14 June 2019

TUITUI art space, New Zealand, is delighted to announce three artists Ryan Sun, Kirsten Dryburgh and Frankie Chu. The exhibition features artists’ recent works that combine video installation, ceramic, and photography.

‘You know, the whole thing about perfectionism. The perfectionism is very dangerous. Because of course if your fidelity to perfectionism is too high, you never do anything. Because doing anything results in…it’s actually kind of tragic because you sacrifice how gorgeous and perfect it is in your head for what it really is. And there were a couple of years where I really struggled with that.’ by David Foster Wallace

Ryan Sun’s Wave book is a set of images captured in B&W on 4×5 films of dead leaves and seeds on black sand. They were aided in a horizontal arrangement in the way of the Chinese Song Dynasty book’s layout. ‘Nowadays people are losing interests on small things, and our perceptions are often plagued by labyrinthine social settings’, he said. In the context of contemporary culture, the artist describes the wave book as an emotional process, the process of its disappearance, is “the battle of the beasts of ourselves”.

Kirsten Dryburgh’s work is an interesting representation of the opposing spaces. With a focus on rotational polarity, five pots were coaxed out of the fabric of the earth using clockwise and counterclockwise forces. The pots, displayed on the ground using the classic ceramic display trope of the mirror, equally engaging a conversation of mapping, dimension, and direction. “Letting earth speak for Earth“ 

Artist Frankie Chu champions a video installation featuring a game titled ‘Palm or back‘. The game, filmed in the wide open expanse of New Zealand’s Muriwai beach, quietly unfolds to show five people with interlinking hands, moving and pulling each other around in a circle – the spinning of which leaves the complex interlaced concentric circle in the sand. Projected on large white floating linen drapes, it repeatedly cut through between viewers – it’s deformation rendered from its unstable surface. Frankie Chu’s work focuses on the traces of human nature and inner pain.

In the current state of the global economy, cultural labyrinthine cycles bring confusion to the everyday individual. The artists of DRIFT try to leave some critical thinking while also trying to transcend logic, beyond language and experiencing a way of the non-solidified inner order of the possibility.