I’m very excited to announce that my work ‘Dark Matter’ from ‘Body of Water’ is a finalist in the NOW Contemporary Art Award.
The official exhibition opening will be held on Saturday 5 October at the Shoalhaven Regional Gallery, Nowra NSW.
I’m very excited to announce that my work ‘Dark Matter’ from ‘Body of Water’ is a finalist in the NOW Contemporary Art Award.
The official exhibition opening will be held on Saturday 5 October at the Shoalhaven Regional Gallery, Nowra NSW.
I am beyond thrilled to announce that my work ‘Utero’ is a finalist in the Beautiful Bizarre Art Prize for 2019.
‘Ritual’ exhibition will be held at the Haven Gallery in Northport, New York, featuring the Beautiful Bizarre Art Prize winners, along with 50 of the world’s best contemporary artists.
Full article here
Female identity and our relationship with nature are two prominent themes of Melbourne photographer Lilli Waters’ latest body of work, ‘Others Dream’. The 11 images in this series are highly evocative and intriguing – all in their own unique way – so we relished the opportunity to hear all the details.
Lilli travelled to Western Australia to shoot this series – partly for the incredible location and partly because a Victorian winter doesn’t lend itself well to shooting a model in water. With a four-week turnaround time (her shortest deadline to date), she spent four days in WA shooting at dawn and dusk, on both a digital and analog camera – using expired black and white film from the 1960s – then driving, scouting and sleeping in between. Lilli admits she had no idea what to expect when she returned to Melbourne to edit and develop her images but the resulting body of work is incredibly powerful.
Read more from our chat with Lilli below and be sure to visit us to view the exhibition before June 30.
Can you tell us a little about what inspired this body of work?
The ‘Others Dream’ series was inspired by Hutt Lagoon, a salt lake located near Kalbarri in Western Australia, which has a pink hue due to the presence of a carotenoid-producing algae. The body of work was photographed using a combination of digital and medium format analog cameras, using expired black and white film. Working with two very different mediums of photography was largely an experiment, and I was unsure as to whether the desaturated black and white film would work cohesively alongside vibrant colours.
The pieces are very emotive, and female identity and nature are both strong themes. What are you hoping to convey through your images?
In ‘Others Dream’, the subject is placed in strange landscapes and positions, portraying a surreal and dreamlike atmosphere, almost like trying to escape from reality. I like to capture the subjects in transitional poses to create a sense of movement or suspense. Transparent fabrics and long hair (an assortment of wigs) obscure their faces and identities, adding a mystery and unease to the works, and acting as a kind of protective veil. This obscuring of the face can perhaps help the viewer to feel more connected to the subject, as the work acts more like a mirror than a portrait. The landscapes are often dark and hostile, but the subject looks almost at home in these environments, as if she was borne from them and nourished by them.
Some viewers see darkness and pain in my work, maybe a sense of being trapped, though for me there is a sense of freedom in being able to make photographs that represent all of these things. It is empowering to be able to convey a different side of the feminine than that which society has fed us for so long. A side that requires a rethinking of notions of vulnerability, female frailty and the more primal feminine relationship with nature.
My works try to honour a communion with nature and contain a sense of grieving for the unknown future of the earth, as the earth becomes more unbalanced. Ever since I was a little girl I’ve had an endless curiosity in observing and interacting with nature; it brings me a sense of peace. Water is also a huge part of my work, I feel that it has a profoundly magical quality. So many of our daily rituals, our beliefs, our way of life, are connected to water. It is such a physical and spiritual power.
You’ve often spoken about your desire to be closer to nature. In what ways do you think your upbringing on a rural counter-culture community near Canberra has influenced you and your work?
I was raised on a commune in Wytaliba, 100 kilometres out of Canberra, but left at a very young age (around two) so I don’t have any specific memories from my time there. Some of the locals who lived there at the time have commented that my photographs look as though they were taken there, and I do believe the first few years of life really affect how we see the world and how we live our lives. I feel a strong sense of ‘home’ in this type of bush environment. Often I find myself yearning to be in the bush and close to flowing water, and so these landscapes have become a common thread in a lot of my work.
