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  • 2022




  • 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.

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  • 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





  • IL FOTOGRAFO 336 I AM / IO SONO"
    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 work, be creative and get out in nature again. Being able to visit these incredible landscapes was a beautiful and surreal experience,” says Lilli.

    “I really wanted to combine photographing the female form and still life underwater flowers to form the one body of work. It’s a theme I’ve been experimenting with for years now, but have never combined both into a series.

    “When planning this collection, 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 together.

    Sometimes a single object or piece of fabric can inspire a body of work to be led in a certain direction."To create the underwater still life images, Lilli used an intriguing process.“The still life’s involved creating intricate underwater vignettes that came to life in my living room,” explains Lilli.

    “I set up a large water tank in my house, adding different lights and using a disorderly, random system of bolts, wires, weights and fishing line. These helped hold the floral sculptures down and I then littered them with pieces of cellophane, beautiful fish and the same fabrics I used in the river.“The process couldn’t be more different to the female images! Although there is still the same search, looking for that feeling of magic in the work.”

    While one of Lilli’s works has appeared on the big screen as part of 50 Shades movie franchise, it’s seeing people fill galleries and being able to exhibit her works in person that brings her the greatest joy.“It was truly wonderful to see ORPHEUS finally come to life. To see my works printed in large-scale, beautifully framed and hung on the walls of the gallery space,” smiles Lilli.

    “After the show was postponed in 2021, I was incredibly relieved when opening night went ahead. It made me so happy to see so many faces and be able to hug people again after such a challenging time. I was proud that we had such a huge turnout. The gallery was a full house!

    “My hope is that ORPHEUS is able to bring some joy and beauty into peoples lives after such an arduous and overwhelming few of years.Mostly I’d like for people to feel what they feel. There is beauty. There is also deep melancholy, wonder, joy and grief.

    “We are living through an age where our lens on the world must constantly shift and refocus as new ideas, crises, social movements and the natural environment rapidly change. We require a level of poetic consciousness and presence to navigate this new world.”

    The ORPHEUS exhibition runs 2 — 26 February 2022 at Metro Gallery in Armadale. We hope you enjoyed uncovering the dark waterscapes and ethereal visuals captured by the wonderfully talented Lilli Waters. To discover Lilli’s full body of works, visit her website or explore her Instagram.







  • ORPHEUS showing at Metro Gallery 2-26th February
    February 4, 2022

    So much magic in one room ⭐️✨

    My heart is SO full ❤️❤️

    Thank you SO much to all of the wonderful people who came to the opening of my solo exhibition ORPHEUS last night, it was so incredibly special, the turnout was absolutely overwhelming!

    I have missed other human beings for so long & it filled me with so much joy to see a sea of so many faces, meet new people, see old friends & finally hug you!!!!

    I honestly couldn’t have asked for more. Thank You, you made it so special 🙏🏼❤️🥰

    A huge thanks to @metrogalleryau for hosting this extraordinary evening, to @icon.frames for doing such a spectacular flawless job with the framing of these works, to @thirdsfineartprinting for the always beautiful prints & to @jacobxc @camilleladdawan @sockbraddler @yeahnotbadm8 for helping iron out the last touches & for being there for me, it means a great deal to me 🙏🏼❤️

    ORPHEUS is showing at Metro Gallery until the 26th of February

    1214 High St, Armadale.

    For more information on this exhibition or to request a copy of the catalogue, please contact

    eugene@metrogallery.com.au

    +61 3 9500 8511

    Tue-Fri 10-5pm

    Sat 11-5pm











  • My Solo Exhibition ORPHEUS opens TONIGHT!!
    February 2, 2022

    Please join me at @metrogalleryau tonight for opening drinks from 6-8pm 🥂 Metro Gallery 1214 High St Armadale 🥂

    Orpheus features a series of 10 large-scale photographs and moving image artwork, which were elaborately constructed underwater using shells, fish and flowers, and the female form. The striking objects emerge from a dark waterscape, to create other-worldly ethereal visuals.

    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. While invoking a sense of entrapment, this series invites the viewer to move beyond the darkness and towards the light.

    Flowers emerging out of darkness, reminiscent of the Dutch masterpieces of the 17th century are a reminder of the transitory nature of everything. Floating alongside the blossoms are jewel-like creatures and shells, dramatically shrouded by golden nets and sheets of suffocating cellophane.

    “We are living through an age where our lens on the world must constantly shift and refocus as new ideas, crises, social movements and the natural environment rapidly change.

    A level of poetic consciousness is required to navigate this new world and at times hopeless landscape. Orpheus was a poet, a prophet and a musician in Greek mythology who at the end of his life worshipped no god but the sun.

    For these images, I wanted Orpheus to be a woman who is glistening oracle-like, asleep on a dark sandscape. The viewer is invited to embrace their own mortality and energy for change simultaneously. To dare to be one’s own illumination—like a transient point of light in a night sky.”

    A huge thank you to Libby & Brad at @icon.frames for their framing for this exhibition, this show would not have been possible without your generosity!

    A huge thank you to Tim from @thirdsfineartprinting ❤️

    Thank you @pompandsplendour for supplying the flowers 🌺

    ORPHEUS is showing until the 26th of February.

    For more information please contact eugene@metrogallery.com.au

    📷 @hilarywalkerphotography






  • ORPHEUS Interview with Hunter and Folk
    January 31, 2022

    Thank you so much to Hande from Hunter & Folk for the interview & feature on my upcoming Solo Exhibition ORPHEUS.

    Words by Hande Renshaw.

    Award-winning photographer Lilli Waters’ latest exhibition, Orpheus, was created between the space of two of the earlier Melbourne lockdowns.

    During this time, the city was relatively Covid-19 free and life seemed to go back to a certain type of normal, allowing an opportunity for the artist to get back to her photographic work, shooting in the natural environment.

    ‘It felt both liberating and strange to be able to leave the house, our 5km radius, and travel to outer Victoria to take photographs,' says Lilli, ‘trapped for so long in suburbia, nature had been deeply yearned for, and returning to landscapes and my creative playground was an overwhelmingly beautiful and surreal experience.’

    Orpheus, which will be held at Metro Gallery in Melbourne, emerged from a shifting worldview on life and art-making.

