Moving Past The Sun

14 MAY - 16 JUN. 2020

Weasel Gallery, Hamilton, NZ

ACCOMPANYING TEXT

Had being immersed in an unfamiliar, dry, land made my place in relation to the sun feel more visceral? Perhaps moving from my home in Aotearoa to Australia was what shifted my attention.

The diurnal rhythms were slow, with each revolve came familiarity and comfort. While contemplating how it feels to move unceasingly past the sun I was reminded of Rachael Carlson's poetic observation: “against this cosmic background the lifespan of a particular plant or animal appears, not as drama complete in itself, but only as a brief interlude in a panorama of endless change” (1).

I'd begun to pay more attention to Ra's daily chariot ride west.

The plants were, as always, paying attention too. 

Unassuming daisies lean towards the east each dawn, awaiting the sun's warmth, opening then moving westward. Bellflowers bloom in the day's light, then fall from their stems at eventide, and resilient weeds photosynthesize in the heat of high noon. Small, phenomenal moments surround us.

The earth, moon and sun continue their gravitationally-tethered dance, indifferent to the daily tasks that fill our earthly schedules. 

In a rhythmic performance of cosmic synchronisation, they orbit, twirl, and eclipse one another. 

This perpetual performance ​made apparent just how transient one's lifetime is, how quickly a specimen metamorphoses from seed to flower, to earth again.

STATEMENT, LAREE PAYNE - DIRECTOR, WEASEL GALLERY

Having previously exhibited with the Gallery in 2018, Tyler-Dunshea is no stranger to the space. Past exhibitions have seen Tyler-Dunshea focus on the identification and depiction of found species within the artists given purlieu and within the historical context of botanical documentation. Foraging, identification and pressing/storing a variety of species became integral precursory processes within Tyler-Dunshea's practice. MOVING PAST THE SUN sees an increasing social and environmental underpinning whilst evidence of process still remains including linear tape marks as a spatial device. 
MOVING PAST THE SUN considers the diminishing venerative relationship between people and the sun. Tyler-Dunshea explains "These plant specimens once reached towards the warmth of the sun. Noticing, pressing, then painting them, serves as a meditation on the tensile relationship between the energy on one sphere and the life forms on the other."
MOVING PAST THE SUN sees a new suite of work by the artist, with confident scale and marked mastery of her medium, watercolour paint.

 

(1) Carson, Rachel, 1907-1964. Silent Spring. Boston :Houghton Mifflin, 2002.

Images by Mark Hamilton, courtesy of Weasel Gallery.

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