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THE MYSTERY BOX

Presented by J.J. Abrams, Bad Robot, 826 National, and theory11. What's inside the box?More Details

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Artist Portrait

Lloyd Barnes

Porthcawl,

Age
26
Years in Magic
21

Lloyd Barnes has been called "The dark horse of underground magic".

Lloyd specializes in a unique style of visual magic which tends to blend sleight of hand with new era technology.

His grandfather was a street buskers in London in the 1940's and from age 5, he taught Lloyd everything he knew to do with live performing and close-up deception.

Currently, Lloyd works full time as a close-up bar and private event magician and ghost consults to many magicians around the world.


How did you first get started in magic?

My Grandfather was a street performer in London, in the 1940's and would hustle hundreds of people weekly with the classic Three Card Monte, Three Shell Game, Link - Unlink Chain and many more.

After I was born and had got to an age old enough to cognitively understand the basic concepts of magic, he taught me a handful of basic tricks and from them first moments onwards, the spark was ignited.

Which artists have inspired you the most in your work thus far?

This list is too long, almost every artist inspires me in one way or another. Whether it's because they perform badly or well, there's something to take away from everyone and everything.

However, these are some of the greats that inspire me for all the right reasons:

Wayne Dobson Henry Evans Larry Jennings Juan Tamariz David Blaine Daniel Garcia Harry Blackstone Gregory Wilson Paul Harris Eric Mead

If you could have dinner with any magician, past or present, who would that be and why?

Johann Hofzinser.

A true pioneer or developing new plots, who left so many mysteries unsolved, I would loved to have attempted to have tackled some of these with him.

What is your creative process - how do you come up with new effects and ideas?

For visual magic; I imagine how the effect would look if I could really do magic. I then take that visual and adapt to it as best as possible. For me, the final visual comes first, the method comes second.

For mentalism; I attack the method for a premise with relentless approach to removing any factors for trackback in method, whilst attempting to keep the performance as natural in every way possible.

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