    ‘There is a kind of vibrancy, optimism and excitement imbued in this work, which came from a heightened sense of gratitude and a renewed appreciation and delight in nature,’ says Lilli.

    Orpheus features a series of 10 large-scale photographs and moving image artworks, which were elaborately constructed underwater using shells, fish and flowers, and the female form. The striking subjects emerge from a dark waterscape, to create an other-worldly ethereal visual.

    ‘The water still remains to be one of the most important parts of my life, it’s where I feel most happiest, free and childlike again. It’s the biggest healer in my life, like coming home to myself in a safe and intimate space. ‘

    Among the key works in the exhibition, flowers emerge out of the darkness. These works are reminiscent of the Dutch masterpieces of the 17th century and a reminder of the transitory nature of everything. Floating alongside the blossoms are jewel-like creatures and shells, dramatically shrouded by golden nets and sheets of suffocating cellophane.

    In this series, we also see the return of Lilli’s fascination with the female form, a constant in her photographic work.

    ‘I'm always looking to tap into a unique frequency with my work, that words can’t really ever capture for me. For me, the female form is a symbol of the human experience and the natural world; powerful, life-giving, vulnerable, desirable and deeply complex.’

    Orpheus will run from Wednesday 2nd February to Saturday 26th February at the Metro Gallery.  

  •  1214 High Street, Armadale, Melbourne

    ORPHEUS Opening Night Wednesday 2nd of February 6-8pm

    Link to the full interview here ~ https://hunterandfolk.com/journal/orpheus-lilli-waters




  •  

    ORPHEUS Solo Photography Exhibition: Metro Gallery, Melbourne
    January 19 2022

    You are invited to:

  • ORPHEUS

    Solo Photography Exhibition

    Opening Night: 
    Wednesday 2nd February
    6 - 8pm

  • Metro Gallery
    1214 High Street
    Armadale, VIC

    I am extremely excited to invite you to the opening of my new solo exhibition ORPHEUS.

    Orpheus features a series of 10 large-scale photographs and moving image artworks, which were elaborately constructed underwater using shells, fish and flowers, and the female form. The striking subjects emerge from a dark waterscape, to create an other-worldly ethereal visual.

    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. While evoking a sense of entrapment, this series also invites the viewer to move beyond the darkness and towards the light.

     Among the key works in the exhibition: Flowers emerge out of the darkness. These works are reminiscent of the Dutch masterpieces of the 17th century and a reminder of the transitory nature of everything. Floating alongside the blossoms are jewel-like creatures and shells, dramatically shrouded by golden nets and sheets of suffocating cellophane. 

    “We are living through an age where our lens on the world must constantly shift and refocus as new ideas, crises, social movements and the natural environment rapidly changes. 

    A level of poetic consciousness is required to navigate this complex new world andat-times hopeless landscape. Orpheus was a poet, a prophet and a musician in Greek mythology who at the end of his life worshipped no god but the sun. 

    For these images, I wanted Orpheus to be a woman who is glistening oracle-like, asleep on a dark sandscape. The viewer is invited to embrace their own mortality and energy for change simultaneously. To dare to be one’s own illumination—like a transient point of light in a night sky."

    Exhibition details:

    ORPHEUS is showing from the 2nd – 26th February

    Metro Gallery
    1214 High Street
    Armadale

    Entry is free

    Opening Night:
    Wednesday 2nd February
    6-8pm


    For a copy of the catalogue, more information on this exhibition or to enquire about these works, please contact:

    Metro Gallery
    T: 03 9500 8511 
    M: 0409 409 239
    A: 1214 High Street, Armadale
    E: eugene@metrogallery.com.au
    W: www.metrogallery.com.au 
    @metrogalleryau







  • ‘ORPHEUS’ Upcoming Solo Exhibition, Metro Gallery
    January 15, 2022

    Finally this is happening. It’s been a long wait & I absolutely can’t wait to show you my new body of work!

    Pre-sales are now open for my solo exhibition ORPHEUS opening in less than 3 weeks at Metro Gallery on Wednesday the 2nd of February from 6-8pm.

    I really hope you can find an escape from your long days in iso, join me for a drink & see what I’ve been working on for the past 12 months.

    To receive a copy of the catalogue featuring 10 new large-scale photographs and a moving image work, please contact Eugene at eugene@metrogallery.com.au

    Visit www.metrogallery.com.au for more information.

    If you can’t make the opening, the exhibition will be showing until the 26th of February.

    Metro Gallery
    1214 High St
    Armadale VIC

    info@metrogallery.com.au
    www.metrogallery.com.au
    @metrogalleryau

    'Deep Hours'
    2021
    75 x 50cm
    Edition of 8 + 2AP
    Archival pigment print on fibre rag


  • 2021




    Darlings Group Exhibition at Curatorial & Co. Gallery
    November 24 2021

    I will be exhibiting a new work ‘Inner World’ at the Curatorial & Co. 'Darlings' Group Exhibition.

    The show opens on the 9th of December and runs until the 19th of December.

    'Inner World'
    33.3 x 50cm
    Edition of 8 + 2AP
    Archival pigment print on fibre rag paper


    Curatorial & Co. Gallery Studio 1, 175 Cleveland Street Redfern. NSW 2016

    Mon-Fri 9:30-5:30pm Sat 10-5pm







  • Winner, Du Rietz Art Award, 2021
    August 5, 2021

    I am extremely surprised & honoured to have won the 2021 @gympieregionalgallery Du Reitz Art Award with my image ‘Last Days’.

    Thank you so much to Julie, Libby, the judges & everyone at @gympieregionalgallery for the honour.

    I am very excited to be putting the $5000 prize money towards my next upcoming solo exhibition opening in February 2022 at Metro gallery.

    For interest in this work, please contact @curatorialandco

    Last Days, Winner. Words by 2021 Judge Madeline Brewer -

    ‘It hard not to feel insignificant or overwhelmed when viewing this artwork. Last Days is a dramatic photograph, with the artist using contrast to skillfully balance hard and soft, sublime and insignificant, stoic and dynamic, ancient and young.

