FEATURE SHOOT 'OTHERS DREAM'

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.

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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 

THE LUXURY OF LANDSCAPE EXHIBITION, FLORENCE, ITALY

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 

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VOGUE LIVING - Lilli Waters

VOGUE LIVING // Meet the female artist who will make you think twice about your impact on the ocean

by Francesca Wallis

Lilli Waters’ ethereal photographs bridge the gap between what we see and what we do. 
As her name suggests, artist Lilli Waters has an affinity with the ocean. Creating a series of otherworldly, surreal photographs for her body of work, titled Coral Lands, Waters has managed to artfully combine the fragility of the ocean with the colour and vibrancy of its inhabitants. Asking her audience to reassess their impact on coral, Waters’s work goes beyond the traditional and transcends into something wonderfully sublime and futuristic — all the while using natural, tactile pieces to craft her sets. We spoke with Waters ahead of the opening of Coral Lands at Saint Cloche in Sydney, to discuss all things practice, art and yes, Fifty Shades.

On her exhibition at Saint Cloche?
Coral Lands is an underwater photography series, a collection of nine works that were all photographed using large water tanks. They feature coral alongside florals, bright colours and night sky backdrops, creating familiar yet dream like vignettes. My intention with this body of work was to try to create otherworldly landscapes visualising strange underwater fantasy worlds. It involved months of planning and was basically one big experiment.

On her practice and inspiration
My practice is in fine art photography, and my work has largely focused on portraits – mostly of women – and more recently still life. Mother nature, art and music have always been my main muses for creating. I was a musician for fourteen years, but I don't play anymore.  

On how she hopes her audience see her work
I hope that the works resonate with people in a way that they can immerse themselves for a moment in these intriguing underwater worlds. It is also my hope that this series draws the viewer into the strange beauty and acute fragility of coral and that it highlights the devastating impact of climate change on our oceans and the precious life within it.

On the most unexpected places her work has been shown
Two of my photographs are featured in Christian Grey’s apartment in Fifty Shades Darker and Fifty Shades Freed: one in his bedroom and another in his dining room. It was pretty surreal seeing my work in such huge films. The limited edition prints almost sold out after their release, and the author of the books ordered a huge print for her mansion in LA, which is still something I pinch myself over!

On the artists she's inspired by
I’m actually inspired more by painters rather than other photographers. Three contemporary female artists whose work I love and really resonate with are Heidi Yardley, Elizabeth Barnett, and my absolute favourite artist at the moment, Del Kathryn Barton. There’s something dark and sexy about Yardley’s work — the way she depicts fractured female forms which are mesmerising, melancholy, familiar and strange all at the same time. Barnett’s colourful still lifes are comforting and so full of nostalgic joy; they make you want to live in her paintings, like a coming home to a familiar armchair and a pot of tea. Barton’s work is unashamedly feminine. Her figurative imagery is so vibrant and colourful. She has this extraordinary ability to create dream-like kaleidoscopic worlds in a really raw and honest way.

Coral Lands is open until July 1, 2018 at Saint Cloche in Sydney.

See full article here

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The Design Files - Lilli Waters

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 Fishand continues to draw attention to the devastating impact humans have on ocean life.

Coral Lands
Lilli Waters
June 20th-July 1st

Saint Cloche
37 Macdonald Street
Paddington, New South Wales

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Coral Lands - Upcoming Solo Exhibition

I am very very excited to announce my upcoming solo exhibition CORAL LANDS at Saint Cloche in Sydney this Winter. This series has been a work in progress for the past six months and I can't wait to show it to you. If you're in Sydney on the 20th of June, I would love to see your faces at the opening night for a drink! 

Exhibiting at Saint Cloche, Sydney

Opening night 20th June 6-8pm

37 MacDonald St, Paddington NSW Australia

20th June - 1st July 2018

www.saintcloche.com

Below: 'Lucid Orchid Dream' from Coral Lands

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ABC Art Bites: 'Mirror'

ABC ART BITES ‘MIRROR’ documentary series - 2018

‘Six Australian artists embark on a nostalgic journey back to a place of their past to confront memories that will inspire a self-portrait work.’ - ABC ARTS

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. I travelled back to this place for the first time since leaving as a baby, to piece together the fleeting moments of my parents relationship and to find the mud brick home that they built together when I was a baby.

