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Hilary Lloyd
This interest in gesture was developed in Lloyd's suite of works installed as part of the exhibition Intelligence at Tate Britain in 2000.

The works included Monika, which shows a woman painstakingly building houses of cards; Darren and Darren, in which the two men repeatedly scramble in between each other's legs; and Sotiris, which depicts a man ripping pages out of magazines (all 2000). City Film (2000), the final film in the installation, shows the city of London slowly processing past the camera's lens, filmed from the top of the BT Telecom Tower. This circling motion operates as the central motif, revealing the other three films' focus on circularity, repetition and a mechanical approach to a simple action. This emphasis on repetitive gesture would at first appear to suggest a rather cold, clinical approach to filmmaking. However, the elegance and grace of Lloyd's performers creates a more ambiguous representation of the bare actions that they are asked to repeatedly perform. Lloyd's stilled camera creates a viewing situation that is defined by an intent concentration on its subject, echoing the viewer's position in front of the video monitor in the gallery. In the installation of Lloyd's work, the intensity of the actions performed for the camera draws the viewer into more than a casual or disconnected engagement with Lloyd's protagonists, so that viewer and artist are often layered onto each other. In this context, Lloyd's films that do not feature performers, such as City Film, take on the quality of a character in their own right, so the city of London is presented as another figure in Lloyd's urban dramas. The circling mundanity of the repetitive landscape is transformed into a view across a personal kingdom that is filled with hidden beauty and secret narratives, to be revealed if the viewer can just stay for long enough, and look hard enough.

Darren and Darren, video sequence, 2000
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