    With the figures surrounded by a monolithic rock formation, there is an overwhelming tension between the past and future. Through this photograph, the artist has expanded upon traditional notions of the ‘feminine’. The photographer’s gaze is critical, drawing upon elements of art history’s Romantic and Pre-Raphaelite depictions of the femme fatale. Rather than voyeuristic observations, the artist has depicted the two women in movement, imbuing them with a sense of agency and as the artist has stated: “strength, nonchalance and indomitability”.

    We are currently living in a state of significant and unpredictable social and environmental change. The artist has put forward a challenge to be critical, connected and sympathetic to each other and the environment that surrounds us.’






  • UPDATE on my upcoming Solo Exhibition***
    July 23, 2021

    Due to lockdown, my solo show 'Orpheus' has now been postponed from this year to now open in February 2022.

    Whilst this means I have to wait a bit longer to share these new works with you, I am hopeful that we will all have access to vaccines well and truly before this year ends.

    I so look forward to seeing you all in a safe environment and being able to enjoy our art galleries again.

    Please subscribe to Metro gallery or my mailing list for updates. Presales open this October 2021.

    'Orpheus'
    2nd - 26th February 2022
    Metro Gallery
    1214 High St, Armadale, VIC








  • Lurzer's Archive Best 200 Ad Photographers Worldwide for 2021/2022
    July 23, 2021

    So surprised & honoured to be chosen as one of the Vienna’s Luerzer’s Archive Best 200 Ad Photographers Worldwide for 2021/2022!

    This image will be published in the 10th edition of the Luerzer’s Archive Special, coming out later this year.





  • Finalist, Naked & Nude Art Prize for 2021
    July 16th, 2021

    I am thrilled to have my work 'Extinct' selected as a finalist in the Naked & Nude Art Prize for 2021 at the Manning Regional Art Gallery.

    The winner of the 2021 Art Prize will receive $30,000 and the artwork will be acquired as part of the Gallery’s collection. The judge for the 2021 award is Wendy Sharpe, one of Australia’s leading Contemporary artists.

    The winner will be announced at the Gala Opening event on Saturday 28 August 6.30pm, and all finalists will receive one VIP ticket for the event.

    The People’s Choice voting will take place from Saturday 28 August until October 10 2021, giving both visitors and locals the chance to vote for their favourite artwork. The People’s Choice Award of $2000 will be announced on 11 October 2021.




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    Finalist x 2 Du Rietz Art Awards, 2021
    June 24, 2021

    So incredibly honoured to have two of my images from 'Anthropocene: The Age of Humans' 2020 series, 'Angel' and 'Last Days', be announced as finalists in the Du Rietz Art Awards for 2021.

    The opening event and award presentations will take place on Friday 30 July at 6pm at Gympie Regional Gallery, QLD.

    Registrations are essential due to COVID-19 number restrictions. Please contact the Gallery on 07 54810733 to register or search on Eventfinda to book (available in the coming week).

    The exhibition is on view from 29 July - 3 September 2021. Entry is free.

    Gympie Regional Gallery39 Nash Street, Gympie Qld

    www.gympie.qld.gov.au





  • Finalist, Nillumbik Prize for Contemporary Art, 2021
    April 13th, 2021






  • Finalist, Ravenswood Australian Women's Art Prize 2021
    April 13th, 2021

    Super happy to learn today that 'Last Days' has been listed as a finalist in the 2021 Ravenswood Australian Women's Art Prize for 2021. Thank you so much @rawartprize Congratulations to all of the super talented finalists. 






  • Flora Exhibition at Heritage Hill
    March 11, 2021

    I'm very honoured to be a part of the Flora Exhibition at Heritage Hill, opening on Saturday the 27th of March. 

    Please note: due to COVID and ensuring that we remain COVIDsafe, bookings will most likely be required for the opening. Further information can be found at https://www.greaterdandenong.vic.gov.au/flora.

    Enjoy two exhibitions at this unique historic site.

    Celebrating the creativity and talent of artists from across Australia, Benga House hosts an open-entry exhibition featuring over 150 works that explore the theme of flora.

    A selection of artwork from the ‘Painting on the Hill’ art competition, held in the 1990s and early 2000s, will also be on display in Benga House as part of ‘Inspiration on the Hill’. Don’t forget to enjoy the flowers in the beautiful gardens.

    View the opening hours of Heritage Hill Museum and Historic Gardens.

     Image credit: Georgia Szmerling, National Park Wildflower, Manitoba Canada Bay Coast, detail, 2017, acrylic on paper, 50 x 70 cm, GS17-0006, represented by Arts Project Australia, Melbourne. 






  • Cover of Real Living Magazine, Feb issue
    January 28, 2021

    What an honour to be featured on the cover of Real Living Magazine this month!

    'Worldy Desire'

    2020

    100 x 150cm

    Archival pigment print on fibre rag

    Edition of 8 + 2AP

    A huge huge thank you to Soph at Curatorial & Co. Gallery, Lisa Burden and Real Living Magazine.


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  • Art in the Plague Year Exhibition, UCR Arts, California Museum of Photography
    January 12, 2021

    I am so honoured to have images from my ‘Friends on Film’ 2020 iso series in the ‘Art in the Plague Year’ photography exhibition at the California Museum of Photography, with 274 works by 55 artists from 12 countries.


    Visit https://www.artintheplagueyear.com/Lilli-Waters


    Thank you so much to Senior Curator Douglas McCulloh for seeing something in my work from this strange time.



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    Belle Magazine
    November 20, 2020

    Thank you so much to Belle Magazine for featuring 'Disenchantments of the World'. 



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    Contemporary Art Collectors Interview & Feature
    January 25th, 2021

    Thank you so much to curator Vera Bertran from Contemporary Art Collectors for the interview and for featuring my work as part of the Emerging Artist Programme.

    https://www.contemporary-art-collectors.com/.../lilli-waters





  • Shortlisted, Nillumbik Prize for Contemporary Art 2021
    January 5, 2021

    I am very pleased to announce that my work ‘Last Days’ 2020 is a finalist in the 2021 Nillumbik Prize for Contemporary Art. The work will be exhibited at Montsalvat’s Barn Gallery, 7 Hillcrest Avenue, Eltham, from Thursday 6 May to Thursday 1 July 2021.



