Lloyd Worthington’s two drawings in the show depict a saw horse from two different angles. An odd construction, with bits in red, green, some rope dangling from one bit. They would seem diagrammatic, maybe instructional in the way that they sit on the page, asking for some sort of explanation or academic text that they illustrate. The shadow and hardness at certain points give off a realism. But the lightness of the touch, the fade of the bottom plank, seem to set it afloat and give it an uneasiness as to whether it actually exists or not.
Lloyd Worthington’s practice moves between drawing, ceramics and installation, often exploring the minute details and intense textures that are integral to a sense of place. Working among the different media, she approaches them with a shared sense of composition and the placements of objects in space.
Incorporating some of her drawings from the moors of Wales onto various ceramic surfaces- plates, kettles, and teacups, she stains these homely items with these fragments of soil, melting snow and dirt. Her ‘Wildeor’ installation looked at the history of eels – their study, capture, and mythology that’s grown around them, presented though a range of contraptions and muted histories, with ceramic eels and their visual synonyms of a pointed white stick.
The drawing below is of a fragment from a boat that sat on marsh land for years, before just disappearing, the drawing a study or comparison of the piece and its unknown history. Just as her intricate drawings reveal a sort of naturalism, an almost scientific observation that has been uprooted and isolated to be more poetic, her work seems to sit somewhere as an uneasy pastoral, looking at both the manmade as a natural artefact that deserves drawing, and the moments of the natural that reveal themselves as more human, tender.
More images of her work can be seen on her website here.