I first chose the title, Lloyd, for the way the word sounds, the way that it curls off the tongue. In a sense, that manner of phonetic articulation is echoed in the sculpture’s form: it twists and curves to an extended and sharp point. The titular connection was accidental, but certainly not irrelevant; indeed, the gradual expansion from the minuscule (the human tongue) to the monumental (the projecting peak of the sculpture, up to 5 metres high) is the work’s very trajectory both in concept and in form.
Its smallest tangles interweave to unravel themselves towards enlarged, even soaring planes. I designed the piece to contain compact energy, as it were, at its tight center, to move outwards in a climactic release. Thus Lloyd is a personal expression of whatever difficulties encountered in my own artistic practice—the energy, strength and resource devoted to approaching clarity or creative enlightenment.
Yet the work is also a record of an evolving linguistics—not in its traditional sense, but in terms of a fluency acquired through the urban vernacular. I am interested in a geometry of speech, where the rules are changeable and words are modified as they intersect with convention and the new. Just as I did with the “e” of my name, stylizing it into the form of Lloyd, writing and speaking are deconstructed, regenerated and then possibly even abstracted. Therefore, it is befitting that the sculpture be positioned in a cosmopolitan or industrial area, not only because its vertical reach will be repeated in the surrounding skyscrapers and streetlights, but also because Lloyd negotiates with particularly urban forms of interaction: idiomatic speech, graffiti writing, modern design.
Furthermore, I hope that the sculpture will be adjacent to the sea. The wide, unending openness of the sea and sky will altogether enhance its formal qualities, as it seems to sharply enunciate a proposal for writing and speaking, for a future.