  • 2020




  • QT Melbourne & 'Disenchantment of the World'
    December 10, 2020



  • So happy to visit QT in Melbourne today to see my moving image ‘Disenchantment of the World’ piece on the wall of the foyer!

    A huge thank you to QT Hotels, Nic Graham & Sophie from Curatorial & Co. gallery for making this happen, what a very special honour to have my very first public artwork installed. 

    You can now sit & watch these fish swim at the Melbourne QT hotel & forget all about travel restrictions!

    For interest in this artwork, please contact Curatorial+Co. www.curatorialandco.com 



  • ‘Disenchantment of the World’ moving image

  • 52 seconds (loop)

  • Edition of 3


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  • Darlings Summer Group Exhibition, Curatorial & Co. gallery
    December 10, 2020

    So happy to have a new piece in the summer group exhibition 'Darlings' at Curatorial & Co. gallery, Redfern, NSW. 9-17 December 2020


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  • Shortlisted x 3, Australian Photography Awards 2020
    December 10, 2020

    Thank you to the Australian Photography Awards for shortlisting 3 images from my ‘Friends on Film’ and ‘The Kiss of Death’ series in the Portrait Category for 2020.


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  • Hunter & Folk features ‘Disenchantments of the World’ solo exhibition
    November 22, 2020

    Thank you so much to the lovely Hande from Hunter & Folk for featuring ‘Disenchantments of the World’ solo exhibition!

    See the full feature here



    Lilli Waters | Disenchantments of the World
    Photography or Renaissance painting? The lines are blurred with Lilli Waters’ latest captivating and ethereal collection.
    Words by Hande Renshaw


    Award-winning photographer Lilli Waters’ latest exhibition Disenchantments of the World explores the decadence and disillusions of contemporary living, examining how humans treat the natural environment.

    The moody series of still-life photographs and short films is intensely evocative; it’s like walking through a Rembrandt painting.

    Each large-scale print features fish and crabs, with flowers and fruit suspended in the velvety dark water, juxtaposed by entwined sheets of bright blue g(littering) ribbons of plastic.

    Each photograph depicts the fragility of the natural world and its uncertainties, directing attention to its impermanence and reflecting on how humans treat the environment in pursuit of prosperity.

    This interplay of beauty and darkness is something Waters achieves masterfully in this series.

    “Some of the works are almost surreally pristine and pure, though a closer look reveals subtle plastic elements that are ubiquitous in this throwaway world and point to an unease,” she says. “In other images, flowers are enveloped by dark and ominous black oil spills and a sense of decay.”

    The exhibition is on at Curatorial + Co. gallery until the 28 November - bookings are essential.







  • Thank You So Much!
    November 19, 2020

    A huge massive THANK YOU to those who attended the opening launch, tuned into the live session & sent me such beautiful messages of support for the ‘Disenchantments of the World’ solo exhibition, your support means the absolute world to me!

    This exhibition is now showing at @curatorialandco gallery, Redfern, NSW, until the 28th of November. Book your visit here 

    A series of 6 major new still life works and 5 moving images works are on show. View catalogue here 

    To book a visit to the exhibition, view the catalogue or for interest in these works, please contact Sophie Vander at hello@curatorialandco.com or visit www.curatorialandco.com

    Gallery hours Mon-Sat 10am-5pm

    Photos by Pablo Viega 


  • This project is supported by the Victorian Government through Creative Victoria.





  • The Design Files - The Design Files - These Moody Contemporary Photographs Look Like Renaissance Paintings!

    Thank you so much to The Design Files for the feature on the ‘Disenchantments of the World’ exhibition, currently showing at Curatorial & Co. gallery from the 18-28th of November.

    Contact www.curatorialandco.com to arrange a visit, RSVP essential. 


  • November 18, 2020

    These Moody Contemporary Photographs Look Like Renaissance Paintings!

    A new exhibition of underwater photographs from artist Lilli Waters depicts the hypnotic beauty of flowers in bloom.

    A new solo exhibition from photographic artist Lilli Waters sees her large-scale photographic works explore the decadence and disillusions of the contemporary world.

    Drawing inspiration from the Dutch painting masters of the 1600s, Lilli’s contemporary lens finds the same moody, hypnotic earthly beauty these artists exuded on canvas. Think the Rembrandts hanging in the Rijksmuseum in the Netherlands!

    Each frame sees flowers suspended in water cloaked in sheets of plastic and accompanied by fish, the delicate petals blossoming from the depths of velvety blackness. This scenery depicts the fragility of the natural world up against its might and uncertainty, and directs attention to its impermanence.

    Part exploration of a Renaissance-luxe aesthetic and part cultural commentary on our consumerist compulsions, Lilli’s majestic works are both elegant and thought-provoking.

    The exhibition is free but bookings are essential. See here for availability.

    ‘Disenchantments of the World’ An in-person exhibition of large-scale photographic works 18th – 28th of November Free Curatorial + Co. Gallery Studio 1, 175 Cleveland Street Redfern, NSW





  • Vogue Interview 'The Melbourne artist hiding darkness inside scenes of captivating beauty."
    November 17, 2020

    Thank you so much to Vogue Living and Curatorial & Co. for this beautiful feature on my upcoming 'Disenchantments of the World' solo exhibition today.

    Link to the full article here

    “I get high on the huge old realist oil paintings in museums – their painful beauty stirs me,” says Lilli Waters. “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.”

    Like so many of us this year, the Australian artist is reflecting on a simpler time, when travel freedoms meant she could visit cultural icons like the Riijksmuseum in Amsterdam, and ruminate on the beauty of these old-world impressions of nature. In fact, the museum formed such an impression on Waters, that it formed the basis of Disenchantments of the World, a series of still-life photographs and short films exhibiting this week.

    “I drew inspiration from paintings by the old Dutch masters that I have loved for years and finally saw them in person [at] the Riijksmuseum,” explains the Armidale-born photographer, who cites “images of flowers symbolising beauty, nobility and prosperity and their impermanence” as a major influence in her latest work. She even directly references their composition: Tulpenmanie (top image) borrows from Abraham Mignon’s Still Life with Flowers in a Glass Vase, while Passiflora Edulis (above) mirrors Cornelis de Heem’s Festoon with Fruit and Flowers.

