Roös

When I came up with the idea on our exhibition - Aquaphilia - works of art that investigates the human love for and innate affiliation to water, burning questions of social and environmental issues came to my mind. Even though many programs and management policies are in place to protect vulnerable coastal environments, the question remains on how our human ‘love of water’ can destroy vulnerable ecological systems or - maybe - enhance environmental regeneration. The vulnerable coastline and wetlands at Edwards Point and Swan Bay showed scars of impact from an Anthropocene induced changing climate, mostly evident in how the beach is eroding at the northern shore, resulting in vegetation loss and the loss of breeding spaces for the Plovers. Contrary, deep in the Otway Forest signs are abundant of regeneration and life. On drawings, paintings and large paper scrolls I tried to capture the hidden storylines of natural habitats and human interference, including feelings of immersion and connection to the places while adventuring into the bays, wetlands, rivers, and forests of the greater Barwon South-West region. The title of my works for this group exhibition is named Hydro-Philos Storylines. I hope you enjoy it!

Hydro-Philos Storylines

These drawings and paintings are my expression of feelings, experiences and interpretations of the various natural environments that I immersed myself into - environments connected to water, the stories of Hydro-Philos. Discovering and analysing the meanings of hydrophilic and hydrophobic elements, what the innate connections are between various life forms, including our human love of the waters – aquaphilia – and our place in this ecosystem.

The Creek in the Otway Forest

Phillip Barend Roös, March 2021
3920 x 750
Ink, acrylic, watercolour, graphite, forest creek water, organic matter on paper

Discovering my way through the forest I heard this trickle of water, looking up I noticed a valley cutting through the escarpment, deep into the Otway forest. After asking for permission, I entered and kept on going further and further, until I reached a place of peace. I felt this oneness with everything around me, interconnected with all the living beings in this part of the forest. It was as though all of my senses heightened to a state of wholeness with the earth, with the cosmos. I realised that in the same way that the stream runs through my veins night and day, it runs through the veins of the forest. These creeks and rivers and the energy flows through visible matter and nonvisible forms of life. This is indeed a special place. Without fear, the forest life reveals itself to me. As I touched the damp forest floor under the Large Skirted Tree Ferns (Alsophila x marcescens), damp smells embraced me and a Superb Fairywren (Malurus cyaneus) announced its territory to me. Content, I pressed the paper scroll down into the creek water.

In front of me, an Otway Black Snail slowly crossed my path. The Otway Black Snail (Victaphanta compacta) is only found in the cool temperate forests of the Otway Ranges. Human induced climate change may threaten the survival of this unique snail species. I ask myself, what will I do to help this little fellow? Maybe if all of us became more aware of the narratives of all living beings, and tell their stories, the wonders of their habitats, homo sapiens may choose to change their behaviours to save these fragile forests of our world.

I was unaware of two Leeches who had attached themselves to my leg. Only hours later, when they let go did I realise that another interaction with nature had occurred – “Man went deep into nature, and nature connected deep into man.”

Forest Waters and Ferns

Phillip Barend Roös, March 2021
3920 x 750 (mm)
Ink, acrylic, watercolour, graphite, forest creek water, organic matter on paper

Kneeling down I touched the moist soil on the edge of the Gellibrand River, a kilometre or so from the Stephenson Falls, pressing down with both hands - gently, deep into the soil. The print of my hands clearly reflects the intrusion of man into this sacred place of the forest. Suddenly the water in-front of me exploded with splashes of water droplets projecting into the air, and... emerging from the water the Australian Brown Trout (Salmo trutta) eyeballed me with curiosity... or was it me who had the sense of curiosity? Maybe it is the connection of all sentinel beings in this play staged by Mother Earth, the cosmic dance that intrigues me. This is indeed a special place. Slender Tree Ferns (Cyathea cunninghamii) are scattered in-between the Skirted Tree Ferns (Alsophila x marcescens). Large Myrtle Beech trees (Nothofagus cunninghamii) gently casting their shade over the tree ferns all around me. Two small Yellow Buff-rumped Thornbills bounce around me as I draw on the paper scroll. There is no doubt in my mind that the water supporting this integral life of the forest is the fundamental ingredient to create a place of healing.

Healing Waters

Phillip Barend Roös, March 2021
1500 x 6000 (mm)
Ink, acrylic, watercolour, water at source, forest riversand on paper

The Story of Wetlands and Mudflats

Phillip Barend Roös, March 2021
9970 x 1400 (mm)
Ink, acrylic, watercolour, swamp water, swamp mud on paper

When I rolled out the paper scroll in a small hidden corner of the mudflats of the extensive 30-square-kilometre Swan Bay area, a marine embayment and islands with interconnected ecosystems, it came to mind that wetlands, swamps and saltmarshes contain the layers of history of place – the blueprint of thousands of years, maybe millions of years in the making. I felt a deep connection to the patterns of the ecosystems, biotic and abiotic forms, evolutionary growth visible in the smells, sounds and visual beauty of colours and living structures in mud, microorganisms, plants, insects and birds. The cycle of time visible everywhere. The rhythm, the heartbeat of Gaia revealed in the changes of the tide, allows one to get the sense of this highly complex and integrated system. To the contrary I noticed the real threat to this beauty, a clear and visible danger moving into the landscape like a dark thunder cloud, the already visible impacts of human interference to this land. The effects of human induced climate change, the loss of the shoreline, the death of fragile organisms, including fauna and flora. Both worlds, the living structures and beauty of nature’s growth and evolution, and the destruction of that same natural system due to unsustainable residential developments and intense recreational activities are recorded in the creation of this paper scroll, similar to a recording of ancient historical times. Hidden messages of hope are visible, you just need to look for it.

Swan Bay Salt Marshes I, and II

Phillip Barend Roös, March 2021
2590 x 750 (mm) / 2540 x 750 (mm)
Ink, acrylic, watercolour, graphite, salt water, soil on paper

I pressed down the edges of the paper scroll into the sand of Swan Bay, standing ankle deep in the saltwater at the furthest point of Edwards Point Wildlife Reserve. Not visible to the naked eye, fine black dust mixed with sand particles coloured the edges of the paper. Life is abundant here. The Swan Bay area includes eight major habitats including Moonah woodland, coastal saltmarsh, tidal flats, seagrass meadows, marine algae, bare sands and mud, waterways and wetlands, coastal dunes and beaches, and islands. There are nearly 200 bird species that live in and visit this area, including migratory shorebirds, resident shorebirds, waterbirds, large wading birds and sea birds. All part of an extensive interconnected ecosystem. Unfortunately, this unique bay is under threat due to residential developments close by that has led to a sixty percent loss of coastal saltmarsh and other vegetation. Maybe we need to listen to the stories of all species here! This is sacred land, for thousands of years Water Spirit kept it intact, what will WE do?