How long was the process of completing this body of work, from start to finish?
The series was photographed over four days at dawn and dusk, then driving, scouting and sleeping in between. I had a deadline of about four weeks to proof, print and send it to Italy. This was the shortest amount of time I have ever had to make a new body of work, and I was lucky that I arrived home from WA with enough works to present as a full series.
What was your favourite park of the process and why?
I really enjoyed working intensely over a four day period, and although it was physically and creatively challenging, it allowed me to focus solely on making the work with no distractions. I chose not to work with an assistant or scout for locations, so I planned a direct route from Perth to Kalbarri where I knew the pink lake was located (although I had no idea if it was going to be pink or not) and chose locations that were along the way. My favourite part of the process is the post production, this is where I find the creativity really emerges for me, and I can play with colours, layering techniques and fine editing. I find this stage brings real clarity to the work and it’s where the photographs come alive and evolve into themselves.
The pink lake (which appears as a vibrant red in your images) and the rugged landscape of Western Australia are a big part of the identity of this series. Why did you choose to shoot in WA?
Last winter, a curator asked me if I could create a new body of work for an exhibition in three months’ time in Florence, Italy, but it was too cold in Victoria to take a model and photograph in water. I’d heard that there was a pink lake located in Western Australia, so I pitched an idea that I travel with a model to the much warmer state of WA for five days and photograph across different landscapes. Luckily, the pitch was accepted and we were on our way within a few weeks. The West Australian landscape was completely foreign to me, I’ve never seen anything like it before.
It’s an incredibly strong body of work. How did you select the final 11 pieces?
Once I returned from WA, I offered the curator fifteen of the strongest works and we chose the final eleven for the exhibition together. Initially she was only after ten photographs so I was really happy that the one landscape was included in the series.
In what ways does your work challenge you or change the way you think?
At times, it feels as if the work I create is articulating themes that I am almost unaware of on a conscious level. Themes which tend to resurface in my work took me a long time to be able to articulate with words, and this is still a constant challenge. In the past I have struggled with the meaning behind my work, so in that sense it challenges me to look deeper and to acknowledge and confront some of the pain and trauma from my childhood. This has led me on a slow path of healing.
What would you like to explore through your work in the future?
I would like to continue to explore similar themes throughout my work, but on a much larger scale, exploring epic and challenging landscapes and experimenting with much larger pieces of fabric. My aim is to continue to explore a reimagining of the feminine form and challenge perceptions, including my own.
What does a typical day look like for you?
My hubby gets up before me and then my two tonkinese cats come straight into the bed and snuggle up with me before my hubby brings me a cup of tea. Bliss! I’ll usually then grab a coffee from next door and head into my studio around 9 or 10 if I’m not on a shoot. I’m lucky in that my job is a good balance of being out on location and quieter days behind the computer.
If you weren’t a photographer, what would you be?
A film director or a seal (I’m crazy about swimming & playing underwater).
What are you listening to at the moment (music and/or podcast)?
MUSIC – Aldous Harding, Weyes Blood, Kurt Vile, Sharon Van Etten, Amen Dunes, Jade Imagine, Julia Jacklin and Jazz Party, and my hubby Jacob Cole’s soon-to-be-released new solo album, which is super exciting!
PODCAST – Under the Skin with Russell Brand, Fresh Air, WTF with Marc Maron, Making Sense with Sam Harris, The Guilty Feminist, Death, Sex & Money with Anna Sale.
You’re hosting a dinner party – what’s your signature dish?
Homemade healthy chocolate! Or, a yummy cake. I hardly ever bake, but when I do, I love it.
If you could purchase one thing for your home, and money was no object, what would it be?
Is a beautiful cottage filled with artworks and a home studio surrounded by an overgrown flower garden in the country allowed?
Where to next on your travel destination wish list?
I really want to go to Antarctica to shoot a new body of work. I’m hoping to apply for a grant to make that a reality.
If you could exhibit your work anywhere in the world, which gallery would you choose?