    “Paintings, more than photographs, are some of my biggest inspirations,” admits the Melbourne-based artist, who recalls “flipping through many books of the works of Monet, Rembrandt, Caravaggio, and painters from the Pre-Raphaelite era like John William Waterhouse throughout my years at photography school.”

    They’re left an obvious visual imprint on Waters, too. “The rich colours that emerge from the velvety blackness - the passionate reds, emerald greens, sapphire blues and a woman's marble-like skin,” she says of their appeal. “The harmony and discord, beauty and decay found in so many masterpieces are themes I keep returning to.

    ”Nature also plays a recurring role in Waters’ work, and she mentions the influence of her botanical painter mother who hung paintings of flowers in her childhood home, and a grandmother who liked to collect “found beloved objects”. The notion of collecting has stuck with Waters, who likes to display “strange and wonderful things I find in nature” in glass bell jars, and use them in her work.

    In fact, you can trace the through-line of this idea in Disenchantments of the World, which at first appear to be beautifully arranged underwater scenes decorated with Rembrandt-esque blooms.

    But upon closer inspection, you’ll notice Waters has 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, explains Waters.

    “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,” she adds. “We nonchalantly poison the environment in pursuit of prosperity.”

    To underscore universality of this theme, Waters says the series also echoes “one of the earliest examples of consumerism and collective mania - the Dutch Tulip fever in the early 1600s.

    The exotic colouration of the most highly prized tulip during tulpenmanie was caused by a virus that infected the flower, leading to a buying hysteria.”

    While creating images of undeniable beauty and fragility, Waters was keen to comment on “the fleeting nature of earthly pleasures” and provoke a visceral response. “I like to believe that art can change people’s perspectives in a way talking or arguing can’t.”This play between beauty and darkness is something Waters achieves masterfully in this series.

    “Some of the works are almost surreally pristine and pure, though a closer look reveals subtle plastic elements that are ubiquitous in this throwaway world and point to an unease,” she says. “In other images flowers are enveloped by dark and ominous black oil spills and a sense of decay.”

    It’s a technique that lends her photographs their eerie, almost hyper-real nature. Her previous works often feature female forms submerged in bodies of water and sheathed in sheer fabric or still-lifes of marine life shot underwater with flowers.

    “I do try to blur the line of what's ‘real’, to make images that feel otherworldly and surreal,” she says. “While my photographs are not made up of other mediums, you could call them photo-collages, where I blend photographs together, guided by feeling and using Photoshop like a painter's brush.

    ”Like so many artists living through Covid-19, the particular harshness of Waters Melbourne lockdown gifted her a lot of time to ruminate and experiment. “After four months of working on these images and many sets of test prints later, I felt the images finally captured the richness, clarity and all the shades of black I had in my head,” she says.

    Setting up a large water tank in her living room, Waters used an “an intricate yet haphazard system of bolts, wire, weights and fishing line to hold the floral structures in place” to capture these underwater scenes, adding plastic, oil and pieces of fruit for effect.

    The resulting imagery captures a moment in time, a comment on the “fragility and acute vulnerability of our natural world and the devastating impact of humans on our oceans”.

    Describing the pandemic and excess consumption as a kind of fever, Waters hopes her work “can be both a reminder of the magical beauty of nature and also point to an awakening from this fever.”

    Arguing that we all need to reconnect with nature, her natural social conscience is one she bears proudly. “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’.

    ”Disenchantments of the World will be exhibited at Curatorial & Co. gallery in Redfern, NSW, from November 18-28. Opening night is Wednesday, November 18, from 5-8pm.

    Bookings essential, RSVP for hourly tours at curatorialandco.com or here



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  • Modern Times Group Exhibition ‘Talismans, Rafts, Mementos’
    November 12th 2020

    I am very privileged to have two new works in the upcoming group exhibition ‘Talismans, Rafts, Mementos’ at @moderntimesau featuring 150+ new works by 56 amazing artists, opening online on Thursday the 19th of October at 7am.

    ‘Space Consciousness’ 2020 40 x 60cm Archival pigment print on fibre rag Edition of 8 + 2AP

    For interest in this work, get in touch with the lovely people at Modern Times | www.moderntimes.com.au

    Showroom + Gallery Modern Times 311 Smith St Fitzroy Victoria 3065

    (03) 9913 8598 | hello@moderntimes.com.au





  • Disenchantments of the World, Solo Exhibition, Curatorial & Co. Gallery
    5th November



    I am beyond excited to unveil my new solo exhibition ‘DISENCHANTMENTS OF THE WORLD’ Solo Exhibition Opening Wednesday the 18th of November, 5 - 8pm at Curatorial and Co. Gallery, Redfern, NSW.

    **OPENING NIGHT**
    WEDNESDAY 18TH NOVEMBER
    5 - 8PM
    CURATORIAL AND CO. GALLERY
    STUDIO 1, 175 CLEAVELAND STREET
    REDFERN, NSW


    ‘Disenchantments of the World’ displays a series of underwater still life works depicting of Rembrandt-esque floral images that explore the complexities of wealth and indulgence, and how humans treat the environment in pursuit of prosperity. A series of 6 major new works and looped short films will be shown in a pop-up cinema space within the gallery - Sydney Arts Guide.

    This new body of work is a contemporary exploration of human darkness, desire, and the fleeting nature of earthly pleasures.

    At first glance sumptuous floral blooms decorated with sea creatures and glistening effervescence emerge from velvety darkness. This series of underwater still lifes draws inspiration from paintings by the old Dutch masters - images of flowers symbolising beauty, nobility and prosperity and their impermanence. ‘Tulpenmanie’ references Abraham Mignon’s ‘Still Life with Flowers in a Glass Vase’, and ‘Passiflora Edulis’ references Cornelis de Heem’s ‘Festoon with Fruit and Flowers’.

    A closer gaze reveals a mash-up: luxe Rembrandt esque blooms are entwined with g(littering) plastic, and the darkness lends the images a lonely, eerie quality. 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.

    Globally, we nonchalantly poison the environment in pursuit of prosperity.

    This series also references one of the earliest examples of consumerism and collective mania - the Dutch Tulip fever in the early 1600’s. The exotic coloration of the most highly prized tulip during tulpenmanie was caused by a virus that infected the flower, leading to a buying hysteria.

