Personal one - Franca Turrin interview
How would you describe your style or approach to photography? I would describe my photography as botanical portraits rather than traditional still life, capturing the essence and emotions of these distinctive souls. Focusing on these rare inflorescences that are often overlooked in favour of the showy allure of cultivated flowers, Australian natives conceal a raw, understated beauty, which is both subtly complex and quietly resilient in the face of adversity. My approach is to reveal the intricate narratives hidden within our wild flora, challenging preconceived notions of beauty and value, and revealing an authenticity which conceals itself within the ordinary. In attempt to maintain this authentic construct all images are in camera, impermeant and transient while embracing the quiet beauty, release and acceptance found within imperfection.
“ Shoot, shoot and shoot some more… really know your subject, tell stories and watch the light
When did you first hear about this exhibition? I was part of the last TTIP
What’s your strongest memory of the
exhibition? My strongest memory would be the celebration of the collective work and how each piece was valued and highlighted equally. It was a very real celebration around photography, and Australian photographers, bringing together diverse perspectives and talents, giving it a sense of community that sometimes can be missing when you spend time working on independent artistic pursuits.
What does it mean to you personally to be part of this collective exhibition? Being part of this collective exhibition is both fulfilling and inspiring. It’s a chance to connect with fellow artists, share our work for a good cause, and at the same time contribute to a narrative that celebrates our Australian photographic environment.
What do you hope audiences will take away from experiencing your work here? A joy for pure unadulterated photography.
“ No generation is inherently better or different because photography, like any art form, is about self-expression
How do you see the photography scene today, especially with younger generations coming through? Not the same but not different! No generation is inherently better or different because photography, like any art form, is about self-expression. While tools, technologies, and narratives evolve, the core purpose of storytelling and capturing unique perspectives remains equally valid and unique across all generations.
What projects have you been working on recently and what inspires you right now—whether in photography or beyond? I’ve always been captivated by Ikebana, both for its inherent principles and the challenges it presents in composition. Recently, I have started the study of Ikebana, which has been a wonderful journey of challenging and growing my practice. Although I may not adhere strictly to the principles, I love where it has taken me compositionally. Observing what is compositionally intuitive within me reflected naturally has been fascinating, but I’ve also been surprised by how it has pushed my comfort zone at times.
The next step in this process has been bringing it into the studio, stripping it back to showcase these blooms with light and composition. Minimal fanfare, only quiet, raw beauty and imperfections laid bare to be truly seen.
Looking back, is there a past project you consider a milestone or turning point in your career? Professionally and personally, there are two distinctive milestones, coming of age these are being part of the Australian National Photographic Portrait Prize 2023 and being included in the Royal Botanical Gardens Botanica 2025, an exhibition primarily reserved for traditional botanical artists. Both experiences have been humbling and inspiring, instilling a sense of accomplishment in having ordinary stories seen.
How has your photography evolved from when you first started until today?
The story and the drive are the same, the execution has got better. I’ve gone from layering elements with one sheet of 5x4 over multiple 5x4 setups to layering in one shot over longer exposures. Still painting with light but different kinds of lights.
Is there a photographer, work, or experience that has been especially
influential in your path?
My artistic journey has been shaped by a diverse range of influences. My father was the first to imprint on me, setting the foundation for my creative path. From Bresson, I've adopted a sense of composition, while Penn has inspired me with his use of light and the honour he gives to his subjects. Cameron's fanciful imagination, Salgado's authenticity, and Arbus's ability to find the extraordinary in the ordinary have also left their marks.
Beyond photography, painters, musicians, and other artists have significantly influenced my work. Moebius's use of colour, Sargent's grandeur and light in his portraits, and Richard Schmidt's ability to blur the lines have all contributed to my artistic conscience. The latent ripples in my creative mind are formed by many, including, my sister Daniela Turrin, Pierre et Gilles, Leibovitz, Trent Parke, AZUMA Makoto, Ólafur Arnalds, Shaun Tan, May Gibbs, Norman Lindsay, Annemieke Mein, Ida Rentoul Outhwaite, Margaret Preston, Andy Goldsmith, Anish Kapoor and Liam Wong and so many more!
Exposing myself to a wide array of art forms—painting, sculpture, fibre arts, music, and photography—has been crucial in my development as an artist. This diverse exposure has enriched my perspective and allowed me to draw inspiration from various sources.
What advice would you give to amateur photographers visiting the exhibition?
Shoot, shoot and shoot some more… really know your subject, tell stories and watch the light.
Have a look to Franca's web to discover more about her amazing universe.