Moma in NYC, The Photographers Gallery in London and the Venice Biennale would be dreams come true.
And here it is!!
I am super stoked to announce the new film clip ‘Remote Control’ released & out now for your listening pleasure!
Thank you to my friends Jade Imagine Band for having me onboard as Director / Producer for this wonderful project.
Director / Producer: Lilli Waters
Director of Photography: Amy Dellar
Producer: Jade McInally
1st AC: Lucy Pijenburg
Editors: Lilli Waters & Louise Mullins
Colourist: Jacob Harris @colourdesk
Runners: Thommy Taranto, Xavier James and Natalie Nowotarski
Featuring: Jade McInally ,Tim Harvey & James Harvey
Thank you to Anna Cordell and Gary Oxley
Thank you thank you thank you to ALL of the wonderful people who came to my opening solo exhibition ‘Reawaken’ at Craig’s Royal Hotel in collaboration with the Ballarat International Foto Biennale. I was so incredibly honoured to meet so many wonderful new friends & chat about art & new exciting ideas!
A huge thank you to Biennale Directors Bridget & Fiona Sweet for opening the exhibition, to Aaron & Madelyn for helping to put this show together and for the fabulous pub crawl & to my wonderful mates who took the long drive down, you made the day very special. Thank you so much to Craig’s Royal Hotel for having my work on your walls & for the beautiful complimentary night stay in your beautiful hotel.
8 of the works have already sold, however, they are editions of 14 + 1AP, so please contact firstname.lastname@example.org for any print sale enquiries.
This exhibition will run until the 10th of August.
It has been a busy year exhibition wise for me, and it brings me great pleasure to invite you to the biggest one yet!
My solo exhibition Others Dream opens at the beautiful Modern Times, Thursday the 20th of June from 6 - 8pm.
11 unreleased large scale photographs meld the female figure with the landscape of unsettling, other worldly scenes. These works were created in 2018 across Western Australia on a mix of digital & analog cameras, and it is my greatest pleasure to finally share them with you all.
Please join us for drinks on opening night!
Thursday 20th June
311 Smith Street,
6 - 8pm
Catalogue release and Pre sales open 11th of June.
The exhibition will run until 30th of June.
For more information, to register for pre sales or to enquire about the purchase of an artwork,
please contact -
phone: 03 9913 8598
Sanctuary from Others Dream
162 x 108cm
Archival pigment print on fibre rag
Edition of 8 + 1AP
Artist Statement -
‘Others Dream’ questions our relationship with nature and ourselves and ideas about female identity through unsettling, otherworldly scenes.
Female figures inhabit primordial, foreboding landscapes in poses of stillness and fluid movement that require a re-thinking of notions of vulnerability and power. These women contradict stereotypes of feminine frailty; they appear to be birthed into nature, or perhaps birthed from nature; naked yet fearless and empowered.
These images speak to a significant part of my own identity as a woman. I was born on a rural counter-culture community in Wytaliba, about 100 kilometres out of Canberra, where everyone grew their own produce on the land and washed and swam in the river. Nature had a vivid presence in our daily life that is often absent in the city, where I now live. Often, I wake and find myself yearning to be in the bush and close to flowing water.
In these photographs I wanted to communicate a sense in that the figures belong and are even nourished by these potentially hostile surroundings. Moonscape rock formations are merged with the female form, seamlessly blurring the lines between the human body and the ancient landscape. At dawn and dusk, the edge of slumber and first light, these figures awaken out of the darkness and live in the hours when others dream.
Others Dream was highly commended in the 2019 Australasian Top Emerging Photography Awards.
For more information, visit
Exhibition sponsored by Sample Brew and Blackhearts Wine
I hope to see your beautiful faces there :)
Lilli x x x
My heart is so full! A huge huge thank you to everyone who came to my exhibition opening at Metro Gallery last night. Your support means the absolute world to me.
Extra special thanks to the wonderful people at Metro - Rebecca, Camille, Sophia & Juliuus, for their amazing hard work putting this show together, and congratulations to @kimkimkimxx for her incredible work.
