Hunter & Folk Interview 2023    
         August 24th, 2023    
    A huge thank you to Hande at Hunter & Folk for the interview on my upcoming solo exhibition 'Pay Attention to the Heavens' opening 30th August at Curatorial & Co. Gallery, Sydney. 

    H&F: Hi Lilli, what led you to where you are today – what has been your trajectory as a photographer?

    Lilli: My journey has been shaped by a combination of my passion for photographing women and my connection to the natural world. In my late twenties, I became fascinated by the power of taking portraits of women, mostly friends, or friends of friends, which was basically me nding a voice I hadn’t used before, a way to tell stories and use photography as a way to express emotions. As I honed my skills and expanded my vision, I immersed myself in Australian landscapes, photographing the female form in a variety of environments and experimenting with different light and techniques. Over the past twelve years, I’ve been on a bit of a quest of self-discovery, rening my eye and my craft, pushing my boundaries and seeking new inspiration for every new body of work. This relentless desire for growth and the support of mentors and peers has been crucial in my development as an artist.

    Do you think your upbringing in the rural community of Wytaliba in NSW has played a big part in the influence behind your work today?

    My first few years living in a hippy commune provided me with a deep appreciation for nature's beauty and a profound connection to the land. Living in a mud brick house in the bush, swimming and bathing in the rivers, the serene landscapes, and the simplicity of that kind of o-the-grid lifestyle seems to have profoundly influenced and informed my art practice. This upbringing instilled in me a sense of wonder and endless curiosity and love for the natural world, which often finds its way into my work. The rawness and beauty of nature constantly inspires and allows me to capture its ethereal and magical qualities, and has instilled in me a deep appreciation for the delicate balance and harmony that exists when we embrace the environment as an inherent part of who we are.

    As an artist, what’s the best lesson you’ve learnt along the way?

    One of the most important lessons I've learned as an artist is to trust my creative instincts and embrace vulnerability, even when the doubts and dreads creep in, and they always will. I've learned that taking risks, pushing boundaries, being open to experimentation, and sometimes learning to sit in heavy amounts of discomfort and anxiety whilst making the work can often lead to interesting and transformative artistic expressions.

    When did you first understand art and design as a form of expression?

    I feel like most small children understand art as a form of expression and are drawn to making and creating. We often lose this, but when I look back there was always a thread for me, my mother creating art around the house, then dance, and music, to stumbling across Renaissance art books in high school then falling in love with photography. A solo trip to Europe at 24yrs seeing paintings and sculptures up close affected me in a big way, and this also coincided with my first time engaging with photography and embracing it as a form of expression, I became obsessed with the way the masterpieces capture human emotions using the interplay of light and shadow, rich vibrant alive colours and exceptional attention to detail. This is something that I try to embrace in my own work.

    What drives your creativity?

    My creativity is driven by a constant curiosity and desire to capture the intangible aspects of the human experience. I have always had a longing to explore the intricate layers of existence and translate them into visual poetry and use a language when I don’t have the words to express it. I’m fascinated by the myriad of emotions and connections that exist beneath the surface, and exploring the depths of these experiences, the vulnerability of the human form, or the timeless beauty found in nature, truly feeds my soul. The never-ending quest to evoke emotions, inspire introspection, and provoke a sense of wonder is what drives me to try to create meaningful and captivating photographs.

    Tell us a little about your process...

    Each final work I create is a dance between strategic planning and the spontaneous nature of reacting to the environment, whether that be weather, light, the subjects themselves, or the way fabrics react to light and water. It begins with a feeling I want to convey, and from there, after months of research and gathering inspiration from various sources such as music, art and paintings, the moment arrives. Out there, it’s a bit of a hot mess, I don’t use assistants, so it’s just me on a ladder often in the water, trying not to sink in the sand and fall in with my camera. I have to make decisions quickly, such as considering the best time of day to shoot - for light, to avoid tourists and high or low tides, praying the sun will appear or go away when desired, choosing the best composition, and where to place the subjects within the scene. During post-production, I heavily manipulate the final images to achieve my desired moody and ethereal quality, cutting and pasting subjects into the landscapes to create the desired composition. A final image will often be a blend of several combined images which fit together like pieces of a puzzle. I consider this process just as creative and vital as the photo shoot.