I created two self portraits in this beautiful and haunting place. One in the river where my mother swam when she was pregnant with me and one other in the mud brick house my parents built.

Stepping foot in my old house, which had now been reclaimed by nature, was a sad and beautiful thing. These self portraits for me was a collation of all of my feelings about returning to this place.”

You can view the full episode on iview -

https://iview.abc.net.au/show/art-bites-mirror/series/0/video/AC1705Q001S00

A huge huge thank you to Producer Kate Paul, Director Brodie Poole, Cameraman Dave May & the ABC for this extraordinarily incredible and once in a lifetime experience, one I will treasure in my memory & heart for always.

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'Mirror' ABC Art Bites documentary

I am very excited to announce that the 'Mirror' ABC Art Bites episode which was based on my childhood story is now available to watch on ABC iview.

I am extremely humbled to be a part of this incredible once in a lifetime opportunity, and to be invited to create a self portrait in my childhood home for this episode was an incredibly special experience.

You can view the full episode here

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Art Aesthetica Art Prize Finalist 2018

‘In Dreams’ from tje Plastic Fish series has been selected as a finalist in the Art Aesthetica Art Prize for 2018.

‘In Dreams’ will be screened in the Aesthetica Art Prize Exhibition 17 May - 30 September, York Art Gallery, UK, and featured in the Art Aesthetica Prize Anthology.

The book showcases the work of 100 of the most exciting artists from around the world and is a dynamic guide to International Contemporary Art.

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Irisi Magazine - LILLI WATERS

Irisi Magazine

An interview with
Melbourne-based photographic artist and filmmaker Lilli Waters
by Mairead Warren

One dark wintry day in Sydney, whilst aimlessly browsing on my instagram feed, I discovered Lilli’s work. Her provocative and inspiring image series ‘Plastic Fish’ instantly cut through to me, even amidst the flurry of images on my visually overloaded device.

Juxtaposing the world of selfies and filtered life porn, the images were arresting. They made me consider the tough and complicated discourse surrounding contemporary representations of beauty.

As a millennial I am greatly exposed to the rise of digital media and the control it allows us in styling and creating a personal image, which involves packaging the stories of our life into neat little parcels edited perfectly to please. It has become a fierce engine of self love, that can venture into toxic self loathing, and ultimately leads so many people to the conclusion – what or who am I doing this for?

The depths and shallows in Lilli’s work can stimulate this discussion, or they can bedazzle you with illusion and allure. Lilli says of the works ‘At first glance these images may appear to be reminiscent of still-life paintings – colourful and vibrant – but hidden (and sometimes not so hidden) are manmade materials like plastic. Plastic has found its way into every corner of our planet, it's even in our water. The plastic in these works itself has a beauty, but inherent in its presence is a darker, more destructive side.’

The work also makes comment on the state of our environment, Lilli shared with me that ‘The themes are somewhat subtle but I feel like most people sensed that the works were making a comment on the state of our current environment when they looked a bit closer.’

 

On the core message of the work and what the artist wanted it to reflect about society in 2017, Lilli shared ‘We live in a time where things aren’t made to last, and consumerism is the driving force behind our society. Objects we buy need to break regularly and be replaced for the system to keep functioning.’

Further to exploring the interesting and contemporary topics in the work, they are technical masterpieces and I decided to delve into understanding the process and inspiration behind the series. I asked Lilli the questions below:

How did you choose the subject matter for your photographic series Plastic Fish?
I'm a big lover of water and am fascinated with the beauty and complexity of plants, so it seemed like the next step for me was to attempt making a body of work exploring and combining these elements.

Where did the inspiration for your imagery come from?
This series came from a thought of “could I photograph flowers underwater?" This idea then merged with my fascination with the beauty and fragility of underwater creatures. There were many visits to markets and aquariums to find inspiration.

