the hands of a dear friend, Miguel, who also is afflicted with Parkinson’s. I asked for some images of his hands, shaking and all. What he sent in response was a beautiful performance video of his hands in motion and experiencing the shaking so typical of his condition. From there, I pulled several stills from the video and went to work.The title of the work reflects our friendship and humor.
Transmutation: A Requiem For WSL ©2018
After Miguel’s portrait, I felt confident enough to sit down and work on the piece I created as a requiem for my dad. This work required the cooperation of my siblings and nephew. In fact, the work is representative of the family lineage.
In order to start a portrait, I ask the proposed subject a few things about shapes, preferred colors, and so on. What makes this portraiture work is my intimacy with the subject, who is either family or friend.
It is my desire to move this group of imagery beyond my circle of influence and into new territory with people I don’t know, by taking commissions.