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Exhibition of new paintings by Lloyd Martin opens at Stephen Haller Gallery in New York
Lelia Symington looks at Lloyd Martin's "Tile" 2013, oil, mixed media on canvas, 60 x 56 inches. Photo: Courtesy Stephen Haller Gallery.
NEW YORK, NY.- Stephen Haller Gallery presents Lloyd Martin: Folio an exhibition of new paintings by the American painter known for rhythmically constructed abstract work. The exhibition opens January 30th and runs through March 8th.

In this new body of work Lloyd Martin continues his exploration of architectural incidents as the springboard for vibrant new compositions. The artist makes use of a photographic journal documenting his immediate environment: the decay as well as revitalization of the urban landscape around his studio. In this work he explores the transformative nature of time and use. This series of new paintings continues his use of geometry combined with a deepening involvement with color exploring it in new and varied ways.

Critic John Goodrich has written that Martin’s work “vibrates with a hierarchy of pressures: its spare horizontals, gathering in denser and looser sequences, palpably stretch to cover the dominating off-white fields…” In the words of critic Maureen Mullarkey: “The fascination of Martin’s painting lies in its pitch perfect balance between the constraints of a formal grid and the rhythmic movement of horizontal bands within it.”

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.

“Folio,” the title of the show, Martin states: “references some new compositions I am exploring. Where areas of colored bars are loosely painted over with a dominant color, much as the leaves of a manuscript unfolded may reveal new unexpected arrangements”.

Stephen Bennett Phillips, curator of the Federal Reserve Collection, has written that Martin’s paintings yield “a majestic grandeur with a human dimension and a universal appeal.”

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