    Your upcoming exhibition, Pay Attention to the Heavens, at Curatorial & Co. empowers the female and is a portrayal of femininity that celebrates the contemporary woman. Why do these themes resonate so strongly for you?

    These themes are an embodiment of the multifaceted nature of women, and I believe in the power of celebrating and honouring the diversity and strength of women. The portrayal of femininity in contemporary society is often limited or distorted by societal expectations and stereotypes, even still in 2023. Through my work, I aim to challenge these norms and present a more expansive and authentic representation of women. I want to capture their resilience, erceness, depth and their beauty in all its forms. By empowering women through my art, I hope to inspire a sense of self-acceptance, confidence, and appreciation for the inherent power that resides within us. When I’m an old lady, I hope to be able to look back and have made work that is a tribute to the resilience and grace of women and a call to embrace our true selves.

    Your photographs have an ethereal quality and could be mistaken for Renaissance paintings. How do you achieve this quality in your work?

    Well thank you, this is a true compliment as I do draw inspiration from the timeless elegance and transcendent qualities often found in Renaissance paintings. The ethereal quality is achieved through a combination of composition, lighting, and heavy manipulation throughout the post-processing stages. By utilising natural light at certain times of the day, I am searching for a certain magical dreamlike atmosphere. This style resonates with me because it allows me to oat above the confines of reality and create a visual language that feels otherwordly, the unearthly and the ethereal, inviting viewers to engage in a realm where imagination and beauty intertwine.

    Your latest work features layers including soft pale skin, sparkling water, and gold-embellished fabrics. Why was it so important for you to have all these different layers in your work?

    By layering and combining these elements, I aim to create a visual tapestry that invites viewers to explore the complexity and richness of these figures and their worlds. Pale skin jewelled in shining beads, the use of gold-embellished fabrics symbolising both strength and beauty, softness and fragility of the female. Metallic bronze is reminiscent of the noble metals of ancient warriors’ armour, or a flame-like deity floating above an ember-filled sky. Dishevelled red hair trails through ominous waters like raging blooms of algae, and long locks appear like a plume of black smoke symbolising untethered femininity, powerful and dangerous. Their golden veil and winged garments, a shroud, entangling their bodies, and evocative gestures of their hands suggest empowerment, rather than being bound. Together these elements create a tapestry of narratives, revealing the depth and richness of the female spirit.

    What/who has been the biggest influence behind your photographs?

    Numerous inuences have shaped my photographic style and vision. This series, in particular, was inspired by the Alexander McQueen exhibition at the NGV, myths and stories read to me in childhood, and the works of classical painters, such as Botticelli and Caravaggio. Beyond artists, the natural world itself serves as a constant source of inspiration, as its beauty and complexity never cease to captivate me.

    What do you love most about what you do?

    I love the ability to create moments and visual narratives that resonate with a feeling I am searching for. The power to evoke emotions and ignite the imagination is immensely gratifying. The opportunity to connect and collaborate with my subjects, and witness the way they interact with nature is truly rewarding. Photography allows me to express my perspective and share it with the world, and that is a gift I treasure deeply.

    What are you looking forward to most this year?

    This year has been mainly focused on creating the final eleven works for my solo exhibition, Pay Attention to the Heavens’. If you’re in Sydney, please come along to the opening night and drinks (details below) all are welcome! Moving images from this series are also showing at Sydney Contemporary at Carriageworks, from September 7. 

    ‘Pay Attention to the Heavens’

    Curatorial & Co. Shop G01/02, 80 William Street Woolloomooloo, NSW

    Exhibition dates: Wednesday August 30 – September 16 Opening Night: Wednesday 30, 5pm – 8pm. All welcome!



        Sydney Contemporary, Carriageworks 2023 2023    
         August 4th, 2023    

    I am thrilled to announce that I will be showing selected moving image works from my upcoming solo exhibition ‘Pay Attention to the Heavens’ at @sydneycontemporary @carriageworks from 7-10th September.