This show will run until the 9th of March.
Tue - Fri 9:30 - 5:30pm
Saturday 10:30 - 5pm
1214 High St, Armadale VIC
For print sales, please contact email@example.com
I am extremely excited to announce my first solo exhibition at Metro Gallery opening this week, Thursday 21st February. It has been a dream of mine to exhibit at this gallery for many years, and I am truly delighted to be showing a collection of artworks in this beautiful space.
My works will be shown alongside paintings by incredible artist Kim Hyunji.
It would be an honour if you would join me for a glass of sparkling on opening night next Thursday from 6:30 - 8:30pm at Metro Gallery, 1214 High Street, Armadale.
"There is something both strange and striking about images made by Melbourne based photographer, Lilli Waters. The figures, almost exclusively female, are placed in peculiar positions within equally strange landscapes. The figure from “Utero” (pictured below), emerges from a red liquid, washed ashore an almost mythical land. The figure is beginning to stir, hinted at masterfully by the ripples in the water. This, coupled with the dissonant color combination of pale white and an artificial red, imbues the photograph with a sense of trepidation. There is also certainly a parallel between the nascent subject matter and the act of creation on the part of the artist. The palette is even reminiscent of a photographer’s dark room.
Waters' emphasis on nature comes from her mother and grandmother, as well as an upbringing on a counterculture commune in Wytaliba, NSW. “She (Elaine Moir, grandmother) was a serious lover of the environment, writing letters and starting campaigns to stop McDonalds from taking over her local community, teaching me the names of all the birds and animal species and the importance of planting trees and helping on creek clean up days.” Waters’ subjects certainly appear to have a symbiotic, if somewhat uneasy, relationship with their environment. They are born of the earth, appearing in the landscape like a blooming flower. It is often unclear, however, whether the subject is thriving in the landscape, or succumbing to it.
Waters photographs many of her figures in a transitional pose, instilling a sense of anticipation in the viewer; in “Utero” the figure slowly begins to stir and in “ANJA #25” (pictured below), a female form writhes beneath a thin veil amidst a dark abyss. Accentuating this suspense is also Waters decision to shoot at dawn and dusk, when the sun is on the precipice of either being snuffed out, or of bursting forth from the horizon line. This perhaps symbolises one of the overarching themes in Waters oeuvre, the constant push and pull between life and death, creation and decay."
Words by Julius Killerby.
The exhibition will run until the 9th of March.
I hope to see you for some bubbly!
Opening Night 6 - 8pm
1214 High Street, Armadale
I’m over the moon to be interviewed for the brand new Feb / March issue of Vogue Living Magazine.
The new issue comes out tomorrow, just in time for Valentines Day (and my birthday!)
I’d love it if you checked it out.
Happy Valentines Day 💋❤️
So very very proud to be a National Portrait Prize Finalist for 2019!
As the World Falls Down #2
Once a year I go up to Billinudgel in NSW to see my therapist. She believes that good therapy is based on a relationship - not like the one in psychology where you sit across someone on a chair but one where you go for walks and swims together and the relationship has space.
Recently, I stayed in a cabin on her property and photographed a series of works of her daughter Maya and her boyfriend at a place called Protestor’s Falls. You walk through rain forest with huge trees to a pool and a long stark fall of water.
I wanted to communicate something about youth, beginnings and freedom, that time between late adolescence and adulthood that is filled with possibility but some anxiety too.
‘As the World Falls Down’ is a David Bowie song from the film ‘The Labyrinth.’ There was something about Maya’s physical presence and the feeling of that day that recalled Bowie for me.
Thank you so much to The Design Files for featuring the ‘Things of Fire & Ash, Remembered’ exhibition, which opens tomorrow at the Victoria Police Museum as part of the 10th anniversary of the Black Saturday Bushfires.
6th February, 2019
A decade on, reflecting on the courage and resilience of Black Saturday fire survivors with photographer Lilli Waters.
While Tasmania currently burns, and Queensland suffers fatal floods, we are also coming up to the 10-year anniversary of Victoria’s devastating Black Saturday fires.
