Stella is an abstract painter, who is originally from Columbia. Her paintings adorn three Cosi Coffee Shops in Manhattan. I was excited to see Stella work on her paintings right inside the Cosi on 23rd Street. Easel set up at the front of the shop, brushes in hand, and paint ready to go, Stella can be found there almost daily, working on a canvas, surprising customers and the Cosi shop employees with a new artistic creation.
I think it really was the vibrancy of her paintings, as well as Stella’s own energy, that attracted me to the shop, or at least had me returning. When Stella had her gallery show, her artwork had to be temporarily taken down from the walls at Cosi. The place looked rather empty and it really felt as if something was missing.
Besides painting, on her breaks, Stella can be found socializing and laughing with the Cosi staff and customers. “She is just so ADORABLE,” said one of the employees at the shop. I couldn’t have said it better myself.
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The first time I actually saw you, at Cosi there was a blank canvas in front of you. You hadn’t painted anything on it yet, but you were sitting in front of it, looking at it. It seemed like there was a lot going on in your head. Could you tell us what you’re thinking when you’re looking at a blank canvas like that? Are you looking for inspiration? Is a picture forming in your mind?
I know (laughs). I sit for hours just looking at the blank canvas. But I already have many sketches for that particular painting, you know? And I know the size of the canvas. So I have that and the sketches in my little book. I’ll show you. (opens up her sketchbook to show pencil sketches over a page or two). I have to SEE, to FEEL, to get this energy. And then I know exactly what colour I’m going to start with. Sometimes, I’ll think, “Okay, I’ll go with blue.” But because of something going on in my life, instead of blue, I start with the orange. I also have to imagine whether the colours will match. But it depends. I have to see it for awhile. It’s a sort of meditation, I think. There’s this blank canvas in front of me, but then I’m seeing further into it, how it’s going to look. But yeah, I already have some sketches and a plan before I start.
We’ve talked a little bit about how writing and art have a lot of similarities as far as the process behind them. Most of the time, I have a plan with my writing, but if it develops into something else, I go with that, I try to run with it. But there are often times where I like to just free flow in my writing, like stream of consciousness writing, and I like to just see what emerges from it. Do you ever do that with you art, actually on the canvas?
Yeah, I have. Some of my paintings have been created like that. I just start with a big layer of texture. And I just get this nonstop energy that just keeps going, and I keep going with it, until I’m done. And it could be two hours non stop, where I’m not even eating in between. Yeah. I do create in that way sometimes too. I do.
And I have dreams. You know, I dream. Sometimes, I think I’m from another planet (laughs).
I remember you saying that the other day. And the funny thing is that I think I understand. So don’t worry. Maybe it’s an artist thing. (laughs) I think dreams can be important to artists.
(Laughs) Thank you. But sometimes I feel like I have to…, I mean, there are all these paintings, and many of them are just squares, right, with a lot of textures and colours?
And I think, what is this, really? I guess they are my emotions. But why do I feel that I have to show everybody all this, and why in this way? Shouldn’t I keep it all personal, and keep all those paintings in the closet? But I don’t. It’s like I get this energy from the cosmos, and then I have it in my head, and then it goes into my hands, and then I start painting. That’s why I feel like I’m from another planet (laughs).
It happens even when I listen to music. It’s like I can travel far from this world. It’s strange, but it’s a nice feeling. It’s like some sort of mission, maybe. ©
Yeah, I think it’s wonderful (smiles). It just makes it seem more like it really is something you are meant to do, you know? Spoken like a true artist (smiles).
You mentioned the squares. There are many square shapes in your paintings. Does the square represent something in particular? Is it a symbol for something?
Yeah. They are all like this (opens her sketchbook to show overlapping squares drawn in pencil). These are my ideas. The squares actually represent a tunnel. But sometimes, I don’t paint out the whole tunnel. It’s just like a symbol- two or three squares. Some of them are darker, to create depth, like a tunnel.
It’s interesting that with all the squares and lines, and the geometric shapes, you’d think that the paintings would look quite static. But instead, all of your paintings have this feeling of movement in them. There is this motion throughout them. Are you very aware of what you’re doing to create that?
The movement sometimes comes from the repetition of shapes and where I place them. This creates movement, from one place to another. And I also work with the paint textures and colours to create the movement.
And I see the number 78 in your paintings a lot. Is that of some real significance to you?
Yeah. It’s when I started painting (smiles).
Really? (smiles)
Yeah, twenty years ago-1978. It was when I started to realize that painting was something special. We used to pa8nt when we were kids and I enjoyed it. But then it became more to me. So I do use that number as a tribute to that, and to express that. And numbers are significant because also, I like math. And so all of that is put together into one piece when I use 78 in my work. ©
There are some pieces of your work that I was really intrigued by. And they had titles like Beauty, or Transition to India, or Journey- they were very short titles. And the title for it all of a sudden changed my perception of the painting. It changed the painting for me. It was very interesting. It made me look at it differently.
I’m wondering whether you often start with the title or the subject, and then create the painting, or does the piece allow you to decide on what the title is?
Well, for example, Journey, that was the end. I mean, the title came about when I finished the painting,
because I realized that was my journey there in the painting- from beginning to end. Transition to India- that came about because I have this friend of mine, and she wanted to go to India all her life. That was her dream, and she passed that to me. And so I started with that idea and title first, before starting the painting.
But then I have a painting called The Doors Are Open. It didn’t have a name when I started. But then with Beauty, I started with the title. With some of them, I come up with the title in between, while I’m painting it.
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Do you find that your family background and culture really encouraged you to be an artist?
