Akila Berjaoui: The Possible Dream

Photographer Akila Berjaoui, renowned for her evocative depictions of sun-drenched coastal life, is set to release her latest book, The Possible Dream, a collection of intimate and sensual images captured across the Mediterranean’s most picturesque locales. The book, published by Prestel and due on May 5th, delves into the artist’s lifelong connection with the sea, her personal journeys of self-discovery, and a profound reflection on freedom and resilience. This body of work, spanning the summers of 2020 to 2025, was conceived in the unique quietude of the post-pandemic era, offering a stark contrast to the bustling tourist seasons that often define these destinations.

Childhood Echoes and the Allure of the Coast

Berjaoui’s formative years were intrinsically linked to the water. Born in New South Wales, Australia, to a Lebanese father and an Australian mother, her early childhood was spent in Beirut, Lebanon. "We lived on The Corniche, right on the Mediterranean Sea," she recalls. "For as long as I can remember, I’ve loved the beach, but there was an artificiality to it because you had to pay to access it. You shouldn’t have to pay for the beach, ever." This early experience of restricted access to a natural wonder left a lasting impression, shaping her later artistic philosophy.

The family’s return to New South Wales in 1984 marked a significant shift in her perception of coastal spaces. "That was totally different. Endless golden beaches stretching as far as the eye can see, topless women and girls, beach bikini contests. The freedom of it all. I was in heaven," Berjaoui remembers. This juxtaposition of experiences – the controlled access in Beirut versus the unfettered freedom of Australian beaches – has become a foundational element in her artistic exploration of the beach as a site of liberation and natural beauty.

The Possible Dream: A Post-Pandemic Vision

The Possible Dream builds upon the themes explored in Berjaoui’s previous book, The Last Days of Summer (2017), but with a distinct temporal and thematic evolution. The recent global health crisis created an unprecedented window of opportunity for artists like Berjaoui to observe and capture landscapes in a state of near-untouched serenity. "I discovered these silent landscapes, without any tourism, and felt this overwhelming sense of gratitude," she states. This period of reduced human activity allowed the natural world and its inherent beauty to take center stage, free from the usual distractions of mass tourism.

The photographic series was conceived and executed over a five-year period, from the summer of 2020 through 2025, during a time when travel restrictions and a global shift in priorities reshaped the way people interacted with public spaces, particularly beaches. This extended timeframe allowed Berjaoui to immerse herself more deeply in the selected locations, observing the subtle shifts in light and atmosphere across different seasons.

The Language of Light and Body

A key characteristic of The Possible Dream is its emphasis on late-afternoon and early-evening light. Unlike her earlier work, which often favored the soft, diffused light of early afternoon, this new collection explores the dramatic and more saturated hues of the day’s end. "Where her previous work focused on early afternoon light, this new series moves later into the day, from around 5pm onwards, ‘when the light is more dramatic’," Berjaoui explains. This deliberate choice imbues the images with a heightened sense of warmth, intimacy, and perhaps a touch of melancholy as the day draws to a close.

The photographic process itself is a deliberate act of immersion. Berjaoui would dedicate hours to exploring each location, seeking out secluded spots that resonated with her vision. "Berjaoui often spent two to three hours walking each day in search of the most secluded places to shoot," the article notes. This dedication to exploration underscores her commitment to capturing not just a scene, but an atmosphere and a feeling.

Her choice of film stock, Kodak Portra 400, is also significant. Known for its fine grain and its ability to render warm tones and skin tones beautifully, it perfectly complements the late-afternoon sun. "Working with Portra 400, a grainy film which holds the heavy warmth of late afternoon sun, she captures a particular bodily state: ‘When you’ve been baking all day, and all you want is to get in the water, and reset. Water is the ultimate healer.’" This statement reveals a deeper, almost therapeutic connection to the act of being by the sea, a theme that resonates throughout the book.

Reclaiming the Body and Embracing Freedom

The human element in The Possible Dream is as crucial as the landscapes. Figures, often photographed in the nude, populate the shorelines, engaging in simple acts of being: walking, stretching, or wading into the water. These portraits are characterized by a profound sensuality that is both unpretentious and captivating. "The images carry a sensuality that feels both simple and magnetic," the original text observes.