    I will be joined by three other incredible artists @isabelledekleine @katebanazi @tiarna.herczeg represented by @curatorialandco

    See you there Sydney 💋

    Sydney Contemporary Carriageworks 7-10th September



        Announced: Solo Exhibition 'Pay Attention to the Heavens' 2023    
         August 1st, 2023    
    I’m very excited to announce my upcoming Solo Exhibition ‘Pay Attention to the Heavens’ opening in Sydney at Curatorial & Co. gallery @curatorialandco

    You are invited:

  • Opening Night
    Please join us for a drink
    Wednesday 30th August 5-8pm 🥂

  • 30th August - 16th September
    Curatorial & Co. Gallery
    Shop G01/02, 80 William St
    Woolloomooloo (cnr Riley St)

    Moving image work also showing at:
    Sydney Contemporary
    Carriageworks, Sydney
    7 - 10th September

  • For an invitation, please subscribe to my mailing list via the link.



        Artist in Residence for Assembly Label    
        March 8th, 2023    
    Thank you so much to @assemblylabel for having me as Artist in Residence for International Women’s Day. What an honour. Thank you @lindyl_ 

    My interview with Assembly Label is live: https://assemblylabel.com/blogs/journal/artist-in-residence-lilli-waters

    My work ‘The Road Before’ will be on display at the Fitzroy store until the 15th of March.

    Beautiful photos by @tashatylee


  • Artist in Residence: Lilli Waters

  • International Women’s Day is a day of celebration, reflection and action, and on March 8 we come together to recognise the achievements of women, to address the barriers that perpetuate gender inequality and to amplify women’s voices and visibility. Assembly Label takes pride in extolling the work of women in our community and this month we are honoured to welcome artists Caroline Walls and Lilli Waters to our Artist in Residence series. Working across different media, both Caroline and Lilli are interested in representing female bodies and capturing experiences of womanhood in intimate ways, and their work is on display in Melbourne stores this March.

    “My language is a visual, sensual one, and a camera is a medium with which I bring ideas to life.” In a few words, fine art photographer Lilli Waters renders a portrait of herself as a woman with the power to turn threads of imagination into evocative images; a woman with her own language. “When I make art, I feel like it’s the closest thing to reaching the divine,” says Lilli. “It’s like sitting in a pool of pure liquid gold in my mind, my happiest of places. It makes me feel ecstatic to be alive and my brain starts firing like lit-up fireflies. It’s a deliriously euphoric place to live.”

    Born in a counter-culture community in Wytaliba NSW, Lilli’s early home was a place where nature had a vivid presence in daily life. “Everything I have lived through comes out in my work in one way or another, so in that sense I consider it autobiographical,” she says. Her rural upbringing planted the seed for themes Lilli would go on to submerge her work in. One theme is water, which Lilli has always been drawn to and which manifests itself in underwater still life collections and photographs of female figures floating or wading in rivers and pools, like ethereal Pre-Raphaelite models. “I assume this is because I swam and bathed in the river in the bush on a daily basis as a child — we had no running water or electricity. Often, I wake yearning to be close to flowing water where I feel most at home.”

    Another recurring theme, which recalls Lilli’s Artist in Residence work The Road Before, is the female form. Lilli’s large scale photographs immerse female figures in romantic and sometimes haunting landscapes that traverse remote Australian environments, yet are also redolent of mythical realms inhabited by goddesses condemned to live on earth. “Both the physical and emotional landscape of being a woman is all of these things — we are full of romance and desires, and yet our internal worlds often feel like navigating the unknown wilderness, with danger lurking out in the landscape,” explains Lilli. “My work offers a contrasting portrait of women, both strong and vulnerable. These women are in harmony with and thrive in their surroundings, they are nourished by them. It questions our relationship with nature, ourselves and ideas about female identity through unsettling, otherworldly scenes.”

