Kirsten Dryburgh

b. 1967

b. 1967, Auckland 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)

She has always had a passion and fascination for the natural world and it's ontology and the place where is converges with humanity. She uses her practice as a tool to create fictional potentialities between the two. Dryburgh graduated from Elam School of Fine Arts in 2004, majoring in sculpture. She spent 5 years as one of the collective directors of rm gallery, and was also a member of the Group Project.

Selected Writings
Essay for Plane Tree exhibition by Lydia Chai, 2011.

Selected Exhibitions
Tectonic Crust Cake / Calcite future aquatic, Window Art Gallery, Auckland

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

Plane Tree, Parlour Peeps, Parlour - Auckland
Staging Miracles 11: Window, Auckland University, Auckland

A Garden for Norman - solo show, rm Gallery, Auckland
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

2003 The Annual Wallace Awards, Finalist, Auckland War Memorial Museum, Wellington

Selected Reviews
“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,
“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