I’ve been following Lily Stockman for some time, at bigBANG studio. A young but wildly accomplished artist, she moved to India last year. Funded by a grant, she’s been painting pictures of India’s grain silos.
Her new show opens in Delhi this Friday. She is exhibiting along with three other American artists, Carrie Fonder, Rebecca Layton and Jenny Mullins. Here are two of the new pieces.
Agreed, her work is pretty. Pretty but at the same time, somehow, sad about happiness and bravely waving at meaning. Often the meaning of archetypal structures.
I never really understand how art works, or how to talk about it. But I see that Lily’s latest work has grown more conceptual, more political, and thereby just that little bit less pretty. Or, to put it more precisely, this pretty takes a sharper edge. I find the juxtaposition of coral, salmon, and the bullet shape of silos against the outline of Mughal arches, to be quite brilliant.
No fools they, the Times of India did a feature on the show, which you can read here.
Much of Lily’s previous work, seen in her portfolio, here, has sold. Unsurprisingly. But a few pieces remain. A few gorgeous pieces. She has, it appears, often painted structures. This, from her Westward Ho series, comprised of small to mid-sized oils of houses – in the midst of Western space and light.
This, from the series called Mojave.
And finally, this, from Weed Eaters. Lily can write, too. Here’s the backstory to the horse.
These images are quite possessing me, for the moment. I do not know when I will shake them.
This post, I wanted to note, followed more closely than usual upon the similar post about Brigitte Carnochan. That’s purely accidental. I may not discover another artist who sets my sensibilities a-tingle for months. I’m picky. Art’s hard, and personal. That said, now is a good time to remind you that until March 31, Gitta’s donating 25% of the proceeds from her photo sales at Verve Gallery to Save The Children’s Japan Earthquake and Tsunami Fund.