Lloyd Hornsby Gawura

Lloyd Nolan Hornsby is a Koori Elder, descendent of the Yuin people from the South Coast of New South Wales. His passion and talent for art was obvious from a very young age, and even wooed his childhood sweetheart, Wendy (now his wife of some 45 years) with gifts of his artworks. Upon leaving school, Lloyd trained as a Commercial Artist, which led to a job as a window dresser for McDonald & East before working as a metal polisher in the aluminium industry. After managing an anodising plant for a multi-national company, Lloyd retired at the age of 38 and went into business for himself.

Lloyd is part of the Stolen Generation: when children of Aboriginal and Torres Strait Islander descent were forcibly removed from their families by the Australian Federal and State Government agencies and church missions. His life journey has been one of emotional highs and lows, and at times there have been great struggles. Through his art, Lloyd eloquently reflects his deepest feelings.

At the age of 68, Lloyd feels he is continually learning, and he is able to share his experiences, culture, and healing process through his art. He is carrying on the age old tradition of telling Dreamtime and historical stories, and in his latest series of paintings, entitled 'Salt Water People', Lloyd looks to the future. His elegant and refined depictions of the ocean and sea life are incredibly detailed, revealing his incredible draftsmanship skills. His exquisite dot work, along with a splash of bold colour, leave viewers mesmerised.

Underlying all of his art is a beautiful message of unity - through his art Lloyd bridges the distance between human experiences and binds us together in deeply personal ways that reflect our potential for shared experience and compassion.

Lloyd Nolan Hornsby currently lives in Brisbane with his wife Wendy, and their two daughters living close by with their husbands and children.

Artist Statement:
'We have to know our history; we are people of our generation. We can look back with admiration, and hope to have some of those qualities that help us to remain true to our time. We have to acknowledge the complexities of our generation - our status and our connections. Through the approval of my community and family it has been acknowledged in my art that I have shown the positive of the dreamtime and how it was for the past 60,000 years - I have endeavoured to carry on the age old tradition of telling Dreamtime and Historical stories through my art, in a passive mode. My journey into the future will be reflected in my next series of paintings.'