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Kinetic sculptor Anne Lilly uses carefully engineered motion to shift and manipulate our perception of time and space. Her highly ordered and precisely constructed interactive sculptures move in strikingly organic, fluid and mesmeric ways. Employing opposing modalities -- analytical and intuitive, rational and emotional -- Lilly's sculptures elicit new connections between the physical space outside ourselves and our own private, psychological domain. They are usually fabricated in machined stainless steel, but require the viewer's touch to initiate movement: pressing clinical qualities against the sensuous response of each piece. Lilly was awarded the Blanche E. Colman grant in 2011, and in 2010 was nominated for James and Audrey Foster Prize of Boston’s Institute of Contemporary Art. She has created public artworks for the Mount Auburn Cemetery in Cambridge, MA, the City of Boston’s ParkArts program, and the Fort Point Public Arts Series. Her work was included in the 2007 DeCordova Annual Exhibition, in Lincoln, MA, has been collected by the DeCordova Museum, the Middlebury College Museum of Art, and is held in corporate and private collections internationally. Through competitive selection in 2005 she was awarded a public commission for a large scale sculpture on the Boston Harbor. The Boston Globe named her 2003 FPAC exhibition one of the ten best exhibits of the year. In 2012 Lilly will be artist-in-residence at the Art Institute of Boston. Lilly holds a Bachelor of Architecture, Magna Cum Laude, from Virginia Tech, and has taught at Maud Morgan Arts and Massachusetts College of Art. She collaborated with the DeCordova Museum’s education department to develop and administer an annual institute for teachers, using kinetic sculpture to link the instruction of art and science in middle and high schools (funded by the NEA). Ms. Lilly is represented by Rice/Polak Gallery in Provincetown, MA, and Simon Gallery in Morristown, NJ. [information on upcoming classes] "Anne Lilly’s captivating stainless steel sculptures...are so intricately engineered they appear to do magic. Tall rods rising from cylinders planted on gears rush toward each other, bowing, then fall away in one fluid motion. Rotating grills look like they’ll collide, then they miraculously pass. The movement of each sparely designed piece is full of grace and surprise." - Cate McQuaid, the Boston Globe
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