    ‘Disenchantments of the World’ is a contemporary exploration of human darkness, desire, and the fleeting nature of earthly pleasures.

    Visit from 18-28 November to view this new series of large-scale photographic works, and a series of three short films.

    Bookings essential. Hourly tours + RSVP only.

    BOOK HERE TO VISIT

    VIEW CATALOGUE

    For presales or interest in these works, please contact hello@curatorialandco.com | www.curatorialandco.com

    The exhibition runs until the 28th of November. 

  • This project is supported by the Victorian Government through Creative Victoria.















  • Beautiful Bizarre Magazine feature and QandA issue 31 2020
    October 9th, 2020

    I’m very honoured to announce a 10 page feature and Q and A for issue 31 of @beautifulbizarremagazine coming out this December. I chat with co-founder @richardpurssey about my personal motivations, appreciation of what my artistic process and finished works mean to me as an artist, and what inspires me to keep making. A huge thank you to the wonderful @danijelakrhapurssey for seeing something in my work & for this beautiful feature. Issue 31 is now available for pre-order through the @beautifulbizarremagazine website. https://store.beautifulbizarre.net/product.../magazine/...




  • Shortlisted Top 20, Photo Oxford Festival 2020
    October 5, 2020

    I am very excited to announce that this image from ‘The Kiss of Death’ 2020 isolation series has been shortlisted in the top 20 at the Photo Oxford Festival. It will be included in the ‘Women and Photography: Ways of Seeing and Being Seen’ exhibition at OVADA gallery in Oxford, UK and for the online exhibition for the Photo Oxford festival, which will run from 16th October to 16th November.




  • Finalist, Fisher's Ghost Art Award 2020
    September 30, 2020

    So honoured to have 'Dark Matter' 2019 announced as a finalist in the Fisher's Ghost Art Award for 2020. Congratulations to all of the finalists! The exhibition will be held from Saturday 31 October - Friday 11 December 2020 at the Campbelltown Arts Centre, Campbelltown NSW. 




  • One of the 1000 images selected for the 'ICPConcerned Global Images for Global Crisis' exhibition as part of the International Center of Photography in New York City
    September 17, 2020

    I am so utterly surprised and honoured to have one of my images from my 'Friends on Film' 2020 series chosen as one of the 1000 images for the 'ICPConcerned Global Images for Global Crisis' exhibition as part of the International Center of Photography in New York City.

    On March 20, the International Center of Photography announced an open call for imagemakers around the world to post and tag imagery of their experiences as the COVID-19 pandemic unfolded. Photojournalism and documentary pictures sit with staged and more metaphorical photographs. Amateur smartphone pictures are being uploaded alongside the work of professional imagemakers from around the world.

    A whole range of emotions are present: anger, despair, loss, confusion, frustration, boredom, loneliness, strength, and resolve.

    Then, on May 25, George Floyd, a Black man, was killed in Minneapolis by a white police officer and millions came out of isolation to gather in anger and defiance of centuries of systemic racism and white supremacy. Thousands of #ICPConcerned images of the demonstrations were uploaded and shared.

    Now, ICP has initiated an evolving #ICPConcerned exhibition One thousand images are being chosen by a wide range of ICP staff—curators, administrators, and educators. No one can visit yet, but the process and the installation are being documented and shown online, taking the images back to the worldwide audience that made them. Eventually, the returning public will be able to come see a visual account of this tumultuous era.

    Imagemakers represented in the show submitted work from the following locales: Algeria, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Canada, China, Colombia, Croatia, Denmark, Ecuador, Ethiopia, France, Georgia, Germany, Greece, Hungary, India, Indonesia, Iran, Ireland, Israel, Italy, Japan, Jordan, Kenya, Latvia, Lithuania, Luxembourg, Malta, Mexico, Morocco, Netherlands, Nicaragua, Nigeria, Norway, Pakistan, Panama, Peru, Philippines, Poland, Portugal, Qatar, Romania, Russia, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Thailand, Tunisia, Turkey, Ukraine, United Kingdom, United States of America, Uruguay, Venezuela, and Vietnam.

    https://www.icp.org/exhibitions/icpconcerned-global-images-for-global-crisis?fbclid=IwAR0phS1bF6MwlHj-k3BCt-1dTK3rD7s1iMivcBUbnUmVv4dZ_0UzJt-zlyU

    Friends on Film (2020)

    ‘Friends on Film is a portrait series documenting family and friends photographed on medium format film, after social distancing restrictions during Covid-19 were eased in the state of Victoria and people were permitted to visit friends in their homes whilst practicing social distancing.

    This series was inspired by isolation and the need for human connection and sharing of our own individual experiences of this strange time.

    For me, unable to work and having a newfound amount of time on my hands, I was unable to find purpose and joy in a bonding ritual by capturing these portraits.

    I am attempting to embrace what was an enforced slowing down and use this approach in my practice. I do this by using film and allocating only two rolls of film per person, a maximum of 20 photographs per sitting. Every shot is carefully considered, far removed from working in the digital realm where an ability to shoot endless images removes the risk but also the magic.

    The analog camera lens for me is a portal into a different way of seeing, a re-evaluation of how I feel about photography, which is ultimately just a way to connect with other humans.’



  • HERE WITH ME group exhibition, Curatorial & Co. gallery, Sydney
    August 19, 2020

    So honoured to be a part of the group exhibition and opening Sydney gallery launch of Curatorial & Co. 'HERE WITH ME'. HERE WITH ME is an expression of support in a time of uncertainty, celebrating the ways in which art can connect us, move us, inspire and protect us. As a virtual gallery that now extends into a physical space, HERE WITH ME comprises painting, drawing, photography and sculpture, and it can be experienced both online and up close. HERE WITH ME showcases over 40 new works by artists from all over the world and launches the new gallery in Redfern, Sydney. A huge congratulations to Sophie and the team, so proud of you, thank you for having me. Contact hello@curatorialandco.com Open 14-28th August. Studio 1, 175 Cleveland Street Redfern, NSW 2016 Australia 'The Fall' 60 x 85cm Archival pigment print on fibre rag Edition of 8 + 1AP For interest in this work, please contact hello@curatorialandco.com




  • Finalist, Beautiful Bizarre Art Prize
    August 19, 2020

    I'm so excited to announce that 'From Where We Came' has been chosen as one of the 25 Photography Award finalists of the 2020 Beautiful Bizarre Art Prize. A huge thank you to Danijela Krha Purssey and Beautiful Bizarre Magazine for your wonderful support and for including my work amongst such a high caliber of incredible artists, it is such an honour. Art prize sponsored by icanvas_art




  • Highly Commended, 2020 The Mono Awards
    August 18, 2020

    I'm thrilled to announce that 'Metamorphis' from the 'Others Dream' series has received a highly commended in The Mono Awards for 2020 in the People Category.




