Terri Lloyd

Artist

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The Other Hand

Life isn’t fair, it is tough and often unforgiving. But it is also funny, so rewarding with humor that even those miserable truths can be ameliorated in a small way by one’s attitude. Hemmingway said “Write hard and clear about what hurts” and Terri Lloyd does this writing with paint, capturing such an attitude toward using one’s artistic voice to defeat the things in life that can make it all too sour to bear. In that regard, her “The Other Hand” series may be a coping mechanism but to the viewer it is a collection of wise pictures carrying a dark humor like a casket of our collective mortality. As fine art, this series is most reminiscent of the work of Raymond Pettibon.

The images carry an unabashed primitive expressionism. The painted text insists on a morose retelling of what you think you are looking at. Here the narrative and irony are in abundance. These are, to their essence, masterpieces of mortality.

—Mat Gleason

My Friend Terri, 2018, 18 x 24, acrylic on paper
Dick, 2018, 18 x 24, acrylic on paper
Warm Leveret, 2018, 18 x 24, acrylic on paper
Dope A Meme, 2018, 18 x 24, acrylic on paper
Swan, 2018, 18 x 24, acrylic on paper
Dream Of Cork Trees, 2018, 18 x 24, acrylic on paper. SOLD
Digital Watch, 2018, 18 x 24, acrylic on paper
No Good Belly Rub, 2018, 18 x 24, acrylic on paper
Hole In One, 2019, 18 x 24 acrylic on paper
I Missed You, 2018, 18 x 24, acrylic on paper
Instant Coffee, 2018, 18 x 24, acrylic on paper
Trash Burn, 2018, 18 x 24, acrylic on paper
Gauntlet, 2018, 18 x 24, acrylic on paper
Nightmare, 2018, 18 x 24, acrylic on paper
Trap, 2018, 18 x 24, acrylic on paper
Mother's Cookies, 2018, 18 x 24, acrylic on paper
Holes Of Resentment, 2018, 18 x 24, acrylic on paper
Cetaceous Offering, 2018, 18 x 24, acrylic on paper (SOLD private collection)
Cosmic Goo, 2018, 18 x 24, acrylic on paper (SOLD private collection)
Chamber Made: Gun, 2018, 18 x 24, acrylic on paper
Chamber Made: Dick, 2018, 18 x 24, acrylic on paper
Community Standards, 2018, 18 x 24, acrylic on paper (SOLD private collection)
Brillo, 2018, 18 x 24, acrylic on paper
Bad Varky, 2019, acrylic on paper
It, 2019, acrylic on paper
Batteries Not Included, 2019, acrylic on paper
Kettle, 2018, acrylic on paper, 18 x 24"
Schlitzie, 2018, 18 x 24, acrylic on paper
The Diva, 2019, 18 x 24, acrylic on paper
The Cat Lady, 2018, 18 x 24, acrylic on paper
David Lynch Assange: Transcendental Journalist, 2019, acrylic on paper
The Jester, 2019, acrylic on paper
Alleged, 2019, acrylic on paper 18 x 24"
Limerick, 2019, acrylic on paper
The Pervert, 2019 acrylic on paper 18 x 24 inches
Be Here Now, 2019 Acrylic on paper, 18 x 24"
The Zentertainer, 2019. Acrylic on paper, 18 x 24"

 

In December 2017, my dad passed away. This was both a psychological and creative catalyst that moved me out of my digital comfort zone to a place where I could commit a sort of psychic harakiri.

This would be a process where poetry, broken haiku and the innocence of visuals collide.

The original idea was based on an exercise of using both hands to write letters to myself. The less dominant hand would be the child I was, the dominant hand the parent I wish I had. Only, I didn’t want to write letters. It was important for me to take ownership and make this exercise my own.

This is the first part of that exercise, an exercise I call, unlearning.

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