Berjaoui attributes this sensuality to her own disposition and her approach to directing her subjects. "I’m often told I’m a sensual person, so maybe that comes through in the way I direct," she says. However, her exploration of the body also stems from a deeply personal history. "I also think my love for bodies, all bodies, comes from an oppressive upbringing. My father was very controlling; he monitored everything I wore. I often felt ashamed of my body. Only now, I’m realising I’m drawn to women’s bodies because I want to reclaim those lost years." This candid revelation adds a layer of profound personal narrative to her artistic output, transforming the act of photographing bodies into a form of liberation and self-acceptance.

Confidence, Berjaoui notes, is a key attribute that draws her to individuals. She highlights Johanna, a Greek woman she met in a shop, as an example of this allure, captivated by her "beauty and ease." Another significant series features Malina and Amos, a couple encountered during travels in Italy. Their journey aboard a vintage yacht led them to "completely inaccessible beaches" that required swimming to reach. Malina’s uninhibited freedom, running naked on these secluded shores, embodies the very essence of the book’s exploration of liberation. The inclusion of photographs of her ex-boyfriend further personalizes the narrative, offering a glimpse into "a passionate and chaotic period in my life," reflecting the love and intensity of that time.

Cinematic Influences and Cultural Roots

Berjaoui’s visual language is significantly shaped by cinema, a passion that predates her career in photography. "Before photography, she worked as a stylist and noticed her moodboards were always pulled from the cinema," the original article states. This influence is palpable in the evocative and often cinematic quality of her images, with some portraits drawing direct comparisons to the contemplative and sun-drenched aesthetic of Eric Rohmer’s films, such as Pauline à la Plage.

More recently, Berjaoui has been drawn to revisiting films from her youth, a connection she links to her experience of perimenopause. "Lately, I’ve been going through perimenopause and feeling really nostalgic," she shares. This introspection leads her to re-examine cinematic touchstones like Gus Van Sant’s Milk (originally Candy with Heath Ledger in some contexts, though Milk is a more direct thematic link to societal struggles) or Cate Shortland’s Somersault. These nostalgic journeys through film directly inform and enrich her photographic work.

Her landscapes, characterized by their minimalist and elemental nature, often feature the muted tones of the Mediterranean coast. "I’ve always been drawn to these arid, rocky lands. They are reminiscent of my childhood in Lebanon," she explains. The olive trees, particularly prevalent in the Cyclades, hold a special significance, evoking memories of her Lebanese and Palestinian heritage. These ancient trees, some said to be over 6,000 years old, also serve as a poignant symbol of a heritage under threat. "Lebanon and Palestine are home to olive trees said to be over 6,000 years old, though they’re now being completely destroyed," she notes, adding a layer of ecological and cultural concern to the visual narrative.

A Voice for Palestine and a Vision for Change

Berjaoui has been an outspoken advocate for Palestine, a stance that has, at times, come at a personal and professional cost. "Berjaoui has been vocal in her support for Palestine, which has cost her work and followers," the original article states. Despite these challenges, her commitment remains unwavering. "I don’t regret it," she asserts. "I’m going to keep speaking out and dreaming of a world no longer broken by violence, genocide, injustice and our own maximalism."

Her artistic aspirations extend beyond personal expression; she hopes The Possible Dream will inspire a broader societal shift. "I hope these photographs encourage people to embrace a simpler way of living, shaped by land, season, water, rest, and pleasure," she concludes. The title itself encapsulates this aspiration: The Possible Dream is a testament to the potential for a more harmonious and grounded existence.

Publication and Availability

The Possible Dream by Akila Berjaoui is published by Prestel and is available for pre-order, with its official release date set for May 5th. The book promises to be a significant contribution to contemporary photography, offering a deeply personal yet universally resonant exploration of freedom, the body, and the enduring allure of the natural world. Its themes of self-acceptance, environmental consciousness, and the pursuit of a more meaningful existence are particularly pertinent in the current global climate, making it a timely and important artistic statement. The photographs, imbued with a palpable sense of warmth and authenticity, invite viewers to contemplate their own connection to the sea and to the dreams they hold for a more just and peaceful world.