SEPT 5 — OCT 25 | TRIO EXHIBITION
ANDREW GIBSON CHARLOTTE SWIDEN HANNAH NOWLAN

NUMINA

— an invisible force that presses, stirs and unsettles; the spirit of place, person, memory, and what moves through us but goes unnamed.

Lander—Se presents NUMINA, a trio exhibition from Andrew Gibson, Charlotte Swiden and Hannah Nowlan. Numina describes the spirit of a place, object, moment or action: an invisible force that doesn't rule, but inhabits. Ambient and unnamed, it presses, stirs or unsettles, something felt more than seen. The charged air before a storm. The sense that a place remembers. The natural cycles we move through without naming them.

There is a considered way the three practices speak to one another.

Gibson's sculptural ceramic forms are slippery and purposefully elongated, porcelain built to hold light rather than resist it: in direct sun the material turns near-transparent, in shadow the forms seem to ebb and flow into one another.

Swiden's paintings continue to move through ritual, folklore and the layered experience of living between two landscapes, this time drawing current and nostalgic symbols into dialogue, familiar shapes that stay just short of settling into meaning.

Nowlan's paintings sit closer to atmosphere and weather, informed by invisible illness and the sensory ghosts it leaves behind: a state caught between bodily experience and the fluidity of landscape, carrying a recurring, shell-whorled shield motif that is at once protective and exposed.

All three practices share an attentiveness to what is felt rather than seen: the forces that shape who we are and how we belong. Porcelain that turns transparent in sunlight, symbols suspended between memory and invention, a shield that protects and exposes in the same gesture; each body of work carries something inherited alongside something still being redefined. It is a considered, tactile dialogue of contemporary life, one that feels especially fitting for the gallery's Spring reopening.

Together, the exhibition explores states of transition: past and present, interior and exterior, inherited and self-defined. Light moves through porcelain the way memory moves through symbol; ideas of impermanence sit alongside cycles of renewal. Like NUMINA itself, each work gestures toward something unseen: seasonal change, the spirit of landscape, a shield that guards and exposes in the same breath, an identity that is always becoming.