Some parts of my family did. Because my father was the one who really encouraged us. Some others in the family thought it was just a game for kids. So they thought we would grow up and decide to do something ‘more serious’, like everybody else. But we didn’t. Well, especially ME, I didn’t. So my mom wasn’t so happy (laughs). But I think she knows and understands now. But I wasn’t really encouraged. It’s not really the style for Columbians, to be artists. It’s very tough. Unless you were well known, and you went and traveled to Europe, and came back and established your name. Then people would take you a little more seriously. But other than that, no.
It sounds like you have traveled to a lot of places, from what I read in your biography. Is there any place that really stood out to you? Any place that had a great center for art, or a place that really inspired you?
Yeah, I was very curious when I was a kid. So I always liked going out. And I started traveling when I was very young. So I started going to London. That’s my first place. I went to London. The very first place I thought of going before the states. After that, I worked in the states most of the time, and then went back home. I traveled to London again, just to see my friends there, to visit. And then I went to Italy -Rome and Florence. I just like meeting people (smiles). I’m very friendly you know?
And I get a glass of wine, and start talking and it’s nice. It’s very relaxed. I meet a lot of people. I don’t find it very difficult. That’s why I’m still thinking of traveling soon, sometime very soon.
Are there any places that you’ve either never been to, or have been to before, and are dying to go back to?
Yeah, I want to go back to London and see these friends of mine. And I would like to just have a chance to go to India. Also, I want to see Spain- Barcelona, in particular. And I’ve wanted to go to Europe and take a little tour.
And what is it about New York that keeps you here, as far as your artwork especially?
Oh, I love New York (smiles). New York is the best place (bigger smile). I went back to different places. But then kept thinking about the big city. And I thought, “Yeah, I have to go back to the rush.” Because it’s a rush in so many ways. And it’s something that you need, especially as an artist. It keeps you stronger. There’s a lot of competition and there are so many great artists, and you have to keep going. If you start looking at everybody, or comparing yourself to others, you just stop. So you have to keep doing your stuff and getting better, and meeting people. And just have fun with it.
The paintings that are up at Cosi, although they are high up on the wall, there’s something about each one of them that invites the viewer into the painting. Are you purposely trying to create that? Or are you just working, and that illusion just happens to come out like that?
It comes out. It’s from the passion. Passion comes out. And I don’t mean it to happen. I don’t mean to do it. I just work and work and work, and then the piece just comes alive. It’s so cool. It’s such a great feeling (smiles).
And how did your paintings end up at Cosi?
Actually, I started at Cosi a year ago. But before that, it was two months or three months of waiting. Because I saw this space without any painting, and then I asked someone at Cosi, I said, “I would like to show my work here. How can I do that?” So then they had to do all these corporate checks. I gave them little images of my work. And then they sent that out to Chicago where they decided if they wanted my work or not. And they actually fell in love with the work (smiles).
And one of these guys in Cosi had the idea of having a painter, painting live, in that restaurant. And then I volunteered. And THAT’S how I started it. I don’t know. I would never have thought of painting in Cosi or outside of the streets, but it’s a good place because I moved here a few years ago. And I kind of knew most of the people in the area. So it was good because it was a familiar place for me.
And then, the first day I was painting, I questioned myself. I thought, “Oh no, what am I doing? I don’t think I want to be painting in front of everybody.” (laughs)
T- (laughs) 
"Oops!" (laughs), I thought.
But when I started doing it, I totally forgot about the people watching. I would just listen to music. And then I got such great feedback. People were really enjoying the work and everything. So that was a good way to keep me there.
So it doesn’t distract you to have people there, knowing that they are watching you? Do you just block it out?
If I have my headphones, yes, I block it out. I’m really in my own space, listening to the music and creating. If I don’t, I’m ready to talk to someone if they want to talk. But I just focus on what I’m doing.
How do you feel about other people critiquing your work? When others try to interpret what the work is about, or give opinions about it, how does that make you feel?
I don’t have any problem with it, because you know, you don’t have to like the work. I mean, if you like it, that’s great. But if you don’t like it, I understand. It’s abstract, so some people don’t like that kind of art. And sometimes, I really learn from the rough critics. It makes me think, you know? But it doesn’t really make my work sad, or lessen what I am trying to do. It doesn’t really touch the idea of my wanting to keep creating. So I like all feedback. And some people, they just don’t understand.
Even some of my fellow artists, they really don’t understand what I show and why I paint at the restaurant. But I like being in touch with, or close to, the community, kind of like those artists from the past. They used to go to places, and socialize with people. I’m one of those (smiles). But I also like my solitude and I enjoy my quietness. But I’m very into people (smiles)- kids and everyone. They come, and they see me when I’m working in the restaurant. If I was working in my own studio, nobody would ever see me. I would be by myself with my piece, which is fun. It’s good. But this is more challenging. And I think it goes well for me.
We have these discussions often, my friends and I, about whether or not certain arts can actually be learned or whether it’s something that you either have, or you don’t. You either have the talent or you don’t. So do you think visual art can be learned?
It depends, because some people, they are really talented. And they just need to learn a little bit of the theory and the knowledge. Some other people, they really try hard, but aren’t doing as well. Art is about expression, and maybe these people have to express themselves in different ways. Maybe they’ve chosen the wrong way to express themselves. So then they are not very successful.
How has art enriched your life?
Everyday, I feel like I’m rejuvenated, especially when I paint. It feels like I’m recharged. It relieves me from the stress, from my day. And the painting brings everything out sometimes, so it really makes me feel good, every single time I can paint. And everyday that it helps me, hopefully, I bring that energy, my energy, out to other people. I want them feel good, while they’re eating at the coffee shop. Maybe they’re even looking at one piece and meditating on it. It's such a great feeling to know that I can bring them something, some feeling, through my paintings.
To view more of Stella's work, check out her website: www.stellalillig.com
