The exhibition takes its title from a poem by Ayisha Siddiqa, reflecting both artists’ connection to the natural world, and their concern for humanity’s impact on it: 

“The earth remembers everything,
our bodies are the color of the earth and we
are nobodies.
Been born from so many apocalypses, what’s one more?
Love is still the only revenge. It grows each time the earth
is set on fire.”

Kriendler presents a new series of weavings made from raw fiber—jute, sisal, and fique—and gold wire. These works interlace strands of varying thicknesses, resembling tangled vines or exposed roots along the forest floor. The use of gold references Pre-Columbian art-making traditions, particularly gold filigree in jewelry, as well as Indigenous mythologies that viewed gold as a tool for transcendence.

Loewenberg’s work, built entirely from clay, using a traditional coil building technique, looks toward the inherent magic present in nature. She draws inspiration from numerology and the Kodoma of Japanese folklore—spirits who inhabit ancient trees, bestowing them with life. Her totemic and anthropomorphic sculptures aim to solidify the kinetic moments of nature into tactile still lives.

Both artists, connected by place, though utilizing unique mediums and perspectives, invite viewers to reflect on their own connections to the natural world. Their works aim to create a dialogue between past and present, the material and the spiritual, the natural and the human made. By immersing themselves in the landscapes of the East End, Kriendler and Loewenberg offer a poignant reminder of the beauty and fragility of our natural surroundings, and a reminder that The Earth Remembers Everything.