LLP Concepts - Monuments of Witness

Recasting ecological presence through architectural surfaces

"Visual Concept Only: Represents intended scale and aesthetic. Final artwork will be adapted to suit the architectural environment."

Project Summary

Monuments of Witness is the development and production of a large-scale, site-responsive artwork translating photographic encounters with the Weedy Seadragon into architectural form.

The project builds on an established practice of material-based photographic work, extending the image beyond the frame into the built environment. Through site-based image capture across Melbourne and a process of digital and physical transformation, the work investigates how ecological presence can be embedded within urban surfaces.

The project will result in the production of a single major artwork measuring approximately 12–15 metres, developed through material testing and fabrication processes suited to architectural application. The work is designed for installation within a Melbourne context, with site selection to be confirmed through ongoing engagement with relevant stakeholders.

Positioned at the intersection of fine art, material research and the built environment, the project explores how a recognised Victorian species can be re-situated within the visual language of the city, offering a contemporary form of monument grounded in ecological awareness.

Project Description

This project focuses on the translation of photographic image-making into architectural-scale surface work. Drawing from field-based documentation and an established archive, the work reinterprets the Weedy Seadragon as a subject embedded within Melbourne’s urban fabric.

The process involves the capture and selection of source imagery, followed by digital manipulation and a series of material tests to determine the most effective substrate and production method for large-scale application. These may include reinforced paper, composite surfaces or other durable materials suitable for exterior or semi-exterior environments.

A key component of the project is the development of an installation methodology that aligns with contemporary construction practices. This includes the potential fabrication of large-scale panels off-site, allowing for efficient transport and installation using established cladding and lifting techniques. This approach reduces on-site complexity and mitigates risks associated with working at height in dense urban environments.

The final outcome will be a single large-scale artwork, approximately 12–15 metres in dimension, designed for integration within an architectural or public-facing context. The work will be supported by a conceptual architectural mockup demonstrating scale, placement and visual integration within a Melbourne streetscape.

The project prioritises both artistic resolution and technical feasibility, ensuring that the work can operate convincingly within real-world conditions while maintaining conceptual integrity.

Artist Bio

Liam Lynch is an Australian artist working across photography, film and architectural-scale image-making. His practice explores the relationship between image, surface and environment, drawing on long-term environmental fieldwork and material experimentation.

Born in Victoria, Lynch began his career assisting leading Australian fashion and advertising photographers before working internationally across Los Angeles, Paris, Amsterdam and Auckland. This experience established the technical precision and production discipline that continue to underpin his practice.

Since establishing his Melbourne studio in the late 1990s, Lynch has collaborated with architects, designers and cultural organisations, producing photographic and film works that combine conceptual clarity with material rigour.

Alongside this professional practice, he has developed an independent body of fine art work informed by field experience across the Asia–Pacific region. His projects have taken him from the rainforests of Sumatra and Borneo to the waters of the South Pacific, documenting fragile ecosystems and endangered species through patient observation and long-term engagement.

Working across large-scale pigment printing and traditional palladiotype processes, Lynch’s work explores the relationship between photographic image, material surface and presence. Recent projects extend this exploration beyond the framed image, investigating how ecological imagery can inhabit architectural and public space.

His work has been exhibited internationally and published widely in both print and digital media, including Australian Geographic and Capture Magazine. His images are held in public and institutional collections including state and national libraries across Australia and the Oxford University Press Library.

Liam at work in the field beneath the surface: Photo by Mark Keenan

Weedy Sea Dragon Figure 2

Palladium print from the Dracones et Equorum series c. 2015 Source image for surface-based work

Outcomes

Production of one major architectural-scale artwork (12–15m)

Development of innovative material and fabrication methods

Creation of a site-responsive installation-ready work

Public presentation within Melbourne / Victoria (site to be confirmed)

High-quality visual documentation and mockup material

Process / Methodology

Site-based photographic documentation across Melbourne

Selection and refinement of source imagery

Digital composition and scaling for architectural application

Material testing (substrates, finishes, durability)

Fabrication planning (panelisation, transport, install strategy)

Development of architectural mockup

Engagement with potential sites / stakeholders

Final production and installation pathway

Technical Approach

The project is being developed with a focus on practical delivery within urban environments. Fabrication methods under consideration include the production of large-scale panels off-site, enabling efficient transport and installation using established cladding and crane-assisted techniques.

This approach reduces installation risk, particularly in relation to working at height, and aligns the project with existing construction and architectural workflows. Material testing is focused on identifying lightweight, durable substrates suitable for exterior or semi-exterior application, ensuring both longevity and visual integrity.

Informal discussions with Creative Urban Places within the City of Melbourne have provided insight into the practical considerations of delivering work within civic and public contexts. While these discussions do not constitute formal partnerships, they have informed a realistic and achievable approach to project delivery.

Support Material

Recent Work Samples

Jellyfish ‘Ghost in the Current’

2026
Wall mural / large-format surface work
Materials: Non-woven paper reinforced with nylon fibres; non-reflective matte finish; washable and water-resistant; printed using natural, non-toxic, no-VOC colour compounds
Dimensions: 2.4 × 2.8 metres
Status: Completed

Developed as a mural-scale surface work, ‘Ghost in the Current’ demonstrates Liam’s approach to translating marine imagery into durable, large-format applications for high-use environments. The composition and colour palette were designed in direct response to an existing architectural interior, with materials and production methods selected to withstand regular use within a commercial bathroom housed in a historic rural property. The work reflects a considered balance between visual clarity, material performance, and sensitivity to site-specific conditions.

Exhibitions

Interviews/Reviews

“Like many traditional processes, palladium works need to be seen in person to be fully appreciated. Each print is a handmade one-off and totes an impressive tonal range, which seems fitting to do justice to the incredible natural beauty that Lynch’s images capture.”

- Lachlan Gardiner

Capture Magazine July/ August 2014

Zoneone Arts brings Liam Lynch to you… Interview by: Deborah Blakeley, Melbourne, Australia, January 2026

Letters of Support

Conclusion

Monuments of Witness is a conceptually rigorous, ambitious and timely project that evolves my established ecological practice into architectural form. It combines artistic experimentation with structured delivery planning and ethical awareness.

By transforming ecological witness into civic monument, the work challenges assumptions about commemoration, preservation and responsibility — offering a public artwork that is both formally striking and conceptually grounded.

"Visual Concept Only: Represents intended scale and aesthetic. Final artwork will be adapted to suit the architectural environment."