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Hilary Lloyd
At the Kunstverein München in 2006, Lloyd exhibited Car Wash alongside five other works including: Untitled (Cut-Outs) (2006), Daisies (2004), and Local Boy'z (2005).

These three works extend Lloyd's exploration of a desiring, repetitive gaze, focusing not on individuals, but objects. In Untitled (Cut-Outs), the crotches of male models are cut from mens fashion magazines, and arranged on a white background, specimens of a commodified masculinity that are made strange by the disembodied, compulsive accumulations of poses and costume. Alongside the continual explosion of daisies filmed in Mile End Park, London and the swirling camera angles that reveal the shop name "Local Boy'z", these three works focus attention on Lloyd's interest in the frame, and the way in which this produces a particular kind of engagement with her chosen subject matter, from the earlier intense, static shot, to the repetitive, tactile movement in these slide works. Here the gesture is not that performed in front of her camera, but that of the artist behind the camera, dancing across the surface of her subject. For Lloyd, the process of filmmaking is sometimes similar to that of drawing, using the camera as a tool to explore and refine ideas that are not fully formed. First apparent in the actions shown in her videos from around 1999, which started out as drawings of "things people can do", to the collages that are photographed in Untitled (Cut-Outs), to the use of multiple viewpoints in Local Boy'z, Lloyd's work focuses on the process of making and looking as a form of knowledge. Rather than a completed tableaux, that has been storyboarded and finalised, the element of collaboration - whether with someone briefly met in a club or a field full of flowers - is always present. This element of collaboration extends to the experience of viewing Lloyd's work, with the emphasis on the materiality of the installations, from the monitors on their Unicol stands, posed in sculptural configurations, to the flow of images in her slide installations, challenging the viewer to absorb every single image as they are clicked across the walls of the gallery. Rather than the dark, comforting space of cinema, Lloyd utilises the gallery as a performance space in which the viewer becomes a participant in the action, choreographed as much as the images viewed on screen. However, there is always a sense of restraint, which in Lloyd's hands is almost a seduction, as from hours of footage, the viewer is allowed entry into a condensed moment of looking that is defined as much as by what has been left out of the frame as by what is left in.

All quotations are from conversations with Hilary Lloyd, March 2007.

Catherine Grant
Catherine Grant is a Visiting Lecturer at the Courtauld Institute of Art and a Teaching Fellow at the Slade School of Fine Art.
Car Wash, 2005
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