How did you use light and dark to tell a story in the series? 
I have always used a lot of darkness in my images, though this series embraces a more vivid colour, which often sits amongst dark shadows. The colours are sometimes almost fluorescent and not quite natural, vibrant and fantastical yet somehow not at ease.  

Was your commercial work an influence on how you approached Plastic Fish?
Yes. Usually I utilise natural light and focus on female subjects for my work, but I have found a new fascination with working in the studio using controlled lighting & being able to slow down the photo making process. Plastic Fish was photographed in this way and required quite an elaborate setup.

Plastic Fish is now out in the public domain. Has this altered the way you think or feel about the work?
When these works emerged, they were not at all what I had pictured in my mind throughout the preparation. Now that they are hanging in people's homes and on gallery walls, I'm glad that I took the plunge and delved into such colourful & vibrant works. Experimenting for me is almost always going to lead to mixed feelings about the work.

Is the series complete?
Yes, it was exhibited in a two week solo show at Junior Space Gallery in September. There were four works printed quite large, the largest I have printed for a show.

What are the main things that you’ve learnt about your craft through the process of Plastic Fish?
Shooting underwater involves a lot of challenges and several trips to Bunnings. I learnt that it is in fact possible to eventually get the shot with fish that swim really fast!

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Plastic Fish is currently on show at The Coffs Harbour Regional Gallery in exhibition STILL: National Still Life Award 2017.

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Hunter & Folk - Lilli Waters

Art Talk // Lilli Waters

by Hande Renshaw

Melbourne-based award winning photographic artist and filmmaker Lilli Waters' photographs can easily be mistaken for paintings. Lilli's love for the Renaissance era and her muse Bill Henson, is evident in her photography, which captures layers of colour, shadow and beautiful depth. We sat down with Lilli to find out about her photographic journey and why nature's elusive beauty is such a major inspiration in her work.

Hi Lilli, tell us about when your love for photography was first sparked? Funnily enough, when I walked out of a really bad job in 2011 and couldn't find any work for six months, I took advantage of the spare hours I had on my hands and photographed my first series, Intrinsic Storms. I tied my old medium format film camera to a piece of timber, placed it over the top of a mezzanine in an old factory I was living in at the time, threaded some wire through some tubing to make an extended cable release, lay down on the concrete floor and layered the film scans with images I'd taken of stormy skies together in Photoshop. It was first time I had really allowed myself to play creatively with photo-making since studying photography nine years earlier. 

Do you have a muse? Music has always been my main muse for creating. I was a musician for fourteen years, but I don't play anymore. I honestly can't picture my world without it, and am always listening to a specific artist throughout the process of creating a body of work. This helps to guide me and can really influence the mood of the work.

I've also greatly admired the work of photographer Bill Henson. The mysterious and powerful themes he portrays around youth and nature have always drawn me in, and his use of blacks, dark colours and shadowing remind me of some romantic but unsettling paintings from the Renaissance, which I so love. 

Your photos are so wonderfully moody and evocative, how do you achieve this unique quality? Oh thank you, that's very kind of you to say! My aim is to recreate a fantastical scene inside the little frame of my camera. I often wait until the last flicker of dying light and then work quickly, as it doesn't seem to want to play for too long, leaving me a window of ten minutes or so until it's too dark for my camera to focus. It's often a lot of impatiently waiting for a mad rush. I’m definitely less of a technician and more someone who is driven by a spontaneous stream of light or a gust of wind, which tells me a storm is coming.

Tell us about your creative process - do you work intuitively or is it planned? The creative process for me comes in stages; ideas that are mulled over a glass of wine, listening to a favourite album, finding a time and a place, and the rest seems to sort itself out. My work is sometimes planned but I also love to allow things to happen naturally. I feel like you can plan as much as you like, but in the end, the images will most likely never come out the way you had imagined in your head. Manipulation of the original image is a huge part of my process. Sometimes I pick elements from a series of images, layering them to create the final work, and, much like I imagine a painter might feel, at times it's hard to know when it's finished. 