    By offering a critical feminine gaze, which alludes to “the conundrum of being in a woman’s skin”, Lilli’s practice finds a way to express physical agency and ease in a society that objectifies women. The women Lilli represents are typically “strong, more curvaceous, fuller female figures” and she is interested in rethinking notions of beauty, bodies, power and vulnerability. Of her models she says, “These women contradict stereotypes of feminine frailty; they appear to be birthed into nature, or perhaps birthed from nature”. Rather than being helpless or exploited, they are heroic and offer an expansive expression of the feminine, and Lilli is the first to admit she is in awe of how their bodies interact with the environment she places them in.

    “My work offers a contrasting portrait of women, both strong and vulnerable. These women are in harmony with and thrive in their surroundings, they are nourished by them. It questions our relationship with nature, ourselves and ideas about female identity.”

    Where Lilli has power over how she portrays the female experience, it’s nature that shapes her landscapes. “I pick the route and the destination, but it is never what I thought it would be, or it is more than I imagined,” she says. “This is the beauty of working with the power of nature — it feeds you unpredictable, magical and mysterious energy, which can never be recreated.” Lilli’s need to capture evidence of her surrounds and turn the ephemeral into the forever stems from her childhood. “If I was witnessing a painfully beautiful sunset and there was no one around me who seemed as overwhelmed by this visual, I felt like it was a torturous waste. Hence I am now a photographer.” Lilli’s art practice is also tangled in family history and a childhood she describes as anxious, traumatic and abusive, and offers a way to lean into periods of darkness. “I come from a long line of strong women activists and environmentalists who suffered at the hands of men, and so if I am going to make work, it is important that it explores these themes and holds meaning for others when they look at my photographs. There is always some kind of beauty in the darkness… the darkness doesn’t have to be only the fear that comes with the human experience.”

    Over time, Lilli’s practice has established relationships not only with her subjects, but perhaps herself, too. “Photography allows me to express the vast and at times difficult emotional landscape in which I inhabit — beauty, pain, love, longing, angst, rage, fear, desire, dread, hope.” Photographing women in nature, she says, is a labour of love requiring a well of energy. “My relationship with my work is one of deep love and anxiety. Sometimes it feels like a passionate affair, other times I can’t stand the thought of it.” If shooting a photo series is the hurricane, the calm after the storm is Lilli’s time alone in the studio. In the post-production phase Lilli heavily manipulates her photographs in an almost meditative state, embodying all of the worlds she is trying to reach and create. This, says Lilli, is “the arousing and electrifying process of transcending images into their best light... to prepare them to be released into the world and have their own life”.



    Finalist, Nillumbik Prize for Contemporary Art 2023    
    December 23, 2022    
    Honoured to have my work ‘The Next World’ announced as a finalist in the Nillumbik Prize for Contemporary Art for 2023 @nillumbikarts    

    Finalists works will be exhibited at Monselvat Gallery, 7 Hillcrest Avenue, Eltham, from 20th April to 11th June, with opening night and announcement of the winners 20th April.    

    Congratulations to all of the finalists!    

    Have a happy Xmas & restful holiday everyone! I have some big exciting things happening for 2023 I can’t wait to share with you, bring on the new year    

    For interest in this work, contact @curatorialandco   


  • Beautiful Bizarre Interview, 2022    
  • December 8th 2022   
    Beautiful Bizarre Art Prize Winner Interview: Lilli Waters

    1. First off, how did you get started in photography?

  • It was a bit of an accident. I made short films in high school and was invited to go to a filmmaking school, but the class ended up being cancelled as not enough students were attending, so I continued on with the major subject which was photography. It was all dark room printing back then, no one I knew owned a digital camera. 

    2. Can you tell us more about the process behind your winning piece, Where Dreams Inhabit? What inspired the piece? How did you choose the title?