Photographer Lilli Waters explores the courage and resilience of those affected by the fires in an exhibition at the Victorian Police Museum. Things of Fire and Ash: Remembered traces the lives of six young people from the Kinglake area and reflects ‘individuals’ stories and journeys. ‘We asked our participants to write about what the 10-year anniversary means to them,’ explains curator Amber Evangelista.
Lilli was lucky not to be directly affected by Black Saturday, but the horrendous climate event resonated strongly with her. She explains, ‘it has been an extraordinary experience for me to be invited back to photograph portraits of these kids five years later, now as young adults, seeing them grown and matured, and rebuilding their lives after such a loss’. The exhibition also features four Victoria Police officers whose bravery and spirit provided extraordinary support and care to those in need.
Lilli highlights, ‘I feel extremely privileged to have been a small part of such an important event in our history as the 10-year anniversary of the Black Saturday bushfires.’
Things Of Fire And Ash: Remembered by Lilli Waters
Opening Thursday, February 7th
Victoria Police Museum
637 Flinders Street
I am extremely honoured to have been chosen to photograph the works for ‘Things of Fire and Ash, Remembered’ exhibition, opening at the Victorian Police Museum next week.
February 2019 is the 10th anniversary of the 2009 Victorian Bushfires, one of the worst natural disasters in the state’s history.
As part of the state-wide commemoration the Victoria Police Museum is holding an exhibition throughout 2019. 'Things of Fire and Ash, Remembered', opens 7th of February, and pays tribute to the personal journeys and reflections of community members and police officers involved in the fires of 2009.
OPENING SOON. For more information visit the website www.policemuseum.vic.gov.au
So stoked to have one of my artworks from my Iceland trip featured in this months Dec/Jan issue of Belle Magazine!
‘Lead us to Water #3’
78 x 112cm
Archival pigment print on fibre rag
Available to purchase at Curatorial & Co.
Feature Shoot ‘Others Dream’ 2018
by Miss Rosen
“At dusk and dawn, the edge of slumber and first light, these figures awaken out of the darkness and live in the hours when others dream,” Lilli Waters writes in the artist statement for her disquieting series, Others Dream, which features women amid an otherworldly landscape that is equal parts foreboding and curious.
Photographed across Western Australia, the images from Others Dream offer a mystical, mythical portrait of the primordial essence of life that begins in utero before being launched upon the earth. They offer themselves as wordless poems, silent revealing secrets to us, offering a moment of meditation where we can escape the artifice that civilization demands and return to something infinitely simpler albeit impossible to fully comprehend.
Here Waters shares her journey, revealing the path that brought her to the creation of this body of work, offering insight on the effortless synergy of life and art.
How did your mother and grandmother instill a passion for social activism and a love for nature in their work?
“My late grandmother Elaine Moir was a feminist and activist throughout her life. She was a photojournalist during the Vietnam War, and later became a part of a small team of people who saved hundreds orphans from the bombings in Saigon.
“She was a serious lover of the environment, writing letters and starting campaigns to stop McDonalds from taking over her local community, teaching me the names of all of the birds and animal species and the importance of planting trees and helping on creek clean up days.
“We would ride our bikes to the wetlands and I would watch her as she took water samples and attempted to protect the baby herons from the neighbors pet cats. She was my hero and biggest inspiration. My mother spent many years living off the grid in the bush as a younger woman and is a botanical artist, drawing her inspiration from nature.”
Can you describe life on a commune in New South Wales, and how this connection with nature has informed your sense of self?
“I was born on a rural counterculture community in Wytaliba, about 100 kilometers out of Canberra, where everyone grew their own produce on the land and washed and swam in the river. Nature had a vivid presence in our daily life that is often absent in the city, where I now live.
“Often, I wake and find myself yearning to be in the bush and close to flowing water. I was young when I lived on the commune, so I don’t have any memories from my life there. However, people from the community describe my photographs as looking as though they were taken there, so these early childhood experiences must have been very aesthetically formative for me.”