  • Finalist, Du Reitz Art Awards
    June 26th, 2020

    I’m very excited to announce that ‘From Where We Came’ from the series ‘Others Dream’ has been announced as a finalist in the 2020 Du Reitz Art Awards. Unfortunately due to COVID-19 restrictions there will not be an opening event gathering this year. Instead, winners will be announced and published on the Gympie Regional Council website and social media after judging Wednesday 5 August. The exhibition is on view from 5 August – 5 September 2020. Entry is free.




  • ANTHROPOCENE: THE AGE OF HUMANS VIRTUAL SOLO EXHIBITION"
    June 9, 2020

    I am delighted to bring to you my latest body of work, ANTHROPOCENE: THE AGE OF HUMANS virtual solo show via Curatorial & Co.


    VIEW CATALOGUE

    VIEW VIRTUAL EXHIBITION


    THE MAKING OF

    To make this series, my muse and dear friend and I embarked on a five day road trip in January. We packed her 4WD to the brim with props & bags of fabric from op shops,and took off in search of utterly beautiful landscapes.

    With bushfires raging all across the country, our options were extremely limited, so based on a whim I decided to head towards the Murray-Sunset National Park, about seven hours from Melbourne. After a few days in the small town of Sea Lake we decided to abandon our original route and turn towards the more lush Grampian Ranges in search of water.

    These creative working trips, venturing into the Australian ‘wilderness’, are always a whirlwind of jumbled sensations; exhilaration, trepidation, pressure and exhaustion. Senses seem heightened, as things normally passed by, now have a weight of the possibility of becoming a hopefully powerful image. I question; does this vista draw me in with the promise of some elusive magic, or is it just the ordinary? Sometimes the lines are blurred.

    These days often feel like the longest of our lives. Rising at 3.30am eagerly anticipating the early morning light, we sit anxiously in the dark ready for the small window of magic glow before the sun peaks over the horizon. Long hours of driving between destinations are peppered with the odd side meander if the clouds are feeling generous, while always keeping the approaching last light of the day in mind. So we make haste in pursuit of dusk, smuggling some leftover cheap wine in with my cameras as we trek into the unfamiliar bush like pack horses, in search of a scene which feels like ‘something’ intuitively, like butterflies in your stomach. As we walk, we are aware of the gamble, that this could easily (and often does) result in failure.

    Working alone with natural light in the environment and a nude model can at times be overwhelming. The beauty of nature comes with its unpredictability, and so too, its tourists. It is also in, and because of these moments of frustration, battling high winds, sinking mud, incessant rain and all that goes wrong, that I feel a deep appreciation for that very moment, the power of nature, and the insignificance of humanity but also the joy of feeling alive and awake. This challenging work has meant that I have been witness to, and immersed in, such beautiful Australian landscapes, at times stark and eerie, lush and dense; these moments have been some of the most breathtaking and magical experiences of my life. Nature is my creative playground and where I feel most at home.


    ABOUT THE WORK

    For this series, I used lace for the first time in my work. I often source secondhand fabrics, but have been hesitant to use lace specifically, perhaps it was too old fashioned and laden with inherent meaning, but days before embarking on the five day road trip, I succumbed to my love for it.

    For me, lace represents romanticism, the feminine, a single thread of delicate beauty combined with the strength of many intertwining threads, and in many ways, symbolises the way in which I aim to represent the female figure, an honest beauty combined with strength. Lace has often been symbolic of modesty and obedience, of rites of passage, of fragility and chastity, but also debauchery. I am drawn to the idea of playing with and challenging stereotypical notions of the feminine.

    Hair is another fascination as a veil, a protective layer, magical and possibly dangerous, often symbolically depicted with an ability to communicate social meaning; associations of blonde hair with purity and dark hair with passion, historically hair has been a tool to measure sanity. Unkempt hair as a symbol of chaos and immorality, unbridled, unhinged sexuality. Hair for me also conjures up the dark and mysterious fairy tales we all grew up being shaped by, women who needed a prince to rescue them, but also ancient legends of powerful queens and mysterious women often forgotten by a history mostly written by men.


    ARTIST STATEMENT

    Depicting the female form in landscapes that are eerie and post-apocalyptic in their starkness - rough-hewn incarnations of the Garden of Eden - this series draws inspiration from biblical narratives of creation and the Fall of man (woman). The marble skin of these figures, luminous in dark, uninhabited landscapes conjure images from myths and fairy-tales that allude to a state of innocence and wonder.

    Yet while the Fall was characterised by torment and shame, a loss of grace, the presence of the women in these untamed landscapes has a dream-like ambiguity. Rather than being helpless, or in need of protection, the women offer a more expansive expression of the feminine: beauty combined with strength, nonchalance and indomitability.

    In the Anthropocene epoch, there is a profound disconnect with nature, yet these images situate humans within nature - cocooned, in sensuous repose and unfurling into a state of awareness with the possibility for communion with nature.





  • “Anthropocene: The Age of Humans” Virtual Solo Photography Exhibition
    June 9th 2020

    “Anthropocene: The Age of Humans” will open at 9am on the 9th of June via Curatorial & Co. For a copy of the catalogue or for interest in the works, please contact hello@curatorialandco.com




  • Finalist, Percival Photographic Portrait Prize
    March 26, 2020

    Very excited to announce that my work ‘From Where We Came’ has been selected as a finalist in the 2020 Percival Photographic Portrait Prize, held at Perc Tucker Regional Gallery in QLD from Friday 22 May until Sunday 19th July 2020.




