NEW YORK, NY.- Stephen Haller Gallery presents Lloyd Martin: Interstices, on view from May 19th through June 25th, 2011. In this new body of work Lloyd Martin confronts the spaces, gaps, breaks, and fissures that intervene between time and space. There is an intensely rhythmic, almost musical quality to his painting, a kind of pulsing beat. There is also a distinctly architectural element, an inherent framework that grounds the structure and holds together disparate elements. In this series Martin continues his exploration of the transformative nature of time and use - the decay as well as revitalization of the urban landscape around his studio. This atmosphere inspires Martin in the creation of these rhythmically constructed abstract paintings.

Martin writes: These paintings continue to explore my ideas about staged “painting events”. Based on observations of architecture and nature’s interventions, relationships evolve through process and compositional commitments. The individual components of the paintings play a role in the evolution of the work as the process and manipulation of some given reductive elements serve the whole. Spacial and color relationships are articulated as a response to previous activity. The results of these actions may reveal unexpected spaces alternating between some uniform deliberate constructions. The artifice may be breached by the unintended and the accidental. The interval, the “interstice”, the fissure, the vent, the gap are the consequence of process.

A Rhode Island School of Design graduate, Martin has been honored with the Rhode Island State Council on the Arts Fellowship in Painting. He has twice been awarded the Fellowship in Drawing, revealing his heightened awareness of line and form. That skill is evident in his series of prints for Landfall Press acquired by The Cleveland Museum of Art.

In the catalogue essay for a Martin exhibition in Taiwan, Wang Pin-Hua writes: “with these frame-like lines, Martin creates a seemingly wider structure or multi-layered space by dividing and reconstructing the images, making the paintings extend far beyond the boundaries of the pictures.”