  • ‘Where Dreams Inhabit’ is from the series ‘Orpheus’. Offering a nuanced mix of hope and despair, promise and foreboding, this series of photographic vignettes was created during a lockdown reprieve in mid-2021, when Melbourne residents thought they were at last free from government restrictions. After the first few lockdowns, there was a small window of time where we were relatively Covid-free and life returned to some kind of normal. The ideas behind Orpheus emerged from a feeling of excitement, optimism and gratitude to be able to make work, be creative and get out in nature again. Being able to visit these incredible landscapes was a beautiful and surreal experience for me. The title came quite naturally, as this faceless female form reminded me of some kind of dark, beautiful & mysterious dream. 

    3. Your work is soft, feminine, beautiful, alluring—yet, you contrast those qualities with darker elements to point to the complex issues facing women in the era of ‘Me Too’ and a world facing ecological crisis. What led you down this pathway artistically?

  • Whilst I am a lover of aesthetically beautiful fantasy imagery and strongly relate to the feminine, I am also a realist and feel strongly about issues facing how women are treated in society and mass environmental destruction. I come from a long line of strong women activists and environmentalists who suffered at the hands of men, and so if I am going to make work, for me, it is important to me that it explores these themes and holds some kind of message and meaning for others to consider when they look at these works. There is also always some kind of beauty in the darkness, this is something I have had to learn and lean into over the years, that the darkness doesn’t have to be only the fear & dread that comes with the human experience. 

    4. Can you take us through how you go about creating a new piece from start to finish? 

  • Whilst planning this body of work, I was unable to go to the shops to source new materials due to lockdowns. I dug the gold netted material out of my fabric box. It became the thread that tied both the female form and underwater still life images for Orpheus together. 

  • I planned a week-long trip to Wilsons Promontory National Park, southeast of Melbourne, during a window between lockdowns. My subject and I spent our days driving, scouting, waiting… then shooting, during the small windows of the right light. We would work at dawn, rising at 4am to venture out when there was no one else around. Then again at dusk when all the tourists had finally gone home.

  • I like to work intensely for many consecutive days, to fully immerse myself in the process. I find the combination of pushing my mind and body to the limit with no distractions and building momentum, takes the work to a different place. It helps me to enter a deeper, more focused frame of mind, which wouldn’t happen if I shot a day here or there.

  • Orpheus was the first time I was working with the ocean tides, so it added a whole extra layer of challenges, as we had to ensure we didn’t get trapped with camera equipment when the tide came in. 

  • I spent many months in post-production, working on the images and going through a series of test prints together with my printer, before the ten final large scale prints were hung for my solo exhibition in the gallery. 

    5. You use elements like fabric and hair to obscure certain features and draw attention to?. How do you select your props? What kind of processes do those go through to be ready for your photographs?

  • I am always collecting and searching for vintage fabrics, I either hire them or find them in op shops, or if I am looking for something specifically, I purchase them online. Wigs are often hired from my favourite costume shop. Being out in the bush without an assistant doesn’t allow for any steaming or organisation of any kind, so I pull things out whilst on location to see what will work best for that particular landscape. 

    6. Your work often draws on the stark contrast between darkness and light to draw attention to specific visual elements. What inspires that contrast?

  • Paintings are some of my biggest inspirations. I recall flipping through books on Monet, Rembrandt, Caravaggio, and painters from the Pre-Raphaelite era like John William Waterhouse during my years at photography school, they have obviously left a visual imprint on me. The rich colours that emerge from the velvety blackness - the passionate reds, emerald greens, sapphire blues - the harmony and discord, beauty and decay found in so many masterpieces are themes I keep returning to. The atmosphere in my own work can often be both gloomy and tranquil, marbled skin luminous in the dark landscapes offers a contrasting portrait of women, both strong and vulnerable. 

    7. What do you hope viewers will see when they look at your work?

    My work touches on the fragility and acute vulnerability of our natural world and the devastating impact of humans on our planet. It also questions feminine stereotypes, allowing vulnerability, strength, power, myth, darkness and light to all co-exist. I hope that my work can be both a reminder of the magical beauty of nature and also point to an awakening from consumerism and capitalism.  We all need to reconnect with nature to be able to discover our true selves. I love this quote by Nina Simone: ‘You can’t help it. An artists’ duty, as far as I’m concerned, is to reflect the times’.”

