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Daisy Liddle

Drawing

Blindfolded 02.

Blindfolded 02.

Close up of 'Blindfolded 02', charcoal and oil pastel on paper, 59.4 x 84.1 cm.

Untitled, March.

Untitled, March.

Close up of 'Untitled, March', charcoal powder and graphite on paper, 59.4 x 84.1 cm.

Untitled, May.

Untitled, May.

Close up of 'Untitled, May', charcoal, oil pastel, acrylic, ink and charcoal powder on paper, 150 x 1000 cm.

Untitled, May.

Untitled, May.

Charcoal, oil pastel, acrylic, ink, graphite and charcoal dust on paper, 118.8 x 168.2 cm.

Daisy Liddle

My practice explores contemporary drawing, 3-dimensional display and ultimately the environment. Driven by my consistent environmental concern, my practice is never without undertones of nature, in particular monumental landscapes such as cliffs, rock formations and glaciers.

Whilst working to explore the materiality of paper, drawing emerged as an increasingly central theme within my practice. Influenced by cubism, particularly ideas surrounding the deconstruction of form and representation of objects as a series of overlapping surfaces or facets, I have developed a process based take on drawing. Creating creases and grooves in the surface of the paper, I then use abstract mark making to both enhance and offset the light and shadows which form as a result of the paper's structure. My practice also concerns the relationship between drawing and space, taking drawing beyond the traditional flat surface; display is of paramount importance to the work, which can be considered site specific installation. Given this contemporary outlook on drawing, a paradox arises between the use of traditional materials such as charcoal, ink, oil pastel, graphite and pencil, and their modern application. The contrast between scale and aesthetic fragility is also of note. Conceptually, my practice centres around ecological and environmental concern. The paradoxical nature of the Earth's monumentality and yet extreme vulnerability in the face of the current climate crisis is reflected within the large scale drawing installations, which lack structural solidity. As an environmentalist, my own fear in fathoming a fallible Earth is where this body of work originates. Through completion of this body of work, my emerging strengths have been: increased knowledge of contemporary drawing, mark making, materials and exhibition planning. My ideas surrounding applications of drawing have developed hugely and I now regard drawing as it's own, free standing artistic discipline and not purely a means for completion of paintings or sculptures. Working with a process based methodology, my work is led by trial and error, and the ability to accept and learn from failure is one of my strengths. Following my graduation from Loughborough University, I aim to increase my involvement with environmental activism, fighting for a sustainable and clean planet.