I use the forms, pattern and textures of our built and natural landscape, combined with geometric designs, to explore how technology shapes the perception of ourselves and our environment.
When I think about what I do I consider what the world would be like if we only invested in things that sustain physical life? Art, music, drama, literature, design, sport. All gone. This, and a desire to learn, evolve my practice, to contribute to what enriches experiences, is why I continue to be an artist.
I must also consider making a commercial art practice and selling work. Money for me provides time to learn, the opportunity to produce new work, explore new ideas, and all while trying to retain a moral compass pointing away from artistic compromise.
WORKING ACROSS A RANGE OF PROCESSES
My working processes include intricate hand-cut paper sculpture, screenprint, intaglio printmaking, and large scale mixed media painting. I use the forms, pattern and textures of our built and natural landscape, combined with geometric designs, to explore how technology shapes the perception of ourselves and our environment.
I often draw on the formal similarities of our built and digital landscape to create abstracted responses to themes ranging from how advances in artificial intelligence affects notions of human morality and identity, to the impact of advertising, metadata and surveillance.
SCULPTING IN PAPER
Often taking months to produce, paper sculptures are a composite of layers of cut paper, and maybe best considered as drawings with a scalpel. Originally critiquing the opposition of manual and mechanical labor, relating to the original art object and inspired by Walter Benjamin’s Art in the age of mechanical reproduction, this practice has evolved, focusing now on the relationship between digital and manual production. In the new work I am aiming to find a way to combine this precise mode of working with the colour, pattern and fluidity of the paintings.
Since 2015 my attention has shifted to printmaking, specializing in collagraph and screen printing. I opened The Lidota Print Studio in Sheffield at this time to mark my exit from secondary teaching. I called on the expertise of the steel industry in Sheffield to built a large format etching press, having purchased a blueprint for $20. I have progressed to creating multi-plate, photographic collagraph prints, and have had commercial successes including attending the Hepworth/Wakefield Print Fair between 2015 and 2018, and the Great North Print Exhibition in 2018.
EXHIBITIONS AND EDUCATION
I studied Sculpture at the University of the Arts London from 2003, producing my first paper–cut experiments in 2005. Since then I have been long-listed for the Celeste Art Prize in 2007 and selected for the Jerwood Drawing Prize in 2011 and 2015. I have twice been shortlisted for the Royal Academy Summer Show, and have also completed editorial work for Vanity Fair in 2011. I live and work in Sheffield, UK.