    8. In addition to your artistic focus on the divine feminine and complexities of feminine identity, you’re also an accomplished still life photographer. What inspires your work with objects?

    I get high on the huge old realist oil paintings in museums. It’s like a kind of time travel experiencing these images, so I guess it makes sense that my work leans into this timeless aesthetic. I love to ruminate on the beauty of old-world impressions of nature. I draw inspiration from paintings by the old Dutch masters that I have loved for years, many of these are images of flowers symbolising beauty, nobility and prosperity, which is a major influence in my still life work.

  • I’ve also been influenced by my mother, a botanical painter who hung paintings of flowers in my childhood home, and my grandmother who liked to collect precious found objects. My still life arrangements often at first appear to be beautifully arranged underwater scenes decorated with Rembrandt-esque blooms. But upon closer inspection, you’ll notice added pieces of litter that literally choke some of the floral arrangements, and the murky blackness that imparts a sense of loneliness. It’s a direct comment on consumerism, human darkness and the rampant quest for prosperity. Prosperity has typically been lauded as something to desire and celebrate, yet now more than ever, the unpleasant complexities of wealth and indulgence are apparent. We nonchalantly poison the environment in pursuit of it.

    9. Is there any image in your repertoire that holds special meaning for you? What about that image do you connect with?

    I am not sure that I have a specific favourite image, I have a love-hate relationship with my work, some days I admire it, some days find it hard to connect to. Sometimes it can take me years to like a series. At the moment, I do actually love ‘Where Dreams Inhabit’, I love how the gold threads shimmers out from the darkness, how she looks like she has webbed-fingers, and the way the fabric makes it look like she has an old-world helmet of gold sparkles. 

    10. What equipment do you work with to craft your photos?

    I use a Canon Mark IV or 5DSR, a sturdy tripod, a stepladder, and a bunch of different lights to experiment with. 

    11. Do you have anything exciting planned for the future? What can our readers look forward to seeing from you next?

    I am about to embark on creating a new photographic series for a Solo Exhibition opening in Sydney in 2023. There may be some more exciting news coming soon but it’s still a secret! 

    12. What advice would you give to new artists who are just beginning in your medium?

    Shoot at every chance that you have and don’t look to other photographers for inspiration too much. Find your own voice. 

    13. Why did you enter the Beautiful Bizarre Magazine Art Prize?

    I have entered the Beautiful Bizarre Magazine Art Prize for many years and have been fortunate enough to have been a finalist previously and had a feature and interview in the magazine. I am a huge supporter and fan of this art prize and thank them for supporting my work. 

    14. What do you feel you have gained from this experience?

    To have acknowledgement from this art community and be in the company of so many incredible artists is a great honour. Having my work exhibited at the Halycon Days exhibition at Modern Eden Gallery in California is so exciting!

    15. Would you recommend it and encourage others to enter? If so, why?

    I would highly recommend entering the Beautiful Bizarre Art Prize, they have such a broad range of different artists and categories, with such a high standard of work and wonderful prizes.


  • Finalist, Julia Margaret Cameron Award, 2022    
  • November 14th 2022    
    I’m very honoured to be announced as a finalist for my photo series ‘Orpheus’ in the Fine Art Category for the 19th Julia Margaret Cameron Award for Women Photographers.

    A huge thank you to judge Barbara Davidson @photospice and congratulations to all of the winners & finalists.

    Selected works from this series will be exhibited at @fotonostrum FotoNostrum Gallery in Barcelona in April-May of 2023.


  • Finalist, TACIT Still Life Award, 2022    
  • November 14th 2022    
    Thrilled to be announced a finalist in the TACIT Still Life Award for 2022 @tacitgalleries with three works from ‘Disenchantments of the World’ underwater series - Afterlife, Tulpenmanie and Passiflora Edulis. 

  • Opening Night of the finalist’s exhibition will be held on Saturday the 9th of December at @tacitgalleries 191-193 Johnston St, Collingwood. 

  • Thank you so much to the judges @tjbateson @davidcolespaintmaker @erikagofton 

  • The exhibition is on from the 9-24th December.