When did you begin to realize your path as an artist, and what was it about photography that revealed itself as the medium for your work?
“There was no specific point of realization that I was on the artist’s path. I’ve always needed a creative outlet. When I was a girl, I was obsessed with so many things: playing music, dancing, singing, sports, theatre and making films, although I could never paint like my mother.
“I remember this overwhelming feeling of anxiety when I used to see something beautiful in nature and no one around me seemed to be as excited as I was, so I guess photography for me is a way of capturing the fleeting beauty I see around me and being able to hold on to it and share it with others. That brings me much joy.”
Can you describe the relationship between nature and the feminine, and the way that informs the subjects of the series Others Dream?
“Others Dream questions our relationship with nature and ourselves, as well as ideas about female identity through unsettling, otherworldly scenes. The photographs encompass ideas about vulnerability and power, and aim to contradict stereotypes of feminine frailty. I hope viewers can have an emotive response and go on their own imaginative journey.”
What is your process for creating these shoots — do you have a specific vision based on casting and location scouting, or is it something that reveals itself in the moment?
“Others Dream was photographed across Western Australia. At the time it was winter and I was asked to make new work for an upcoming exhibition in Florence. Victoria being too cold, I put forward an idea to take a life model and spend four days shooting in WA.
“I planned a route from Perth to Kalbarri, stopping at dunes and National parks, heading towards the pink lakes I had become slightly obsessed over. I took a dear friend of mine, who’d I’d also worked with before, and we photographed at dusk and dawn every day, driving and sleeping in between.
“I’d picked up some props from an op shop, a bag of expired black and white film I’d found on eBay and just hoped that the lake was in fact pink. There was a broad vision for the work, but the reality is, you’re improvising and working with small windows of the right light.”
Can you speak about the female gaze and the ways in which it informs your portrayals of the protagonist?
“I think it is important to provide a perspective of the female form through a female gaze. Photography is so prominent in our daily lives, I want to use this medium to gently examine the depiction of the female form as we live through the challenging Me Too era, while women everywhere grapple with the conundrum of how to represent the beauty in oneself, without being constantly sexualized.”
I’ve been thinking a lot about climate change as the literal analogy of the disrespect/abuse of the feminine aspect of existence (like the earth is saying Me Too). When I saw your photos, I was struck by the powerful ambiguity — there’s both a sense of assault and a refusal to succumb. Could you speak about the way that you deal with the duality that is present in your work?
“These images for me speak to a significant part of my own identity as a woman. My images are often seen as ambiguous. I am searching for a rawness and expression that I can’t really put into words, so it makes sense that people might view them in different ways.
“Some see darkness and pain, and with this series, maybe a sense of being trapped, though for me there is a sense of freedom in creating works that can be all of these things, and also empowering and a more full expression of the feminine than that which society has fed us.
“In the photographs I wanted to communicate a sense in that the figures belong and are even nourished by these potentially hostile surroundings. Moonscape rock formations are merged with the female form, seamlessly blurring the lines between the female body and landscape. I wanted this imagery to move viewers to consider how we respond to the female body and to the natural environment.
“In the Romantic era, nature was frequently feminized in literature. Woman and the earth have been characterized as fertile and bountiful, and as providing nourishment — enabling life itself. It is interesting to revisit these ideas in the wake of the Me Too movement and impending environmental disaster. What role might women have in re-visioning not only how we understand gender but our ideas about nature?”
Link to full article here
I am unbelievably honoured to be selected as a Finalist in the National Photographic Portrait Prize for 2019.
40 Finalists from 3113 entries were announced for the National Photographic Portrait Prize 2019.
The selected portraits will be on display at the Portrait Gallery in Canberra from 23 February – 7 April 2019.
The winner of the NPPP 2019 will be announced at the launch of the exhibition on 22 February.
After the exhibition, the NPPP 2019 will be touring around Australia. If you’d like to see the exhibition at a venue near you, please ask your local gallery.
I'm very excited to come in at no. 18 out of 20 finalists for the Portrait category in the Australian Photography Awards for 2018, with my image 'From Where We Came' 2018.
