Centre for Research and Enterprise in Art, Design and Media


Catalogue edited by Mark Adams, foreword by Sir Peter Blake R.A. with an essay by Peter Lloyd

Agnews, Old Bond Street, London

Heavyweights PL

The work in this exhibition is the result of a research trip to Mexico funded by British Airways. The aim of the trip was to produce screen-prints based on an investigation into 'Lucha Libre', a particularly Mexican form of masked wrestling. Although Mexican wrestling has similarities to the North America theatrical style, which involves extravagant pantomime and grand gestures, it also has important elements based on Mexican culture that go beyond mere show business. The participants are all masked and this personal anonymity provides a blank canvas upon which to create their own alternative characters, using elaborate costumes and demonstrative actions. These are richly varied and are described by names such as: 'Fast Food', 'Aztec' and 'Super Barrio' the champion of the ghetto dwellers. In the course of the fights the participants act out complex morality tales that have real meaning for their audience, similar to those performed by Mummers or Japanese Noh Drama. My research into this subculture enabled me to create a series of prints depicting invented iconic heroes, each with a highly symbolic visual code. Research into the elaborate appliquéd fabrics and costumes worn by the wrestlers, also resulted in the development of innovative print techniques, incorporating a diverse range of materials, such as carborundum, diamond dust, glitter, laminate, vinyl and synthetic fur. Work from this exhibition is now in the collections of several contemporary "pop and TV icons", including David Bowie, Missy Elliot, Vic Reeves and Holly Johnson.

Vernacular Inscription

Nickel Arts Museum, Alberta

Vernacular Inscription

I was invited by the Royal College of Art to submit 3 pieces of work for a conference and an exhibition Vernacular Inscription in the Nickel Arts Museum, Alberta, organised by the University of Calgary, Alberta. The research topic concerned the heritage of the 'comic' tradition through the history of art. My investigations considered the content, concepts, materials and formats used in the 'comic' tradition. The work that emerged from these investigations appropriates satirical comic narrative practices, from Bosch, Brueghel and George Grosz, to the iconic boldness and brashness of 60's Pop Art. Additionally, the work draws upon a range of influences such as Hanna Barbera TV shows, DC Thompson, Manga and Marvel comics and Playstation Video games. The cast of characters produced for the show were intended to be strangely familiar and yet alien, as though emerging from half remembered childhood TV shows, comics or illustrated books. From a polemical point of view my intention was to expose the banal stupidity of macho stereotypes and the edgy fragility of male identity that is associated with these images. An illustrated article by Mark Hampson on my work and the conference was published in Printmaking Today, Vol 10, No. 4, pp13-14, winter 2001. 

Hybridity, Identity and the Self|

Winchester School of Art Printmaking Catalogue, Hybridity, Identity and the Self 2006

Edited by David Cross with essays by Professor Paul Coldwell, David Cross, Francis Tinsley, Aidan Rowe and David Ferry

 ISBN 1 870 540 74 3

Identity Self P Lloyd

In 2005 Professor Byung Kwon Oh at EWHA Womans University, proposed an annual event bringing together students and staff from EWHA Womans University, Surrey Institute of Design, Winchester School of Art and Camberwell College of Art to show work together and through this, contribute to a greater understanding of our respective institutions. The result of this proposition was W.A.V.E., the first exhibition being staged by EWHA Womans University in Seoul 2005. My work for the exhibition was a series of screen-printed masked wrestlers investigating the myths and presumptions surrounding male machismo. I was part of the Winchester School of Art research group that influenced the future direction of W.A.V.E., by introducing the concept of an overarching theme for the annual exhibition. Through discussions with the associate Universities Hybridity, Identity and the Self emerged as the common theme, which became the basis for the second incarnation of W.A.V.E., which took place at Camberwell College of Arts, University of the Arts 2006 and EWHA Art Centre, M-Post Gallery, Seoul, Korea 2006. 

Contemporary British Printmaking |

Accompanying catalogue Faces and Places

Edited by Pheobe Shinn, Gallery Velvet Essay by David Ferry

ISBN 89-9526-9-903600

Faces Places

Contemporary British Printmaking focused on the work of myself, David Ferry and Penny Brewill. The exhibition was accompanied by Faces and Places, an illustrated catalogue edited by Pheobe Shinn, Gallery Velvet, Seoul. My work in this exhibition was informed by a firm belief in the role and ability of humour as a mode of personal expression, which can be successfully externalized and communicated through print. Although comic art is by no means an exclusively English concept, it has proved to be of lasting interest and popularity in this country. Printmaking's inherent qualities suit the skewed peculiarities of British humour with its undeniable nostalgic character, its quintessential quirkiness and sense of the absurd as exemplified by Hogarth, Gillray, the Cruickshanks, Rowlandson, Tenniel and Leach. Using comic invention and symbolism I produced a series of Iconic portraits of male heroes in the guise of Mexican wrestlers. In the claustrophobic environments where they play out their secret power games, it is sometimes difficult to see the humour, but it is always there in some grotesque or exaggerated figure, comedy prop or bathetic pause in the narrative. Gallery Velvet has a high profile and is situated in the centre of Seoul. The exhibition was featured on Korean radio and television and in the Korean lifestyle magazine Noblige volume 17, October 2005.