Lilah Fowler is a British-Japanese artist whose practice-based research is concerned with the influence of emerging digital culture on contemporary landscape and the ensuing impact of the geopolitical space that has been created within cities, deserts, remote or wild landscapes. These interests address the relationships between digital to analogue, plastic to pixel, physical to virtual, within a conceptual framework of sculpture, textile, found object, moving image and sound installations.
 

A driving question in Fowler’s work is how identifying connections and working with other disciplinary researchers can influence the production of art work and its wider conception; working towards a richer perception of our hyper-landscape. Research collaboration takes a prominent role in her investigations and the output is very often influenced by collaborations or conversations with researchers from other disciplines and is derived by experimental and research-led investigations. Recent works have involved collaborations with biochemists, quantum physicists, computer programmers, mathematicians and weavers.
 

Her exhibitions ‘nth nature’ (2018) refer to the many layers of ‘nature’, after Roman philosopher Cicero’s conception of ‘second nature’. What she has called nth nature is a point where analogue and digital co-exist within different ends of one spectrum, specifically in this case, her research with Navajo weaving, Land Art, design, old and new technologies; each with their own methods of shaping space to consider plastic and pixel.

Solo Exhibitions of her work include: ‘Code Clay, Data Dirt’ at Firstsite, Colchester; ‘nth nature’ at Galerie Gisela Clement, Bonn and Assembly Point, London. Group Exhibitions include: ‘Bauhaus’ at Frauenmuseum Bonn; ‘Sie Machen Was Sie Wollen’ at Varna City Gallery, Bulgaria, curated by Melange, Cologne; and ‘PURE LIGHT’ at Vasarely Museum, Budapest, curated by Dora Mauer; ‘Identify your limitations, acknowledge the periphery’, VITRINE, Basel, Switzerland.

Fowler has worked on several large scale permanent public artworks including: ‘Commonplace’, Bedford Avenue, London (2017), ‘14537/9431’, Nelson Street, Bristol (2017) and ‘Lantern’ Whipps Cross Hospital, London (2020). (b. London, UK).  She is represented by Galerie Gisela Clement, Germany and Un-Spaced, France.