Rosalind Lowry
About
Rosalind Lowry works in Land Art, Sculpture, Installation & photographic processes. She attended Chelsea & St. Martin's School of Art in London, is an Elected Member of The Royal Society of Sculptors & Chief Examiner for Contemporary Crafts for Northern Ireland. She works locally and internationally including residencies for the Alaska State Government, the Red Quincho Network in Argentina & City University in Paris. Her work has been published by Dark Mountain Press and Ecoartspace USA and been exhibited widely in curated exhibitions across Ireland, the UK and internationally including the Loop Raum Gallery, Berlin, the Millennium Alliance for Humanity, Stanford University, USA & the Museum of International Art, New Jersey.
Her work focuses on environmental themes, the commercialisation of land, and our disappearing species, and for this she has won several awards including the Social Art Award from the Institute for Art & Innovation in Berlin. She creates highly temporary, site-specific interventions that are photographed and dismantled within a few hours, with the images produced being a memorial to the land, before its development/ destruction. She works with Irish linen and porcelain and frequently dismantles her pieces to reuse the materials in future projects, creating a continuous root system throughout her portfolio.
CV
Rosalind Lowry attended Chelsea School of Art and
St. Martins School of Art in London. She has also gained 3 Postgraduate Diplomas in Arts Management, Art Education & Curatorial Studies.
She is an Elected Member of the Royal Society of Sculptors, and a member of The Royal Photographic Society - Women in Photography Group, and Visual Artists Ireland.
Artists Statement
Sitting between land art and landscape photography, Lowry creates temporary, often barely legible interventions that exist for a moment before disappearing back into the terrain. These gestures do not attempt to restore what has been lost. Instead, they imagine parallel landscapes, fragile and speculative, where the disappearance of species and the erosion of shared land are made visible through absence. The camera becomes a tool of evidence rather than documentation alone, capturing a precise encounter between action, place and time.
Her interest in the commodification of land is inseparable from the legacy of Common Land laws and the slow privatisation of what was once shared. In Lowry's work, land is not simply owned or occupied; it is negotiated, contested, and remembered. Folklore and cultural heritage surface as quiet undercurrents, suggesting that what disappears is not only physical territory but collective knowledge and ways of living with the land.
While her work has been widely exhibited and recognised internationally, it retains a grounded intimacy and a private lament for the land. Whether responding to museum collections or working directly in open landscapes, Lowry treats each site as a collaborator rather than a backdrop. Her current residency at Armagh County Museum extends this approach, bringing historical artefacts into conversation with living land and contemporary ecological concern.
Lowry's interventions are often carried out on both public and private ground, sometimes sanctioned, sometimes not. This refusal of clear permission mirrors the questions her work raises: who decides how land is used protected, or erased?
She often makes her work on land accessed through gaps in fences, by climbing over walls, by fleeting opportunities provided for installing personal memorials. The temporary nature of her installations echoes the precarity of the environments she responds to, as well as the instability of access itself.
Lowry's practice does not offer solutions. It asks viewers to stand briefly, on borrowed ground and to recognise the ripple effects of enclosure, extraction, and conflict. In these fleeting interventions, the land is allowed to speak, quietly, about what has been taken and what continues to endure.
