Lindsay-Ann Chilcott (b. 1999, Niagara Falls, Canada) is a multimedia artist who explores the anxieties stemming from the interconnections between technology and humans, in ever-increasing technological environments. Chilcott grew up in a world increasingly dominated by the internet and social media, leading her to question her identity from a young age. She became aware of the distorted perceptions that the virtual world portrays. During the COVID-19 pandemic, she found inspiration in modern-day cyborgs and her increasing dependence on the internet. Art has become a means for her to highlight the effects of technology on human behavior and relationships within the warped limbo that divides the virtual and physical world.

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Specializing in pop surrealism, Chilcott upcycles electrical wires and other discarded matter to challenge themes of consumerism, mass media, social structures, and satire. She sources e-waste and other artificial matter from Canadian landfills, opposing the expendable mindset. Through this, she explores the relationship between hand-made and machine-made, as well as the contrast between synthetic and organic. Activism is central to her practice. Chilcott’s work carries a social responsibility, as she finds meaning in her materials. Her work's repetition of artificial matter and numbers, symbolizes modern society’s addiction to artificial consumerism. Her artwork has been shown internationally, including Viridian Artists and the Salmagundi Club in New York City, New York, and the ARC Gallery in Chicago, Illinois. She has been featured in The Working Artist magazine, Digital America, and several other publications. Chilcott currently lives and works in Niagara Falls, Canada.