Noa Lidor was born in Israel and graduated from Bezalel Academy of Art and Design, Jerusalem in 2001. In 2002 she moved to London. Since graduating from Chelsea College of Art and Design, London (MA Fine Art, 2004) her work has been exhibited in group and solo exhibitions both in the UK and internationally.
In 2008 Lidor created The Mammals, a commission for Tate Modern’s Members Room, and in 2012 she held a solo exhibition titled Doubting Thomas at Museo ABC, Madrid, following her winning of an award for contemporary drawing presented by the museum and JustMad art fair, Madrid.
Other museum and institutional exhibitions include The Fifth Biennale for Drawing in Israel, Jerusalem (2013 – upcoming); PROJECTS 03: Data, Contemporary Art Society, London (2013); The Johnson Museum of Art, Ithaca, New York (2012); Wilhelm-Hack Museum, Ludwigshafen, Germany (2012); Casal Solleric, Palma de Mallorca, Spain (2012); Abbot Hall Art Gallery, Cumbria, UK (2011) and The Haifa Museum of Art, Israel (2007).
Solo gallery exhibitions include This dark ceiling without a star (Green Cardamom, London, 2010) and In the chambers of the sea (La Caja Blanca, Palma de Mallorca, 2010).
Lidor is represented by La Caja Blanca gallery, Spain.
‘The act of drawing is paramount to Lidor’s practice, not only in the creation of actual drawings on paper, but also in her sculptures and installations (…)
A recurrent theme in Lidor’s work is boundaries and breakdowns in communication: some of her pieces involve musical instruments that are rendered soundless, while others employ Braille texts that become absurdly inaccessible to the blind and the seeing alike. The works (…) embody a sense of paradox, pointing at the gap between the visual and the tactile, surface and depth, (…) language and genuine experience.’ – Javier Chavarria (extracts from exhibition text – Doubting Thomas, Museo ABC, Madrid, 2012)
In Till human voices wake us (2010-12) an excerpt from a poem by TS Eliot is transcribed in Braille, blown up and recreated on the floor with small mounds of salt. From Sonnet XL by Charlotte Smith (2011) employed the same process on a Georgian dining table in a period room at Abbot Hall, Kendal, using a text by a Romantic poet whose pastel portrait hangs in the next room.
That is not what I meant at all (2006) renders the title sentence in Braille using mass produced dome shaped lamps. Originally installed on a tarmac roof, there was no direct access to the installation and it was viewable from above.
For The Mammals (2008), commissioned for Tate Modern’s Members Room, the description of the first item from the venue’s menu was rendered in Braille using scores of identical plaster casts of a woman’s nipple.
Wailing Wall (2005-12) is built of ready made salt blocks (‘salt licks’ for farm animals). Pairs of small metal bells are embedded, with only their inner space visible, in some of the bricks located on both sides of the wall.
In Field (Andromeda – 1) (2010), brass bells are similarly embedded in a double mattress, their arrangement and differing sizes corresponding to a section of a star map featuring the constellation of Andromeda – named after the princess who, in Greek mythology, was chained naked to a rock as a sacrifice to a sea monster, and was saved by the hero Perseus who later married her. In Field (Perseus) (2010) plastic recorders are implanted in a cement ground, their arrangement corresponding to the Perseus star constellation. The piece was set in the gallery’s back yard and was viewable from above.
Lighthouse (2007) and Tank (2012) each use hundreds of identical metal thimbles embedded in the wall of the exhibition space so that only their inner space is visible, and making up a large scale ‘dot-to-dot’ image – the latter a life size (9 metres long) rendering of a Merkava tank.