Dryburgh is an Auckland based artist and a founding member of Parlour – the artist run group.

Her work investigates environments and materials of the everyday, “using pseudo-scientific experimentations and abstracted explorations to create intriguing visual anomalies” (L Hacking 2012)

Dryburgh is an artist who lets materials, living or inanimate, tell their own stories. She has a specific interest in natural phenomena and environmental science. As a result, she is also keen on the relationships between the natural world, society, technology and science. She often employs a researched-based, investigative approach in her art practice, which then enables her to intuit new relationships and narratives.

Dryburgh graduated from Elam School of Fine Arts in 2004, majoring in sculpture. She spent 5 years as one of the  directors of rm gallery, and was also a member of the Group Project.

Essay for Plane Tree exhibition by Lydia Chai, 2011.

Staging Miracles 111: Square2, Wellington City Gallery, Wellington, New Zealand
Running on Pebbles cur. Allan Smith, Snake Pit, Auckland, New Zealand

Plane Tree, Parlour Peeps, Parlour – Auckland, New Zealand
Staging Miracles 11: Window, Auckland University, Auckland, New Zealand

A Garden for Norman – solo show, rm Gallery, Auckland, New Zealand
Staging Miracles, ViewFinder, The New Zealand Film Archive

Plant, George Fraser Gallery, University of Auckland
The Auckland Project – Auckland Triennial, Public/Private, Tumatanui/Tumataiti, George Fraser Gallery, University of Auckland

The Annual Wallace Awards, Finalist, Auckland War Memorial Museum, Wellington

“This year’s Wallace Art Award winner and a selection of finalists hang at the Auckland War Memorial Museum. The award is characterised by painting, but some of the most appealing points of the show are the odd objects – Kirsten Dryburgh’s spiderweb-wrapped toy handgun and Megan Hansen-Knahori’s Fourteen Cuddly Toy Jesus Crosses…” – Jon Bywater, ‘Webbed Gun’, Art New Zealand Issue 109

“This is one of the most intelligent, mesmerizing and nutty artworks around town currently. It’s on a par with the way Ivan Mrsic, Phil Dadson and Sean Kerr activate the world with their invented instruments”. – Allan Smith, on Plane Tree, 2011,http://www.youtube.com/watch?v=dzh7Bq5whO0
“The centre-fold for the first issue is WEBBED GUN from Kirsten Dryburgh, a third year sculpture student. The artwork seems at first obvious in both form and commentary. Through time the work, however, separates itself from a political context and a slow-burn conceptual charge of a deeper nature develops. The industry of hundreds of spiders is overlocked in stasis yet alive within a confusion of networks and territories. The work can be seen to posit art as a type of conceptual snare that parasitically takes over systems like any other predatory empire builder. Romantic is a term for anything moving at the speed of emotion and this work is an evocative example of that iconic romantic ‘dirty, pretty thing’” – Yuk King Tan, ‘Crease Magazine’, Art New Zealand, 2003

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