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These are the blessings of my daily life. I am aware of my immense privilege in being surrounded by such joys, with the understanding that not everyone has such luxury. Yet the offerings of Earth’s abundance and beauty can be seen in cities too, it just takes more focused awareness to discern them. A flowering weed emerging from a gap between concrete and wall; melding colours of peach, pink and blue-skied dusk; robust strength of a decades-old tree beside a train station, quietly bearing witness.

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Made specifically for Glimpse Art Space, within // without calls us to remember our intrinsic spiritual connection with Earth and Her gifts. This unique gallery offers the opportunity to observe without immersion. To feel without touching. To look closely from beyond. The separation of this exhibition space serves as an enticement to actively engage with the living world as a daily practice. To connect with the places we spend time in, even if we are only staying for a few days. To pause for a time and observe the breath, understanding that this can be a form of devotion, another way to feel connected with abundant offerings from the sentient Earth.

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According to Emmanuel Vaughn-Lee’s book Remembering Earth: A Spiritual Ecology, there is a rupture between spirit and matter, a severing of humans from our ancestral places of kinship with Earth. We are no longer re-visiting the places our families visited for generations, imprinting our relationship with each step, rooting ourselves within the land. When these kinship ties of love unravel, we become unmoored, ungrounded. We are now mostly a society drifting, untethered from place... The world must be braided back together, spirit and matter interwoven once more.

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This work was made on Kanamaluka Country. Glimpse Art Space is on Wurundjeri Country. I hold a deep reverence for indigenous ways of knowing within the more-than human world, including the sacred knowledge of Country and kinship.

 

Rowiina is an emerging artist whose home in Northern Tasmanian/Lutruwita is central to her work. Drawing on connection with the senses, tactility and immersion, she uses hand stitching to progress the work slowly, in relationship with the materials. She uses second-hand and discarded materials wherever possible, with a strong preference for natural fibres and dyes. Rowiina holds a Diploma of Applied Photography (Photographic Imaging College) and a Bachelor of Fine Arts with Honours (University of Tasmania).​​​​​​​​​​​

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