Sheppard Fidler’s work derives from what she refers to as ‘the rubbing up against the everyday’. She builds sculptures, installations and uses her body within the work, taking the mundane and transforming it into newly constructed configurations.
The tools and language of a past creative practice in set design act as material for the work, as does the process of reuse, not just for environmental concerns but as a way of accessing stored narratives within materials. She thinks of the works as ‘temporary stagings’ in which the transience of the work is key, whether it is an object that can be packed away or a performance which cannot be repeated. The work seeks to control the human figure by appearing on the point of departure with emptiness operating as an invitation, encouraging immersion in the moment.