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Liz Kelleher is a printmaker and designer based on a farm near Jugiong. She works primarily with alternative photographic processes, including cyanotype and scanner photography, creating camera-less prints that use light, time and simple materials to capture the quiet details of the botanical world around her.
Kelleher is drawn to these processes for the way they generate their own sense of selective focus. Whether working with a flatbed scanner or cyanotype, the subject rests in direct contact with a surface — glass or paper — allowing proximity to determine what remains sharp and what softens. This creates an intimacy and hierarchy of attention that invites slower, more contemplative looking.
Her practice is intentionally slow and experimental, remaining open to chance and the subtle influences of season and light. Each work carries traces of the conditions under which it was made, often revealing outcomes that could not have been planned.
Over the past three years, Kelleher has sold original cyanotypes at the Big Design Market in Sydney and Melbourne. She also exhibits regularly at the Tumut Art Exhibition, where in 2023 she was awarded the Printmaking Prize for a toned cyanotype. Commenting on the work, the judge noted the subtle and skilful use of the medium, observing that softer images emerge on closer inspection.
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“Through cyanotype and scanner photography, I capture botanical subjects in ways that invite slower and more attentive looking. These works are about being present … with the materials, the process and the moment itself.
“Quietly Revealed is a cyanotype of hydrangea blooms. I was moved by the delicate imprints of the petals … the way the process seemed to see through them, almost like an x-ray making visible what normally remains hidden. The pale, ghostly tones create something atmospheric and meditative.
“What draws me to both processes is how they help me to really 'see'. The way certain details stay sharp while others blur into atmospheric suggestion mirrors how we naturally view the world — focused where we look, soft everywhere else. There is an intimacy and hierarchy of attention in these two works that invites slower, more contemplative looking.”
Liz Kelleher, 2025
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