What are you most passionate about? Nature. I was born on a commune in Wytaliba in NSW - there was no electricity, everyone grew their own produce on the land and the river was where people washed and swam. I now live in the city, but still constantly yearn to be out in the bush and close to the water. I can’t seem to get enough of nature’s elusive beauty and I feel most at home in her arms.

What are you loving at the moment? My pottery classes, the book The Body Keeps the Score - my current bible, making homemade kombucha, spring flowers on every corner in my neighbourhood and delving into old R.E.M albums.

What’s in store for you for the rest of this year? I'm very excited to be filmed for an episode of Art Bites on the ABC in November. I am also in the early stages of preparing for my next solo exhibition happening next year at Saint Cloche Gallery in Sydney. The plan at this stage is to create a body of work that follows on from my most recent Plastic Fish underwater series.

'Mirror Mirror' ABC Art Bites series filming in Wytaliba, NSW

I’m finding it hard to put into words the mixed feelings & overwhelming emotions I’ve experienced over the last few days, exploring for the first time since I was a baby, the Wytaliba commune I lived on.

I managed to find the mud brick house that my mother & father built with their bare hands, the orchard that they planted & the same swimming hole my mother bathed in when she was pregnant with me.

I want to thank from the bottom of my heart Producer @katepaul_inc Director @brodie_mmm Cameraman @davetallstory & local resident Carol Sparks for giving me this very surreal and once in a lifetime opportunity.

‘Mirror Mirror’ ABC Art Bites series screens in April 2018.

To my partner in crime & love of my life Jacob, thank you for your genius ness, overwhelming support and for being by my side through the ups and downs, the tears and the joy of every moment I was lucky enough to spend in this magical place, I will carry it in my heart always xx

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Opening night for STILL: National Still Life Award

Unbelievably humbled to be a part of STILL: National Still Life Award opening night at the Coffs Harbour Regional Gallery tonight!

I was blown away by the extremely high calibre of talent in one room!!

A huge congratulations to winner Sarah Goffman with her beautiful contemporary reproductions of ceramic pieces using plastic, so very clever & what a gorgeous acceptance speech.

A huge thanks the judge Lisa Slade, curator Jo Besley & Co-ordinator Cath Fogarty, as well as all of the helpers & volunteers for putting on such a wonderful evening, what an incredible honour.

The STILL exhibition at Coffs Harbour Regional Gallery will run from November until January 18th 2018.

Coffs Harbour Regional Gallery, Rigby House, Cnr Coff & Duke Sts, Coffs Harbour.

'Our Love is Plastic' from the Plastic Fish series is a finalist amongst 62 amazing artworks.

Here are all of the finalists 

Finalist - National Still Life Award

I am completely and utterly surprised and humbled to learn that I have been selected as a finalist in the National Still Life Award with my image 'Our Love is Plastic' 2017, Archival Pigment print, 115.15 x 111.21cm.

Opening night at the Coffs Harbour Regional Gallery, 25th November.

The Still: National Still Life Award 2017is a newly biennial, acquisitive award for works in the genre of still life, in all mediums, and is open to artists at all stages of their careers.

The Award offers $20,000 for the major award and $5,000 for the People’s Choice Award.

Still seeks to highlight the diversity and vitality of still life in Australian contemporary art practice, broadening the interpretation of this enduring genre. With art historian Frances Woodley’s definition that still life is “the representation of objects in space in relation to a surface … a representation, a reflection, a transformation and a revelation of the objects around us” as a starting point, the award encourages artists to explore, among others, still life themes of ‘memento mori’, the everyday and the passage of time, life and death.

