Lydia Gifford composes her work between pictorial expression and its inscription within an exhibition space. This particular approach implies the performative aspect of her in situ painting. The artist takes the entire environment into consideration from the canvas to the exhibition walls. Time and attention are required to allow the subtleties of the work to reveal themselves in all their complexities in order to find a focal distance which is appropriate to experience the composition. A white wall, a vibrant canvas, disparate elements as punctuation, and the pictorial gesture that continue on the wall on which it becomes inscribed in an echo with the canvas. She explains that: “There is a subtle balance between impulse and action. Actions leave traces, painting always initially carries the mark of the body, of an explosive gesture.” Intimate and played out in the exhibition space, the artist's work endangers its own apparatus on the occasion of every presentation and thus renews the viewpoints in a perpetual dialogue between the work, the place and the audience.
Warder is on the limit of achievement and creates a tension with the exhibition space that fundamentally participates in its evolution. The artist proposes an intimate sensory experience by drawing attention to the vibratile nature of the context and the marking of her gesture. She states that in her work: “Painting allows me to transpose boundaries”. In the painting tradition that Gifford responds to Turner's works are haunted by fog which diffuses light: she brings this up to date with her incisive question of defining a territory to cultivate. Her work alludes to landscape, questions the appearing of a work of art and its existence, the trace of its emergence, the vitality of the initial thrust.