  • Finalist, Australian Photography Awards, 2022    
  • November 1st 2022    
    Thrilled to have my artwork 'Where Dreams Inhabit' awarded as a Finalist in the Australian Photography Awards for 2022.    
    The APA Finalists exhibition will be held at at Bodriggy Brewpub on the weekend of Friday 18th - Sunday 20th November.   
    245 Johnston St, Abbotsford VIC 


    Darlings Group Exhibition, Curatorial & Co. Gallery, Sydney
    October 25th 2022

    I'll be showing three new works, 'The Water Dream', 'The Veiled Woman III' and 'Thea', at the Darlings Group Exhibition at Curatorial & Co. Gallery in Redfern, Sydney, which opens in person & online on November the 30th.

    Show Open Day event: 12-4 pm, 3rd December. Show closes in person: 6th December. Show closes online: 3rd March 2023.

  • Winner 2nd Prize, Beautiful Bizarre Art Prize 2022
    September 15, 2022

    I’m very honoured to announce that my work ‘Where Dreams Inhabit’ has won 2nd prize in the 2022 @beautifulbizarremagazine Art Prize Photography Award.

    A huge thank you to @danijelakrhapurssey and the judges, sponsors @INPRNT @poetsartists, @staticmedium @linktr.ee and a huge congratulations to all of the finalists.

    This work will be exhibited in the ‘Halcyon Days’ group show at @moderneden Gallery in San Francisco, California, from the 5th November to 3rd December, 2022.

  • Finalist, Beautiful Bizarre Art Prize 2022
    August 16, 2022

    It is with much pleasure that ‘Where Dreams Inhabit’ from the Orpheus series has been chosen as one of the 25 INPRNT Photography Award Finalists of the 2022 Beautiful Bizarre Art Prize. The People’s Choice Award voting opens on the 26th of August. A huge thank you to Photography Award sponsor @INPRNT and @beautifulbizarremagazine for the honour.

  • Finalist, Environmental Art & Design Prize 2022June 26, 2022

    I am honoured and proud to announce that ‘The Next World’ is one of 212 finalists selected from across Australia to exhibit in the annual Environmental Art & Design Prize Exhibition.

    The prize brings together a dynamic community of artists, designers, and audiences from across Australia who care deeply about our future on the planet.

    Finalists were selected from over 640 artists and designers from across Australia, who submitted works across nine categories.

    The exhibition runs across three Northern Beaches venues from Friday 5 August to Sunday 28 August. The exhibition entry is free.

    Prize winners will be announced on Friday 5 August at 6pm at the Manly Art Gallery & Museum, NSW.

    The People’s Choice Awards will be announced on 27 August.

    Thank you to the judges @michael.d.mossman @janetlaurence @kit_willow

    #BeachesArtDesignPrize @beachescouncil @magamnsw

    June 20, 2022

    What an honour to be a part of IL FOTOGRAFO 336 “I AM / IO SONO”: through the gaze of the masters of photography and in search of beauty beyond stereotypes, between forms, cultures, genders, imperfection and authenticity.

    Giuseppe Mastromatteo, artist and Chief Creative Officer for Ogilvy, Italy, offers us a reflection on beauty “in the age of likes”. A beauty that is often numb. But true beauty, the one beyond stereotypes, disintegrates, shakes the soul, as shown by images by Lilli Waters.

    IL FOTOGRAPH 336 is available on newsstands in Italy or online via @il_fotografo_magazine

    Thank you so much to @silvia_carapellese

  • https://ilfotografo.it/

  • Finalist, Du Rietz Art Awards 2022
    June 12, 2022

    Very excited to announce that my work 'Tulpenmanie' has been selected as a finalist in the Du Rietz Art Awards for 2022. The Exhibition will take place at the Gympie Regional Gallery in Qld from 14th July to 26th August, with the official Opening and Award presentations on Friday 15th July at 6pm.

  • ORPHEUS Exhibition Curatorial & Co Gallery, Sydney
    May 20, 2022

    Last days to see the ORPHEUS Exhibition at Curatorial & Co. Gallery in Sydney.

