Kuweni Dias Mendis

20 September – 26 October ~ Outer Space Gallery

In this exhibition, Kuweni Dias Mendis has created a temple dedicated to the running rivers that connect us all. Built for diasporic and marginalised communities, the temple holds space for inclusivity and harmony, while nurturing introspection and transformation. Born in Bibile, a small town in central Sri Lanka, and raised in Colombo, Kuweni moved to Melbourne before making Beechmont her home. This temple is a symbol of peace and unity, standing in defiance of the discrimination she has experienced as a woman of colour in this country.

First meeting Kuweni, I was inspired by how candidly she shared her experiences living in australia—experiences that resonated deeply.
My paternal family arrived here 50 years ago, with my grandparents also coming from Colombo. Understanding the challenges they faced and reflecting on my own experiences added profound personal significance to this project.

Kuweni’s temple presents a journey of many layers and depth, resembling that of a pilgrimage. Stepping through the doors, I’m greeted by an earthy fragrance emanating from charred incense sticks. After removing my shoes, I select a pair of anklets, delicately crafted from hand-dyed silk, adorned with tarnished bells and soaked in eucalyptus oil. Fastening them around my ankles, I become aware of the added weight to my body, pulling me closer to the earth. This physical act of grounding turns my attention away from any lingering worries and doubts, allowing me to refocus on the present.

Navigating a labyrinthine passage woven from swathes of fabric, I venture deeper into the heart of the temple. The fabric, dyed in Queensland- grown tea, has been marked with mud drawn from the river, mixed with bone black ink and natural red dye. Locally sourced, these material choices reflect Kuweni’s connection to place and invite us to contemplate our own. Enveloped by the tea- drenched fabric, I find myself reflecting on my body’s relationship to the natural world. Today’s colonial-capitalist system is rooted in binary thinking, pitting humans against nature. Being wrapped in the materials of the land shifts my perspective—culture and nature reveal themselves as intertwined, rather than separate. This message is reinforced by a projection that combines flowing waters with embodied mark-making.

Kuweni shared with me that from a young age, she recognised the importance of establishing a respectful and reciprocal relationship with nature. Being born in Bibile helped shape this belief, as the town is a largely agrarian society known for cultivating rice. For many Sri Lankans, rice is more than a food and economic source; it has a sacred association, feeding into ceremony and religion. In my own family, for example, we uphold the tradition of eating කරි ිබත් kiribath (milk rice) on New Year’s morning, as it is considered auspicious.

Kuweni committed to grounding this exhibition in ecocentrism and Indigenous knowledge. She spent several weeks learning ceremonial practice and dance from Sri Lankan Elders in Bibile, and upon returning to Brisbane, engaged in deep consultation with Warunghu, Aunty Raelene Baker (Aboriginal connections to Yuggera, Girrimay and Birri nations of Queensland) to explore the river and stories of this place.

Reaching the inner sanctum, I’m drawn to an open birdcage, an altar wrapped in clumped fabric. Inside, there are a series of small clay offerings and a looped film. The footage combines imagery of the body with the processing of cochineal and madder into natural red dye. There is a meditative quality to the recording, allowing me to slow down, be mindful and reflect on my journey—both through the temple and through life.

For me, the true beauty of this temple lies in the space it holds for us to reflect on our individual journeys and embrace that we are at different stages of understanding. Kuweni and I are at different points in our explorations of self, but through this experience, I’m reminded that I’m not alone. Kuweni has created a sanctuary for us to connect with each other and the natural world, no matter our story—a space where self-reflection and personal growth can truly flourish.

I would like to extend my heartfelt thanks to Warunghu, Aunty Raelene Baker for her generous insight and contribution to this project.

(Words by Elena Dias-Jayasinha *)

Elena Dias-Jayasinha is a Sri Lankan-Australian curator based in Brisbane. She holds a Bachelor of Advanced Humanities with Honours Class I in
Art History from The University of Queensland. In 2022, she was awarded a University Medal. Over the past five years, she has worked at institutions including The University of Queensland Art Museum and Griffith University Art Museum. In 2020, she interned with the Asian art curatorial department at Queensland Art Gallery | Gallery of Modern Art, contributing to the 10th Asia Pacific Triennial of Contemporary Art. In 2022, she curated the churchie emerging art prize, held at the Institute of Modern Art, Brisbane. Currently, Elena is Curator at Museum of Brisbane.