Lillie Morris: Endless Possibilities

Pond Song, acrylic on canvas. 36 x 36 in. (“Amid the Woods & Water” series)

Artist Lillie Morris

Surface Beauty, acrylic on canvas, 36 x 36 in.

Spirit, acrylic on canvas with collage, 36 x 48 in. ("Ogham Series" based on the ancient Irish alphabet) 

Wind, Water, Woods, acrylic on canvas, 35 x 36 in. (“Amid the Woods & Water” series)

Lillie Morris draws inspiration from her surroundings, her travels, and the natural world. She creates spontaneous paintings with a unique visual space and atmosphere that capture the essence of her chosen environment.

How did your creative journey begin?

From my earliest recollection I've loved drawing, making marks and using color! Art supplies were a true luxury in my home, so I relied on the absolute basics: 2-D pencils, crayons and a treasured set of colored pencils. I hoarded away any blank piece of paper I could find, always putting them to good use! Whether it was white card stock from a package of nylon hose or the top of a bakery cake box, I saw endless possiblities in these treasured, white surfaces. Each blank piece of paper held limitless potential and I loved transforming them into something meaningful. While there were no formal art classes in my school system until my senior year of high school, over the years my teachers and my family recognized my interest in art and encouraged me. As a youngster, my creative impulses weren’t just limited to drawing...I simply loved to ‘make things’!! I was captivated watching my mother sew, and crochet. I loved seeing how fabric and yarn could be transformed into beautiful garments and accessories. Inspired by my mother and driven by the desire to experience this form of creativity firsthand, I started experimenting with sewing and needlework at a very young age…probably eight or nine. I began with simple dress patterns and quickly figured out ways to embellish them…making them my very own, one-of-a-kind, creations. Similarly, with crochet, my mother taught me the basics and from there I would create patterns of my own making afghans, ponchos, hats and scarfs. I mention these two handicrafts because I believe they were extremely significant in my art journey. They instilled in me the deep satisfaction of transforming materials into something that never existed before. In my way of thinking, the very essence of art is 'making things' and experiencing the joy of discovery that comes with learning new techniques and ushering something brand new into the world!

I was the youngest child in my family and a bit of a ’strayaway’ (in the best sense of the word!). I’ve always had a longing for adventure, meeting interesting people and a penchant for the unconventional. I dearly loved my own home, mind you, but I also loved visiting the homes in my neighborhood. On our one small block was an Asian family, a single woman who was a medical illustrator, a family who’s father was in the military and had traveled the world, and an affluent family who’s home was literally infused with the arts (music, original art, literature, and dance). There was something intriguing about stepping into these different spaces, each with its own unique charm and culture. It was like taking a mini adventure without ever leaving my neighborhood! Even at a young age, I was aware of the profound impact art could have on transforming a living space. How art, whether a vibrant painting, a piece of sculpture, a photograph or music, had the power to breathe a unique life into a room! That power fascinated me then, and continues to do so!

Where do you find inspiration for your work?

I draw inspiration from a diverse range of sources, travel, music & poetry, to name a few. But, as commonplace as it may seem, nature would have to top the list for me! The diversity of nature allows for endless possibilities and explorations. My husband and I live on a farm which allows me to connect with nature on a daily basis. I am acutely aware of how fortunate I am to have a never ending source of inspiration right outside my door!! The short walk from our house to my studio takes me along a creek, around two ponds and one of our pastures where goats graze in the distance. The two ponds on our property are particularly inspiring. I’m drawn to the peacefulness that the ponds offer..reflecting the sky and the surrounding landscape. Water is frequently a subject in my artwork and it is no wonder: I awake to the morning sun reflecting on the water and end the day listening to the cacophony of frogs and watching the moon rise over the pond…water is a constant companion. The woodlands on our farm are a treasure trove as well...filled with unique plant and wildlife. I often take long meditative walks, exploring the sights, sounds and atmosphere of the forest, inspiring me to attempt to capture the essence of it in my painting. Out of my concern for our current climate crisis, most recent series of work, entitled “Amid the Woods & Water”, was nature inspired. My aim was to reconnect with my immediate surroundings in an intimate and intentional way and hopefully inspire others to do the same. There's a depth of beauty in nature that we really don’t have a vocabulary for…an ineffable, sacred beauty that goes beyond language and photorealism. That’s where abstract expressionism comes closer (for me anyway) to hitting the mark of what I want to say with my art.

How has your work evolved over the last few years?

