Earl Rina

Please check "Gleam," which is currently part of the touring visual art exhibitions across Manitoba through the Arts Reach Manitoba (ARM) program under the Manitoba Arts Network.
The ARM program supports the circulation of high‑quality visual art exhibitions throughout the province, providing communities, especially rural and northern regions, with access to diverse artistic experiences. Through this initiative, selected artworks travel to multiple venues, allowing broader audiences to engage with contemporary Manitoba art, while also offering participating artists increased visibility and professional exposure.
Schedule:

March 28, 2026 – April 29, 2026 – May 30, 2026 – University College of the North (UCN), The Pas

June 1, 2026 – July 29, 2026 –International Peace Gardens

August 28, 2026 – September 28, 2026 – St. Andrews Heritage Centre

September 28, 2026 – October 28, 2026 – Arts Forward

Oct. 30, 2026 – Jan. 27, 2027 – University College of the North (UCN), Thompson

This work emerges from the belief that q***rness is not separate from nature but deeply embedded within it. Queerness is ecological, ancient, and expansive, present in tide pools, coral reefs, and the countless beings that rewrite the rules of biology. These natural worlds mirror the fluidity, resilience, and transformative power that shape my own lived experience as a Filipino Canadian and 2SLGBTQ+ artist.

This piece becomes a love letter to that truth: that q***rness is a natural force, not an exception. By drawing from ecological systems and the cultural lineages that ground me, I explore how identity is shaped through both ancestral memory and the environments that hold us. The work invites viewers into a space where q***rness and nature are inseparable, where fluidity becomes a form of belonging, and where the natural world reflects the multiplicity of who we are.
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When I began Umang sa Dagat / ᜂᜋᜅ ᜐ ᜇᜄᜆ, I found myself diving into the q***rness already alive in the ocean. These soft‑bodied beings, sea slugs, nudibranchs, and their kin, live in ways that refuse rigid categories. Some shift s*x throughout their lives. Others carry multiple reproductive traits at once. Their bodies are fluid, adaptive, and unapologetically complex.
Queerness isn’t just human. It’s ecological. It’s ancient. It’s written into tide pools, coral reefs, and the quiet brilliance of creatures that rewrite the rules of biology simply by existing.
This piece is a love letter to that truth: that q***rness is not outside nature but deeply, beautifully within it.
This work is now in the collection of an anonymous owner.

Snails remind us that q***rness has always existed in the natural world. Many snail species are hermaphroditic, shifting roles and exchanging genetic material in ways that defy rigid binaries. Their fluidity, slow resilience, and spiraling forms echo q***r ways of being, expansive, adaptive, and beautifully unconstrained. These artworks celebrate snails as teachers of multiplicity, showing how nature itself models identities and relationships that move beyond fixed categories.
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Across these works, the macaque and the shifting humanoid figures become portals into q***rness as a natural, ancestral, and continually evolving part of life on Earth. In many animal species, including macaques, same‑s*x bonding, fluid social roles, and non‑linear kinship structures are essential to thriving communities. By placing these beings in surreal, cosmic landscapes, the artworks highlight how 2SLGBTQ+ identities echo these ecological truths: q***rness is adaptive, relational, and deeply rooted in the living world. The figures’ transformations and shared presence remind us that q***r existence is not an anomaly but a powerful expression of connection, creativity, and self‑defined becoming.
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These sunsets feel like fragments gathered at the edge of day, moments where colour breaks open, and the world briefly softens. Each scene holds its own quiet beauty: grasses silhouetted against a shifting sky, branches framing a horizon of gold, snow glowing under a winter sun. Together, they become a mosaic of endings and renewals, reminders that even the smallest sliver of light can hold an entire story.

Please check "Evocative Rich Grass Fields," which is currently part of the touring visual art exhibitions across Manitoba through the Arts Reach Manitoba (ARM) program under the Manitoba Arts Network.
The ARM program supports the circulation of high‑quality visual art exhibitions throughout the province, providing communities, especially rural and northern regions, with access to diverse artistic experiences. Through this initiative, selected artworks travel to multiple venues, allowing broader audiences to engage with contemporary Manitoba art, while also offering participating artists increased visibility and professional exposure.
Schedule:

March 28, 2026 – April 29, 2026 – May 30, 2026 – University College of the North (UCN), The Pas

June 1, 2026 – July 29, 2026 –International Peace Gardens

August 28, 2026 – September 28, 2026 – St. Andrews Heritage Centre

September 28, 2026 – October 28, 2026 – Arts Forward

Oct. 30, 2026 – Jan. 27, 2027 – University College of the North (UCN), Thompson

At the Top captures the moment when effort becomes elevation. The figures feel as if they’re climbing through colour itself, pushing against resistance, stretching past exhaustion, and finding a kind of beauty that only reveals itself through work. The painting holds the tension between struggle and triumph: the chaos of motion, the shimmer of possibility, and the quiet truth that reaching the top is never just about height, but about transformation.
This watercolour piece uses layered washes to build atmosphere and motion. Broad gradients of blue, pink, and orange create a luminous backdrop, while more saturated strokes of purple, green, red, and gold define the figures in dynamic, abstract forms. The paint is allowed to bloom and diffuse in some areas, creating soft transitions, while other sections use controlled, crisp edges to emphasize movement. Scattered gold dots add texture and rhythm, giving the composition a sense of upward momentum and celebratory energy. The interplay of loose washes and intentional marks makes the figures feel both grounded and weightless.
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In The Lift at the Lake, graphite lays the foundation, delicate lines mapping gesture and weight, while ink sharpens the movement with bold, decisive contours. Watercolour floods the scene with energy, its translucent yellows, oranges, and blues creating a sense of rising heat and emotional lift. The three media collide and cooperate, allowing the figures to feel both grounded and fluid, suspended between structure and atmosphere.
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Fragments accumulate: a face wrapped in colour and cloth, a shadow dissolving into water, leaves gathering at your feet, objects holding stillness, and an alleyway unfolding toward someone you almost recognize. Each moment is its own shard of time, yet together they form a constellation of where identity, memory, and movement intersect.

Fragments of place, memory, and becoming, a festival’s pulse, a castle’s stone spine, a tower rising into dusk, hands shaping a quiet vow, and a marsh holding the soft weight of a neighborhood. Each image stands alone, yet together they form a map of where we’ve been and what we carry forward.