  • Finalist, Biennal Adelaide Park Lands Art Prize
    February 29, 2020

    I’m very to announce that ‘Sanctuary’ from the series ‘Others Dream’ has been announced as a finalist in the 2020 Biennal Adelaide Park Lands Art Prize, and exhibited in the Adelaide Festival Centre, QBE galleries or the adjacent Festival Theatre Foyer. Winners will be announced on the 1st of April 2020. Exhibition dates 2nd April - 31st May. 




  • 2019



  •  

  • Metro Gallery Summer Group Exhibition
    December 11, 2019

    I will be exhibiting ‘Prisoners of Comfort’ from the series ‘Body of Water’ 2019 at the Metro Gallery Summer Group Exhibition. Opening night 19th Dec 6:30-8:30pm.




  • Chapter One Group Exhibition
    November 27, 2019

    I am thrilled to be chosen as one of the eight female photographers for the Sam I Am’s mentorship program, Chapter One. Our work made throughout this program will be showing at a special exhibition held at Pix On Location in Alexandria, Sydney at 6pm on Thursday, December 12th 2019.

    Featuring the visual stories of Chapter One mentorship participants, the photography on show is the culmination of three month’s worth of work that saw each successful applicant paired with a Sam I Am photographer. Helping them to cultivate our stories, the program included guiding the photographers through concept development and refinement, pre-production, shooting their vision, then working with their mentor to edit each story or series.




  • Ritual Practice Modern Times Xmas group exhibition
    November 26, 2019

    I am so delighted to be showing new works at ‘Ritual Practice’ Xmas Group Exhibition at Modern Times this December, including 30 artists.

    Please join us for drinks on the 5th of December from 6-8pm at Modern Times, 311 Smith St Fitzroy.

    The ‘Ritual Practice’ catalogue will be available on the 24th of November. Please contact Modern Times in store or by phone for any interest in works. All work will be online available for purchase from midday on Monday December 2nd.

    Selected Artists -

    Caroline Walls

    Stacey Rees

    Kasper Raglus

    Diana Miller

    Hannah Nowlan

    Christopher Jewitt

    Lilli Waters

    Kathryn Dolby

    Elizabeth Barnett

    Mark Alsweiler

    Billie Justice Thomson

    Ellie Malin

    Liam Haley

    Ria Green

    Emma Lipscombe

    Saxon Quinn

    Julia Flanagan

    Emily Besser

    Irene Grishin Selzer

    Kayleigh Heydon

    Charlie Harding

    Cricket Saleh

    Kate Damback

    Isobel Rayson

    Max Lawrence White

    Amy Wright

    Ro Noonan

    Sean McDowell

    Sarah Kelk

    Tags modern times, ritual practice, lilli waters, melbourne artists




  • The Opéra Magazine for Classic & Contemporary Nude Photography Volume VIII
    October 23, 2019







  • Art Thy Neighbour Interview
    September 22, 2019




  • Today I found out that birth father passed away 5 years ago. No one in my family had known until now.

    Although I only met him once as an adult, I have his curly hair, his eyes and his passion.

    He was an activist, a greenie, a fighter, a mover and a shaker and an amazing young man who did incredible things for his community and for the planet, before he got sick with paranoid schizophrenia.

    He was a traumatised man who led a troubled life, living unmedicated and homeless for much of his life. He never wanted to be found, he wanted to be free.

    Today, this very open and honest article was published about my life and my work.

    I was interviewed by Tessa from Art Thy Neighbour, we chatted about my childhood, the traumas I faced as a young person, my relationships and as corny as it sounds, how photography has been a part of my healing journey and a searching for the unknown.

    Thanks so much to Tess from Art Thy Neighbour for such beautiful writing.

    RIP Mick Waters, thank you for all that you gave. I hope you are free now, in a beautiful peaceful place filled with all of the trees that your heart desires xxx

    Interview by Tessa Ogle for Art Thy Neighbour

    Two years ago, Lilli Waters returned to Wytaliba where her mother helped start a hippie commune in the 70’s. Here, in a mudbrick house built by her father, Lilli spent the first 18 months of her life. Years later, the same house was vacant and falling apart.

    Lilli, a fine art photographer, described returning to the commune near Grafton in New South Wales as strange.

    The experience was made more bizarre in that her every reaction was captured for an ABC documentary that followed artists to a place from their past. And after the documentary screened she told me people from the commune contacted her to say her work reminded them of the bush in Wytaliba.

    While she’s unable able to recall her time in the commune as an infant, she said she has always been drawn to landscapes and believes living in the bush still influences her artwork today.

    “The first 18 months of anyone’s life can really steer them in the direction they go,” she said. Lilli has a habit of answering questions broadly, generalising and shifting the focus off herself.

    Lilli grew up in a creative family, with inspiration drawn from her fiery grandmother who worked as a photojournalist in the Vietnam War. Lilli’s photography has been featured in a growing list of exhibitions and magazines (even in Christian Grey’s apartment in 50 Shades Freed, a sequel to 50 Shades of Grey). With a violent father, distant mother and a string of abusive relationships, she uses her photography to, in part, reconnect with women.

    She primarily photographs female forms in landscapes and water in a state she describes as primal. Not too pretty or sexy – but still womanly and feminine.

    “I think that success to me is not going ‘oh that’s nice’, or ‘that’s pretty’ or ‘that’s beautiful’, more like ‘what the hell is this supposed to mean?’” Lilli said, laughing warmly. “Because I don’t know either.”

    The style of her personal work – as opposed to her commercial work – is often formed unconsciously. When I asked her if there’s a purposeful uniformity to her images she said she doesn’t think much planning goes into it.

    “I’m drawn to shooting in nature and that’s where I feel most comfortable.”

    “Confronting”, “violent” and “dark” are all words people have used to describe Lilli’s work to her. Though, she explained, when she photographs she doesn’t have those words in mind.

    “You’re not out there going, I’m going to make something dark, it’s just very organic.”

    At two years old, her family made the move to Nimbin in New South Wales where Lilli's mother had originally planned to settle before finding it to be overcrowded. It was here her parents’ relationship broke down.

    “There was a lot of violence at the commune, generally with men. A lot o