After years of painting representationally I felt myself becoming less and less interested in attempting to duplicate what I was looking at. I was ready for new challenges and a more liberating approach to making art. About ten years ago I began working in collage and I would have to credit that medium with setting me on a path to embrace, and fall in love with, abstraction. Collage helped me hone my compositional skills and see the endless possibilities in working with line, shape and color. It also satisfied my innate love of ‘making things’. I loved creating my own collage papers and the thrill of seeing a composition develop as papers were fused onto a surface. For me collage was a real catalyst for change, and tho’ I work predominately in acrylic now, I will alway keep my collage materials at the ready!! That experience with collage quite naturally transferred to my painting practice. I found, and continue to find, abstract painting to be a purer form of expression allowing me to communicate visually without the constraint of realistic, objective forms. Although it can be both exhilarating and challenging, I love the mercurial aspect of abstract expressionism allowing for spontaneity, fluidity and a sense of freedom…never knowing what twists and turns a painting might take along the way until it finally says, ‘yes’! I also love the fact that abstract art requires the viewer to engage with a painting on a personal level. An abstract painting can evoke different emotions and associations for each person who looks at it. The open ended nature of abstract art allows for multiple interpretations and encourages viewers to bring their own experiences and and perspectives into the artwork….so in a sense, they ‘complete’ the painting!

What does a typical day in the studio look like for you, and how has your art practice grown or changed?

My typical day starts with getting my house in order…That may sound strange, but I don’t seem to be able to allow myself to go to the studio until things in the house are relatively in order. Then I go for a walk….sometimes it’s a long walk but at the very least a mindful stroll to my studio which is about 200 yds from our house. Once in the studio, I sit quietly for a few minutes. Sometimes I’ll listen to a guided meditation, other times I’ll just sit quietly. A time of reflection, introspection...and gratitude...for the art-life I’m privileged to live!

For me painting is a solitary endeavor! I spend on average 4-5 hours 4-5 days per week working in the studio ( which also includes setup & cleanup time). This amount of time allows for deep concentration which fosters a state of flow where I am fully engaged with my work…that’s when the best work happens! And I believe music plays a role in achieving this state of flow…Music, and typically Irish traditional music, is usually playing in my studio. I often lose track of time while I’m working, but I can tell by the change in the shadows outside my studio when it’s time to start ‘closing up shop’!

My simple studio is the perfect work space for me: not so precious that I’m inhibited about slinging paint or making a mess; but spacious and comfortable enough. Having a good workspace has had an enormous impact on my art practice, on my growth as an artist and my productivity. Having an ample, dedicated workspace has enabled me to work larger and with greater freedom in a space free of distractions or limitations….It is my sanctuary!!

Which experiences have impacted your work as an artist?

I mentioned travel earlier in the interview as being a source of inspiration…but travel to Ireland, specifically, has had a profound impact on my work. I’ve traveled to Ireland annually (with the exception of the Covid years) since 2000 and have developed a deep affection for its stunning beauty, its culture and the sense of awe I experience each and every time I’ve visited….I have a deep spiritual connection with the place.

I also have a passion for Irish traditional music. I play the fiddle and it was actually my interest in Irish music that initially led me to travel to Ireland. The confluence of my interests in art and Irish music has been truly enriching. For me these two forms of expression are inextricably linked. Inspired by its melodies and rhythms, Irish music serves as a kind of muse and I believe it infuses a depth and a vitality to my painting.

I’ve enjoyed numerous art residencies in the west of Ireland at Olive Stack Gallery in Listowel, Co. Kerry, as well as The Cill Rialaig Project, Co. Kerry and I’m looking forward to my next residency, in Listowel, in October of this year

How can you tell when a painting is finished?

Paul Gardner is credited with the quote, “A painting is never finished - it simply stops in interesting places”. I believe this is a very accurate statement…especially with abstract expressionism. I find there comes a stage where I have to be very judicious as to whether continuing to work on a painting will add value or not. Working on a painting beyond what it truly needs can lead to overworking which ultimately kills the spontaneity and freshness of a piece. Typically I rely on my intuition and that sense of satisfaction that says ‘yes’ when a painting has achieved the right balance, good composition and causes the viewer to engage with the entire surface of the painting.

What are your future goals and aspirations?

At the end of the day, the only thing I can really work on is ‘me’ and my primary aspiration is to make better art. So I suppose my overarching goal is my own personal growth as an artist: To explore new ideas, continue to experiment with new techniques and new themes in my work, and push the boundaries of my creativity…to continue to develop my own artistic voice and create work that reflects my individuality and a unique sense of beauty.

Victoria Fry