Lily Lewis is a London based multi-disciplinary artist. Her practice is committed to exploring the interplay between the classical and the contemporary, telling the story of humanness.
Lily completed a BA in English Literature followed by a masters in Psychoanalysis, both at
King’s College London. Her studies feed directly into her discipline: her work is focused on
the description of the human experience within a geometric framework. Lily’s paintings are
visually narrated compositions, stories and allegories of the humane. She uses
representations of her “self” as a vessel for the telling of a greater history and collective
subconscious. Her inspiration is drawn from her knowledge of the human condition, the
individual’s experience and interaction to the world. She uses the architectural framework
and fairytales of the Classical to illustrate personal moral and social lessons.
Lily Lewis: “I grew up with a deep love and respect for narrative; how allegory and story
direct societies, from religious tracts to fairytales.”
Lily Lewis’ practice extends to poetry, sculpture, tapestry and performance. Her work can
be described as figurative conceptual realism. Lily’s works often represent female bodies
tightly contorted and fitted in urns, pots and vases, all of which allegorical “vessels”. These
are methodologically positioned within grand apocalyptic landscapes made of geometrical
architectural patterns. Their specific arrangements create lyrical riddle-like enigmas for the
viewer to unravel. Lily’s use of Platonic solids in her work and their relationship to the 5
classical elements, relates directly to her understanding of the patterns of physical and
psychological human senses.
Lily uses the body as a vessel to tell a story. Her paintings have strong stylistic references
to the works of De Chirico’s (1888-1978), especially his use of Roman architecture to
describe human significance within the universe; Salvadore Dali’s (1904-1989) ability to
describe dreamscapes rooted in the subconscious. Maurizio Cattelan’s (b.1960) subtle
playfulness and Paula Rego’s (1935-2022) love of the feminine.
Her works also have strong intellectual and visual links to Hilma af Klint (1862-1944),
principally in their spiritual dimension and use of symbolism, which prefaces the works of
Kandinsky, Mondrian and Malevich. Lily’s use of geometry and symmetry is allegorical of
the dualities which surround us, concept also highlighted in her use of colour which is
melodious and synesthetic. Through her practice, Lily is telling stories that transcend time.