    Opening Hours: Friday 9:30-5:30pm and Saturday 10-5pm.

    Studio 1/ 175 Cleveland Street, Redfern NSW

    Email: hello@curatorialandco.com

    Phone: +61 2 9318 1728

  • ORPHEUS in Sydney
    May 6th, 2022

    I am very excited to announce that the ‘Orpheus’ exhibition will be showing for two weeks at @curatorialandco gallery in Sydney this week, from the 9th until the 21st of May.

    Go take a look if you’re in in town 👀

    ‘Where Dreams Inhabit’ 100 x 150cm Archival pigment print on fibre rag Edition of 8 + 2AP

    Curatorial and Co. Gallery Studio 1, 175 Cleveland Street, Redfern, NSW

    HOURS: Monday-Friday 9.30am-5.30pm. Saturday 10am-5pm.

    Email: hello@curatorialandco.com

    Phone: +61 2 9318 1728

  • Finalist, Ravenswood Australian Women’s Art Prize, 2022
    March 30, 2022

    I am incredibly honoured to have my work Tulpenmanie announced as a Finalist in the Ravenswood Australian Women’s Art Prize for 2022.

    The Opening Night and Announcement of Winners is Friday 13th May from 6-8:30pm at Ravenswood in the Centenary Centre, Gate 3, 10 Henry Street, Gordon NSW.

    Thank you so much to all of the judges for this honour and I cannot wait to see all of the incredible artworks by the incredible women finalists from around the Country.

    Thank you so much to @rawartprize for giving women a platform to express their voices through art.

  • Finalist, Percival Photographic Portrait Prize, 2022
    March 8, 2022

    I'm very very thrilled to announce that my work 'Last Days' has been announced as a Finalist in the Percival Photographic Portrait Prize for 2022.

    The finalists exhibition will be held at the Perc Tucker Regional Gallery in QLD, from the 23rd of April to the 3rd of July.


    Interview for The Style Curator on the ORPHEUS Exhibition
    February 18th, 2022

    Lilli Waters is a photography artist whose works are filled with intrigue and mystery. 

  • Lilli’s latest project ORPHEUS, is an immersive experience which combines the female form and underwater still life imagery.We chat with this incredibly talented artist about the ideas and magic behind her works and discover that one of her pieces ended up in Christian Grey’s apartment. Yep, we’re talking 50 Shades of Grey.

    With her dark colour palette paired with an exceptional eye and talent for capturing perfect light, the story behind the ORPHEUS collection is nothing short of extraordinary.

  • “ORPHEUS is made up of images of the female form which were photographed in nature battling the elements,” explains Lilli. “To capture the images of the female form, I planned a week-long trip to Wilsons Promontory National Park, southeast of Melbourne. My subject and I spent our days driving, scouting, waiting… then shooting, during the small windows of the right light.“We would work at dawn, rising at 4am to venture out when there was no one else around. Then again at dusk when all the tourists had finally gone home.

  • “I like to work intensely for many consecutive days, to fully immerse myself in the process. I find the combination of pushing my mind and body to the limit with no distractions and building momentum, takes the work to a different place. It helps me create a deeper, more focused place which wouldn’t happen if I shot a day here or there.

  • “ORPHEUS was the first time I was also working with the ocean tides. So it added a whole extra layer of challenges, as we had to ensure we didn’t get trapped when the tide came in. Camera gear and rising water don’t mix!

  • Trying to get the shot in between clouds and the many tourists while working with a nude model in very cold water, was intensely challenging! It brought with it many moments of disheartenment and frustration.

  • “Many images were abandoned throughout the process (there always are). But in the end, the strongest work really made itself apparent and shone through.”

  • Shot during an arduous year full of lockdowns, ORPHEUS emerged as a thing of beauty during an intensely difficult time.“After the first few lockdowns in Melbourne, there was a small window of time where we were relatively Covid-free and life returned to some kind of normal.

    “The ideas behind ORPHEUS emerged from a feeling of excitement, optimism and gratitude to be able to make wor