Ballarat was bathed in colourful projections and artistic curiosities once again on Saturday as White Night returned to the CBD, potentially for the last time.
While the weather wasn't perfect for the event - scattered showers through the start of the event meaning umbrellas, scarves and warm jackets were essential - organisers still touted big crowds and a number of incredible installations and projections.
Children danced around magical and massive glowing creatures such as frogs and spiders in the Sturt Street Gardens, while plenty took the chance for a selfie in front of the bright projections on Lydiard Street's historic facade.
See our full gallery of photos below.
David Atkins, the artistic director of White Night Ballarat, said it would be his last year in Ballarat and he and his team had gone "all out".
"We've been working for five or six months on the program ... there are 67 works, over 90 local artists represented and four international artists. It's a big program, and that's what we wanted to go out with; something really powerful," he said.
He singled out the "extraordinary" lion puppet called 'The Guardian', which roamed Sturt Street throughout the evening as one of his favourite pieces, as well as the projection called 'Deadly Questions', created by Ballarat's Aunty Marlene Gilson and the Department of Premier and Cabinet.
Watch our interview with David Atkins OAM below.
The work was included in the Melbourne edition of White Night in August this year.
"On the NGV facade (in Melbourne) it was really impactful, and it's a really prestigious opportunity," Mr Atkins said.
"But her work is extraordinary, it's hanging in the Melbourne Town Hall, its hanging in galleries in American and Europe.
"She's almost a national treasure."
Watch our video with Aunty Marlene Gilson and Barry Gilson below.
Ms Gilson said she felt 'honoured' to see her painting Land Lost, Land Stolen, Treaty projected onto the old Bank of New South Wales facade.
Her son Barry Gilson's voice was projected on Lydiard Street as part of the installation singing in Wathaurung language.
"It is amazing for the town, for mum's art and to represent Wathaurung as traditional custodians of Ballarat for over 5,000 generations," he said.
Large crowds also gathered at Alfred Deakin Place for single rope walking performance Kilter, while massive roaming puppets The Messenger and The Guardian were also favourites.
Jo Blanck, the creator of A Blank Canvas behind The Messenger and The Guardian said White Night Ballarat broke down barriers to art by bringing it to the people on the street.
"The Guardian has been a really amazing thing because we designed it to walk and interact with people, but the static shows have been amazing because it is not often we get to invite people to be up close and touch it and feel it," he said.
Listen to our interview with the creators of The Guardian and The Messenger below.
Puppeteer for The Guardian Anna Thomson said art was accessible to the public at White Night.
"Sometimes black box theatre or going in to an exhibition can be confronting if it is not something people regularly do," she said.
"This kind of experience where it is so public, anyone can walk past, they don't even need to know it is on, so there is an accessibility for a real range of the general public, it is art coming to you.
"It means they might later want to engage with something else in art. I think it opens up art and makes less boundaries and less confronting."
Re-live the night on live blog here (it might take a moment or two to load).