Lïlï Dauphinee
AQ is our series of hardcover catalogs celebrating extraordinary women artists. Available on Amazon. Visit the AQ Catalog Webpage to learn more.
Lïlï Dauphinee, featured in AQ Volume V, is a Belizean-based contemporary abstract painter born in Toronto, Canada. She is an internationally collected and exhibited artist who paints with layers of oil and mixed media, using impasto techniques on canvas, linen, and wood. Her style features intricate textures created through repeated tic-tac marks, symbolizing our inherent connection to others and breaking through the misconception of separateness.
Her work reflects personal themes of neurodivergence and isolation—once viewing herself as a solitary “tic” adrift in an overwhelming space, disconnected from others. Lïlï’s journey revealed that this separation was an illusion, a narrative she imposed upon herself. Through encounters with nature, animals, and her children, she realized she was part of a greater whole: the air we breathe sustains us all, creating subtle bonds between all living things.
Dauphinee has been featured in several publications and exhibitions, including Gillian Bryce Gallery, West Art Collective, Fruity Frenzy, Women United Art Movement, Art Mums United, GetScene, and COTFA. She is also the resident artist at Itz’ana Resort & Residences and the founder of the Paint it Forward Charity Project, which has raised thousands of dollars for philanthropic causes since its inauguration in 2021.
www.lilidauphinee.com
What inspired you to become an artist, and how did you decide to commit to this path?
Self-care and returning to my authentic self after many years of abandonment reunited me with art. Like most artists, imagination and the desire to create have always resided within me. Like many artists, this path was not encouraged. I journeyed wayward into other endeavors that never truly fed my soul. After the traumatic birth of my first son and the NICU experience that followed, I began painting again as a way to help me heal from the trauma. This early work led me to be selected as the inaugural recipient of the NSAS scholarship, as presented by Sari Shryack, and ultimately, the beginning of my dream life as a professional artist.
Could you share the story or concept behind your recent work?
I paint about the illusion of division. I felt like I didn’t fit in anywhere or with anyone for many years. I was the black sheep of my family; I got in trouble at school, never had close friends, and lost several jobs. Any type of relationship was challenging for me. I felt a constant disconnect. I felt like I was just one tiny, lonely piece that didn’t correlate. But one day, I realized I was too close to see the truth—I was one part of a bigger picture. And I think this is true for all of us. So, I paint these tiny “tic-tacs” to remind myself and others that we’re never alone, unimportant, unlovable, or isolated. Sometimes, you just have to zoom out to see how crucial you are in this story we call “life.”
What was the most challenging part of your path so far? How are you navigating this obstacle?
Currently, the most challenging part of my path as an artist is living in a developing country. Every aspect of being a professional artist is more complicated here, and it has given me a great appreciation for the conveniences we enjoyed living in North America. Belize is a beautiful and inspiring country. However, access to art materials, business supplies, reliable shipping services, and even weather that supports painting drying times have been unexpected obstacles, making the process challenging and sometimes frustrating. Yet, it has been a great lesson in patience and trusting the universe—what is meant for me will be, and I needn’t worry about the rest.
What role does experimentation and exploration play in your artistic practice?
After moving to Belize, I had limited access to supplies, and before figuring out how to import most of what I needed, I was forced to work with what I had available. This situation was a powerful exercise in creativity; when you do not have access to art stores for new supplies, you must make do with what you have. Tight boxes foster creative moments. I learned that I am only in control of so much and should make the most of what I have in the moment.
Do you have any start or stop rituals before creating?
I begin every day in the studio with a silent moment of gratitude, followed by calling in the four elements. I open my large studio windows to harness air energy, light a prayer candle to harness fire, arrange my Carnelian and Citrine crystals to harness Earth energy, and place tropical flowers from our yard in a rainwater-filled mason jar to bring in the blessings of water energy. I then ask Spirit to work through me and set an intention of uniting humanity and allowing for a greater understanding of one another. At the end of each day, I close with a quiet moment of gratitude as I tidy and close down my studio in anticipation of another creative-filled day ahead.
What message do you hope your art conveys to the world?
I hope people who view my art understand that we are all part of a bigger whole. I want to inspire them to be less judgmental and more compassionate to themselves and others. I want to help others see that we are all essential pieces of the same puzzle. And I want to convey that we are much stronger united than divided—there is far more in common between us than there are differences.
Share a mantra or favorite quote that keeps you going.
I really like a Rick Rubin quote that reminds me of how to overcome my challenges (which often involve getting stuck in my own head) and also reflects upon the nature and style of my art.
"Zoom in and obsess. Zoom out and observe. We get to choose."
― Rick Rubin, The Creative Act: A Way of Being
