Korynn Morrison's I Bought Myself Flowers from her debut exhibition, Echo, explores the dance between joy and grief, connection, and disconnection—themes echoing the philosophy of Richard Schwartz's Internal Family Systems (IFS) theory. Like the theory, the exhibition posits that these paintings are checkpoints in the evolving process of self-discovery. Here, the panel becomes a sacred space where the viewer is encouraged to surrender to the enigma of their inner worlds, embracing the unfolding narrative rather than fixating on a predetermined endpoint. Each panel is a collaboration between spirit and logic. A playground for the curious mind to explore the surface and negotiate with “otherness”. Through Korynn's playful layering and excavation techniques, a single mark can transcend thought and create its own S-P-A-C-E. One that leaves us standing somewhere in between. Echo is an invitation to sit with Self. An acknowledgement that honours all our parts and embraces our inner world with a warm hug that whispers, “welcome home.”

Korynn Morrison's Marking Time from her debut exhibition, Echo, explores the dance between joy and grief, connection, and disconnection—themes echoing the philosophy of Richard Schwartz's Internal Family Systems (IFS) theory. Like the theory, the exhibition posits that these paintings are checkpoints in the evolving process of self-discovery. Here, the panel becomes a sacred space where the viewer is encouraged to surrender to the enigma of their inner worlds, embracing the unfolding narrative rather than fixating on a predetermined endpoint. Each panel is a collaboration between spirit and logic. A playground for the curious mind to explore the surface and negotiate with “otherness”. Through Korynn's playful layering and excavation techniques, a single mark can transcend thought and create its own S-P-A-C-E. One that leaves us standing somewhere in between. Echo is an invitation to sit with Self. An acknowledgement that honours all our parts and embraces our inner world with a warm hug that whispers, “welcome home.”

Korynn Morrison's Parts of a Whole from her debut exhibition, Echo, explores the dance between joy and grief, connection, and disconnection—themes echoing the philosophy of Richard Schwartz's Internal Family Systems (IFS) theory. Like the theory, the exhibition posits that these paintings are checkpoints in the evolving process of self-discovery. Here, the panel becomes a sacred space where the viewer is encouraged to surrender to the enigma of their inner worlds, embracing the unfolding narrative rather than fixating on a predetermined endpoint. Each panel is a collaboration between spirit and logic. A playground for the curious mind to explore the surface and negotiate with “otherness”. Through Korynn's playful layering and excavation techniques, a single mark can transcend thought and create its own S-P-A-C-E. One that leaves us standing somewhere in between. Echo is an invitation to sit with Self. An acknowledgement that honours all our parts and embraces our inner world with a warm hug that whispers, “welcome home.”

Korynn Morrison’s Terrarium from her debut exhibition, Echo, explores the dance between joy and grief, connection, and disconnection—themes echoing the philosophy of Richard Schwartz's Internal Family Systems (IFS) theory. Like the theory, the exhibition posits that these paintings are checkpoints in the evolving process of self-discovery. Here, the panel becomes a sacred space where the viewer is encouraged to surrender to the enigma of their inner worlds, embracing the unfolding narrative rather than fixating on a predetermined endpoint. Each panel is a collaboration between spirit and logic. A playground for the curious mind to explore the surface and negotiate with “otherness”. Through Korynn's playful layering and excavation techniques, a single mark can transcend thought and create its own S-P-A-C-E. One that leaves us standing somewhere in between. Echo is an invitation to sit with Self. An acknowledgement that honours all our parts and embraces our inner world with a warm hug that whispers, “welcome home.”

Korynn Morrison’s Lessons in Light from her debut exhibition, Echo, explores the dance between joy and grief, connection, and disconnection—themes echoing the philosophy of Richard Schwartz's Internal Family Systems (IFS) theory. Like the theory, the exhibition posits that these paintings are checkpoints in the evolving process of self-discovery. Here, the panel becomes a sacred space where the viewer is encouraged to surrender to the enigma of their inner worlds, embracing the unfolding narrative rather than fixating on a predetermined endpoint. Each panel is a collaboration between spirit and logic. A playground for the curious mind to explore the surface and negotiate with “otherness”. Through Korynn's playful layering and excavation techniques, a single mark can transcend thought and create its own S-P-A-C-E. One that leaves us standing somewhere in between. Echo is an invitation to sit with Self. An acknowledgement that honours all our parts and embraces our inner world with a warm hug that whispers, “welcome home.”

