Introduction

---

"Lloyd’s interest in large-scale immersive media installations extends back to her work at Goldsmiths College in the late 1980s. Her work, Desire (1990) was represented at Modern Medicine, an exhibition organised by Damien Hirst which followed swiftly on from the success of Freeze, an exhibition that now exudes near-mythical status as the origin of Brit Art. Lloyd deals with the sublime, an imaginative response of the onlooker to the boundlessness and power of nature. Tooraweenah is a joy ride into the sublime, but one that loops back endlessly on itself rather than into the beyond of the Australian Outback. She choreographs the sound and vision so that these beautiful images move in harmony with the haunting sound of a soprano aria". Catherine James, Lecturer, Christie’s.

Central to my work is the position of the viewer as defining presence. Interactivity is key to defining the position of viewer, not as a “plug and play” participator but rather in more subtle, implicit relationships which suggest the presence of the viewer as defining the work. Since graduating from Goldsmiths College in 1989, where my focus was on large-scale immersive installations, I have continued to work with both installations and paintings. My first exhibition was a media installation, ‘Desire’ (1990) represented at Modern Medicine. Whilst continuing to exhibit in London and overseas, I went on the complete my MA in Digital Arts at Middlesex, London and my Doctorate at the College of Fine Art, University of New South Wales, Australia. 

I have worked with landscape for the past 20 years, in Australia and Scotland, focussing on a return to the medium of oil painting over the past decade. My PhD thesis examined theories of the sublime in landscape in relation to ourselves and emerging technologies. Contemporarily we cannot examine landscape without an awareness of the reawakening of theories of the sublime in the light of ecological fragility brought about by climate change. 

With my ute (2005)