Jonathan Lloyd, printmaker, visited us last year after volunteering to be our first ever woodcut-artist in residence. We asked him a few questions about how the distillery looks through his eyes.
Is it what you expected to see from the whisky-making process, here?
JL: I’m struck by how many processes you’ve managed to claw back ‘in house’ 21st century and 19th century technologies rubbing along happily together.
Can you say a few words about what strikes you about the mill house, the mash house, the still house, the people?
JL: The noise, the steam, the heat in that order. In terms of the people – this is a peculiarly painterly observation – If you’re going to describe a space, you have to begin to understand how people move through it. It’s not back and forth but up, down, laterally, diagonally, counting, gauging, recording. Like spinning plates but 3 dimensionally; human rhythms that I guess haven’t changed since 1881. There’s clearly immense pride in being part of this tradition
I heard a photographer once say they had thousands of photographs but not a picture. What are you looking for in your finished works?
JL: Cameras, for me at least, invariably produce images that are plausible; the light comes from here so the shadows fall like this… I don’t want to be bound by that plausibility, I want to make images that are more unstable and awkwardly articulated. That’s where the sense of movement and space are going to come from.
What or who inspires you?
JL: How long have you got?! 2 from the last 1000 years – Giotto, Cezanne
See how Jon’s work is progressing on his instagram @jono.lloyd >>.