Lani Westerman’s paintings are architecturally inspired, abstracted, non-figurative depictions of various Sydney locations, frequently focused on sports venues. Westerman explains “The spaces where the natural and the man-made environment intersect create interesting juxtapositions,” she continues. “I strive to capture the essence of a place.” Transcending classical landscape traditions, notions of perspective and depth are in flux. The imagery is broken down to serve structural design elements – the emphasis is on geometric purity. Formal considerations and visual relationships are vitally important. Westerman’s extraordinary design acumen has doubtlessly been enhanced by her training and practice as an architect for over a decade.
“I am trying to find a balance between the various constituents in my painting, particularly with regard to detailed areas verses flat planes of colour,” Westerman imparts. “I think those juxtapositions are key to capturing the notion of the ‘space between’. I’m also drawn to the use of lines or boundaries to define space.” The Dawn Fraser Baths Twin work is a prime example of such aspirations. Being the oldest baths in Australia, this swimming pool in Balmain is heritage listed. Geometric white lines in the foreground and those under the timber structure visually relate to those of the yacht masts out in the harbour beyond, unifying the composition.
A more conceptual approach in depicting a venue is witnessed in the painting Inner-city B-ball, which was recently selected and hung as a finalist in the Waverly Art Prize, Sydney. Set in Prince Alfred Park, another heritage listed locale, the Surry Hills parkland hosts a multitude of outdoor recreational possibilities. Westerman’s very abstracted night-time rendition presents a basketball court, tennis courts, bike tracks, abundant green foliage and an incongruously placed glowing street lamp. The abstraction is made all the more evocative by the variations in perspective and divergent size of the components. As with all her works, positioning of the shapes and their colours is paramount.
InTaylors Bay Boats, only her second bigger painting, larger shapes are derived from the small detail of a previous painting of Taylors Bay. Westerman relays “This piece depicts the wild and woolly vegetative undergrowth of bushland that encompasses the bay. It is one of few places along the Sydney Harbour where the entire foreshore is native bushland. The geometric white masts of sailboats peep out between the tangle of creepers and rushes. They represent the boats that frequently drop anchor here on sunny days. The piece is more abstracted than previous paintings but I feel that the dynamic forms, underlying grid and contrasting colours make it a stand out piece in its own right.”
Earlier in the year, Lani had three of her paintings collected by the NSW Parliament. In February she was selected as one of only 12 Finalists in the Malamegi Lab Art Prize, with her work displayed in Venice Italy. Other achievements include: Finalist, Waverley Art Prize 2026; Finalist, Salon des Refuses 2025; 2023 Finalist, Paddington Art Prize, Sydney; 2023 Winner, Anthea Polson Art Award, Paddington Art Prize; 2009 chosen for the Noel Chettle Memorial Art Prize.
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