Clio Lloyd-Jacob
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I have been priviledged to draw many musicans as they rehearse, practice or perform. I have been artist in residence for Sinfonia of Cambridge since 2014, an have made many drawings of individuals or pairs within the greater whole. I am increasingly drawn to images of relationships between individuals within  the orchestra, be that two violinists sharing sheet music, or two wind players, listening deepy to one another's  cues.

Stone Cutting

I have been working with the calligrapher, Emi Gordon, observing the precision of her movements, and recording them as drawings which are beginning to evolve into paintings. 

I have enjoyed the slightly unusual take on the artist in studio theme. Here is a craftswoman intensely involved in her creativity, which nonetheless is a non-egoistical process, Through her work, she is contributing to the history and culture of lettering and hence communication and awareness in the world.

Man at Work

These images explore the ideas of the man hin his study that have been present since the raeaissance and the celebration of human endeavour within a broader spiritual context. I ma inspired by Rembrandt, Durer and Bellini, among others, to explore ways of representing the invisible work of the mind in a metaphorical form.

Self Portraits

Inspired by the honesty and pain of Rembrandt's self portraits, I have explored this theme throughout my life. In 2012, I set myself a discipline to work on one every night over a period of 60 days, and the results were surprisingly liberating in terms of allowing new expressions to surface.  I worked in soft pastel as it gave immediate colour and a hard direct effect.


These works have emerged from observing and sharing my own children's growing up and that of their contemporaries.

July Open Studios

Cambridge Open Studios 2021
Cambridge Open Studios 2021
drawing, printmaking, performance, painting
Imprinting the influence of each on another, while keeping sensitive.
  • Commissions Taken
  • Visitors All Year
  • Tuition Given

Seeing parralels between the upheavals late medieval/ early renaissance Western Fitzwilliam museum collectionEurope and our own times, I have drawn on Durer as a model this year.

Conflicting human paths and desires are pitted against a clarity of purpose, in a climate of intense awareness of the natural world, expressed  in a series of etchings and in performance.

from Durer's Ecce HomoLarge etchings developped during a residency at Anglia Ruskin printmaking department explore visual links between the Green Man and Christian imagery.

from an early German crucifix at the V&A museumPerformances using shadow-play link inner struggles to myth and story-making as a communal process.