Korynn Morrison’s Hand Me Another Cup to Fill from her debut exhibition, Echo, explores the dance between joy and grief, connection, and disconnection—themes echoing the philosophy of Richard Schwartz's Internal Family Systems (IFS) theory. Like the theory, the exhibition posits that these paintings are checkpoints in the evolving process of self-discovery. Here, the panel becomes a sacred space where the viewer is encouraged to surrender to the enigma of their inner worlds, embracing the unfolding narrative rather than fixating on a predetermined endpoint. Each panel is a collaboration between spirit and logic. A playground for the curious mind to explore the surface and negotiate with “otherness”. Through Korynn's playful layering and excavation techniques, a single mark can transcend thought and create its own S-P-A-C-E. One that leaves us standing somewhere in between. Echo is an invitation to sit with Self. An acknowledgement that honours all our parts and embraces our inner world with a warm hug that whispers, “welcome home.”

Korynn Morrison’s Checkpoint from her debut exhibition, Echo, explores the dance between joy and grief, connection, and disconnection—themes echoing the philosophy of Richard Schwartz's Internal Family Systems (IFS) theory. Like the theory, the exhibition posits that these paintings are checkpoints in the evolving process of self-discovery. Here, the panel becomes a sacred space where the viewer is encouraged to surrender to the enigma of their inner worlds, embracing the unfolding narrative rather than fixating on a predetermined endpoint. Each panel is a collaboration between spirit and logic. A playground for the curious mind to explore the surface and negotiate with “otherness”. Through Korynn's playful layering and excavation techniques, a single mark can transcend thought and create its own S-P-A-C-E. One that leaves us standing somewhere in between. Echo is an invitation to sit with Self. An acknowledgement that honours all our parts and embraces our inner world with a warm hug that whispers, “welcome home.”

Lilli Waters' body of work, Pay Attention to the Heavens, is inspired by the iconography of ancient Greek and Roman mythology, its folklore, and its religious paintings, recasting the contemporary woman as a powerful goddess of nature and a portrayal of femininity that we should celebrate, embrace, and worship.
Says Lilli Waters of this work: “This photograph was taken in the Darby River on Yiruk Wamoon, the land of the Boonwurrung, Bunurong and Gunaikurnai people. The river runs into the sea, and the water glistened in the morning sun, sparkling on the women’s skins and golden sand, creating warmth and aliveness. “The figure is draped in an embellished fabric that clings to her torso, glistening under the golden sun she is bold and unafraid. Reflections of light unify her sculptural pose, oozing a sense of belonging and empowerment, as her body joins the stillness of the water in a magical embrace. “Inside her belly lies an unborn child, she is fertility and the spirit of woman, mother, a life bearer, and giver, laying lawlessly under the fabric, warm and cocooned as if inside her own womb-like galaxy. “I love that this image has bird's tracks surrounding the woman’s silhouette, this is something that I noticed later during the editing process, it serves as a beautiful reminder that we are always nurtured by nature and we, in turn, should always nurture it.”
Comes with signed COA with artist signature, title + print edition number.

Lilli Waters' body of work, Pay Attention to the Heavens, is inspired by the iconography of ancient Greek and Roman mythology, its folklore, and its religious paintings, recasting the contemporary woman as a powerful goddess of nature and a portrayal of femininity that we should celebrate, embrace, and worship.
Says Lilli Waters of this work: “This photograph was taken in the Tidal River on Yiruk Wamoon, the land of the Boonwurrung, Bunurong and Gunaikurnai people. The river runs into the bay, swells with the tide, and has a fascinating range of colours, purple-yellow and emerald. On this day the rising tide created a singularly enchanting sandy whirlpool I’d never seen here before. The water glistened in the morning sun, sparkling on the women’s skins, creating warmth and aliveness as the women slipped under the water. “It was so beautiful observing the fearless brave energy of these women as they dived into the water with so much joy and freedom, even when they had such little control in the strong undercurrent. Unable to hold a pose, I would yell out, ‘Just let go!’ and watch them helplessly being sucked into the eye of the whirlpool, their luminous limbs gracefully moving about. I watched in awe of their playful bodies and interaction in this wild water in which I had placed them, dramatic and otherworldly. “These are the moments when photography makes me feel so alive. I see my process as a special collaboration with women and with nature - whatever happens on the other side of the lens is somewhat out of my control, and there can be wildness to it. The magic, mystery, joy, and wonder lie in what happens within that space, and bearing witness to it, regardless of the months of preparation leading up to a photo series. It often feels like a journey of intensive planning and then a forced ‘letting go’ of control in the moment, where photographs often emerge with their own integrity.”
Comes with signed COA with artist signature, title + print edition number.
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