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Hilary Lloyd
In 2003 Lloyd spent a number of months in Venice, where she reprised the slide show format first seen in Princess Julia, Slide Projection.

Interested in depicting a mobile viewing position, and a process of editing, Lloyd created the large-scale slide show installation Waiters. Here the parameters of the project appear to be 'moving subject, multiple viewpoints, still image', replacing the movement within the frame with the movement of a mobile camera - as if too much freedom with movement would destroy the intensity of the work. With four carousels of 80 slides each, projected in staggered intervals, the installation of this work is as material as the previous video installations, with the relentless click of the slide projectors forming the soundtrack. It is possible to see this work as Lloyd's portrait of Venice, with the photographs depicting waiters at Caffè Florian, although as with her earlier work, this is not a conventional portrait of either the men or the city. Edited from thousands of images taken over her stay, Lloyd focuses in on the orchestrated movements of the white uniformed waiters as they efficiently sweep around each other in a small corridor - with all signs of other people in the cafe edited out. Lloyd subverts what could have been an unremarkable documentary project by the sheer amount of images taken, forming more of a document of her act of looking at these men, her admiration for their swift, eroticised movements, rather than a typical scene of cafe life or tourist experience. In a partner work, Car Wash (2005), Lloyd describes how she photographed until her camera broke, her images of a group of men working in a Sheffield carwash again focusing on the beauty of their gestures, with the sprays of water found in each image lending a glistening, delicate sheen to this study of men's bodies at work. The sexuality presented in these two slide works is unusual for a woman filmmaker or artist, a desiring yet impersonal gaze that fits more comfortably into homoerotic modes of looking and desiring, recalling films such as Warhol's Blow Job (1963), or Karlheinz Weinberger's photographs of rebel boys in the 1960s, transforming swaggering straight boys into gorgeously queer pin-ups.

Waiters, 2003
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