A huge congratulations to the winner, Lisa Saad for her portrait 'Cooper' from her series 'Project 11'.
You can view all of the finalists here -
I am extremely excited to be exhibiting new works at 'The Luxury of Landscape' multi-disciplinary group exhibition at the Pilazzo Pandolfini in Florence, Italy this October.
A private palazzo in the heart of Florence will host an exclusive exhibition of especially commissioned works by Australian artists, including Doctor Cooper, Claudio and Aneka Manners, across fashion, fine jewellery, light, sound, sculpture and the visual arts, curated together with rare Florentine wine and food experiences.
The only palace in Florence designed by Raphael, 15th century Palazzo Pandolfini is a historically significant palace hidden in the centre of Florence and incorporating luxurious reception rooms overlooking a stunning secret garden. Owned by the same family over 500 years later, the Palazzo has retained ts original form together with a garden that cultivated several botanical rarities and been awarded prizes by the Società Botanica dell’orticultura [Botanical Society of Horticulture].
The exhibition opens on the 4th of October and runs until the 18th.
If you happen to be in Florence, come and say ciao x
Art Talk // Hunter & Folk
Lilli Waters is passionate about making a change in the way we see marine life and coral, whilst also encouraging more people to help make a difference in the impact humans have on the ocean. The Award-winning Australian photographic artist has unveiled her latest exhibition entitled Coral Lands, which is on at Saint Cloche Gallery in Sydney, following on from her previous successful exhibition of works, Plastic Fish. Water’s latest body of work showcases coral, marine animals and other plants to create familiar yet surreal landscapes. Bright colours and sunset backgrounds contrasting with the lively coral and fish create a mystical, ethereal feel. The exhibition is on until the 1st of July, so be sure to pop in.
TDF - Lilli Waters' underwater Coral Lands
by Sally Tabart
An exhibition of ethereal works from Melbourne-based photographer Lilli Waters exploring underwater lands.
Underwater landscapes and their inhabiting creatures have long been a source of mysticism and wonderment. Disney’s The Little Mermaid invited us to explore the treasures of a mermaid’s world, David Attenborough’s Blue Planet is one of the most widely-loved documentary series of all time, and the idea of the mythical underwater city, Atlantis, has fascinated human’s since Plato’s Socratic dialogues.
Lilli Waters’ latest exhibition, Coral Lands, explores the strange beauty in deep ocean realms and the fragility of marine life. Coral, live rock and flowers combined with bright colours and night sky backgrounds have been used to create Lilli’s own underwater wonderlands. Elements of lunar influence are also felt through the presence of stars and moons in Lilli’s works, in part symbolising the cyclic, debilitating mood disorder she experiences as a sufferer of Premenstrual Dysphoric Disorder.
Combining these elements with bright colours and night sky backdrops, Lilli has created extraordinary, otherworldly landscapes. The themes in Coral Lands are an extension of her 2017 exhibition, Plastic Fish, and continues to draw attention to the devastating impact humans have on ocean life.
June 20th-July 1st
37 Macdonald Street
Paddington, New South Wales
My underwater photography solo exhibition Coral Lands opens at Saint Cloche tomorrow!!
If you’re in Sydney, I would love to see your faces on opening night from 6-8pm.
Come join me for a drink 🍷
Saint Cloche, 37 McDonald St, Paddington, NSW
Exhibition runs from 20th June - 1st July
For the full Catalogue, email firstname.lastname@example.org
Download PDF - https://saintcloche.com/…/CoralLands_SaintCloche_Cat_v2a.pdf
Coral has long been a source of fascination and mystery for early philosophers and scientists. Theophrastus, Aristotle’s pupil included them in both his book on stones, and in his Enquiries on Plants describing them as “large stony plants that reveal bright flowers when under water.” .
Pliny the elder described coral as being “neither animals nor plants, but are possessed of a third nature.”
Printing by Thirds Fine Art Printing
Coral kindly supplied by James at Hifin Aquarium
Florals supplied by Vasette
Photo by Hilary Walker