Exchange & Draw, a.k.a Richard Lloyd and Alan Parsons was forged on the back of a discussion, where it was agreed initially that we would compile joint musical CD anthologies by passing tracks between each other. This led to making drawings that were a reaction to some initial stimulus found in each given or received piece of music. From this developed the dialogical process of making drawings that were swapped and collated in a take-it-in-turns fashion. Music, sounds and words do often harness memory and their associations; they naturally recall people, events, time and place and any connective emotions and history. Similarly, drawn images do much the same thing, and these potentials have attracted us to explore these drawing problems together.
Each project has seen drawings passed between us for reworking and revising until either some kind shared resonance is reached or settlement provoked that might retain differing degrees of separateness and togetherness for a given drawing. Ultimately, as a drawing team, we hope to utilise the advantages of drawing conversation, as dialogic drawing opens up through negotiation, the boundaries and the boundary rules, whilst at the same time fixing our minds on achieving some kind of response to a given encounter.
The nature of the dialogue to achieve a ‘finished’drawing will always be complex and dependent on many disparate factors. Like does not always sit with like throughout a conversation. An idea may start out strategically, it might be one that nurtures a specific thought but this thought could be lost, misinterpreted or just brutally rejected by a destructive turn. Moreover, combinations of different responses, is what really what keeps any work alive.We can just as easily depend on each other to create an escape from a visual quagmire as spoil the other’s expectations. Therefore, in one sense a drawing conversation is no different than a verbal conversation, as each collision of imagery or experience to be shared is held to ransom by the nature and tone of the conversational process – that is, its on-going-ness – its un-finalis-ability – which naturally accepts that material can both enter and exit the drawing frame at anytime. It is here that improvisation and a regeneration of material takes place. This can lead to a deeper journey into the centre of the imagery or to deflections and adaptations beyond, to some adjacent terrain. The implications being that surprises are never far away, and that the only thing that is sacred about drawing conversation is the process of drawing itself!
Richard Lloyd (b. 1960, Birmingham, UK) Studied B.A (Hons) Fine Art at Bath Academy of Art (1980-83) M.A Painting at Chelsea School of Art (1983-84) Awarded Richard Boise Traveling Scholarship (1985) Germany/Switzerland
Alan Parsons (b. 1961, Luton, UK) Studied B.A (Hons) Fine Art Painting at Norwich School of Art (1980-83) M.A Education at OU (2001) Travelling Scholarship, Cyprus College of Art (1983)
Both currently live and work in Bedfordshire.