The 2017 Finalists:

Tony Albert, Louise Allerton, Kelly Austin, Tanya Baily, Elie Begg, Annette Blair, Rene Bolten, Mechelle Bounpraseuth, Terri Butterworth, Fran Callen, Tom Carment, Angela Casey, Tiffany Cole, Karl de Waal, Trisha Dean, Mary Donnelly, Scott Duncan, Sarah Edmondson, Nicolette Eisdell, Merran Esson, Ben Fayle, Guy Gilmour, Sarah Goffman, Ronnie Grammatica, Linda Greedy, Colleen Greig-Canty, Vanessa Holle, Alana Hunt, Susan Jacobsen, Laura Jones, Helle Jorgensen, Paul Kalemba, Laura E. Kennedy, Myriam Kin-Yee, Zai Kuang, Michael Langley, Sam Leach, Kellie Leczinska, Alison Mackay, Josh Mackenzie, Kiata Mason, Julian Meagher, Robert Moore, Stephen Nothling, Susan O'Doherty, Sarah O'Sullivan, Sassy Park, Victoria Reichelt, Elvis Richardson, Damien Shen, Brendan Smith, Tim Snowdon, Richard Spoehr, Vipoo Srivilasa, Nathan Taylor, Samantha Thompson, Anselm van Rood, Prue Venables, Lilli Waters, Kati Watson, Greg Weight, Mirra Whale, Cleo Wilkinson

 

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The Design Files

TDF - Lilli Waters & Jacob Cole

by Lucy Feagins

Today we visit the home of photographic artist Lilli Waters and her husband Jake Cole, a musician, in Pascoe Vale in Melbourne’s North.

The house-proud couple have been living in their much loved two bedroom art deco house for around 18 months. Together, they’ve created a warm, eclectic, multi-layered home which speaks to their many passions – art and photography, music, food, friends and pets!

The Pascoe Vale home of photographic artist Lilli Waters and her husband Jake Cole, a musician, is full of character and creative energy.  Here, amongst a jungle of luscious indoor plants and a seriously impressive collection of op-shop treasure, Lilli’s haunting photographic artworks adorn the walls, alongside artworks and handcrafted objects by creative family and friends. Lilli also has a home studio here, whilst Jake’s ever-expanding guitar and amp collection slowly commands more floorspace!

‘The deal was when we moved in, that I got the second bedroom as my studio, and poor Jake got the linen cupboard for his giant collection of guitar pedals’ Lilli explains. ‘He loves that cupboard, it’s like his man den, or in his case, man cupboard’.

The pair previously lived in nearby Brunswick West, and were initially a little nervous about venturing into a new suburb. ‘We looked at so many houses in the area, and this one was the only one we loved’ recalls Lilli. ‘I remember after a weekend of house inspections, feeling so depressed at the falling apart shacks we had seen, we sent an email to the real estate on a Sunday basically begging for them to accept us, and they did!’. The pair wasted no time in making their new surroundings feel like home, establishing a veggie garden, and decorating with a varied mix of furniture, textiles and art.

‘You will probably be able to tell that I am quite the collector, and a bit of an op-shop nut’ Lilli confesses. ‘I’ve been collecting old stuff for about 15 years now, which is strange, because my parents were both op-shop home reno addicts and I used to hate op shops when I was a kid, I’d sit in the Kingswood bored out of my brain, but I guess it washed off!’

Lilli and Jake are also big collectors of local artwork, and have amassed a huge collection of paintings and photographs by talented family and friends. Amongst these are artworks by Lilli’s sister Camille Moir Smith of Carpenter’s Daughter, her mother Mali Moir’s botanical paintings, as well as paintings and prints by Bobby Clarke, Sarah Hendy & Lisa Sorgini to name a few. Alongside these much loved pieces are a few restored artworks too, including a sad poppy painting that was torn and left abandoned in a secondhand hand shop, but which Lilli rescued and had restored. ‘It’s as good as new!’ Lilli says! ‘I love finding old things and giving them life again… it reminds me of how something abandoned and broken can always be fixed and loved again.’

Lilli and Jake love coming home to their house, and feel it is a a space which really nurtures both of their creative spirits. ‘I’m very much drawn to the organic feel of this house’ Lilli muses. ‘It has such a warm feeling, and makes you feel safe and at home as soon as you walk in the door’.

‘We are renting, but we love spending time on making our home a beautiful and warm place to come home to, where we can grow things in our garden, create & make music.’

See more here

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