DISTANCE Michael Carr Art Dealer

Sydney Morning Herald Weekend edition April 2-3, 2005

By Lenny Ann Low.

The silhouetted structures, cities, vegetation and landscapes in Tony Lloyd’s oil paintings, such as monolith, pictured, slam down on the canvas like great cold weights. Set in the dwindling luminosity of twilight, many images leave the viewer staring at the ink-black screenprints of the underbellies of bridges and concrete overpasses, or the barely disturbed darkness of a road lit by car headlights. Elsewhere, a forest of trees is smeared with a hazy moonlight or an obscured streetlamp. In daylight, these sites would bear little of the arcane majesty that darkness bestows; darkness and Lloyd’s painterly understanding of its effect upon the world.