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Group show: After the War
Tae Kyung Seo, Nicholas Bush, Gabriel White, Frankie Chu, Ryan Sun, Grant Duncan
Nov 6 -22, 2026
TUITUI art Space is pleased to announce a group exhibition, After the War.
An exploration of the weird, the wonderful, and the absurd possibilities of imagination, whether near or far, familiar or unknown.
We eat, sleep, laugh, get confused, make plans, change our minds, and begin all over again. Despite our extraordinary intelligence, humanity remains wonderfully unpredictable.
We live by the basics, finding meaning in the everyday, beauty in the unexpected, and somewhere along the way, trying to understand the cycles that have no answers. by Frankie Chu. Nov, 2026
Please email us or contact us via Instagram to request a visit.
Foot on to the pedal and off the pedal / Tae Kyung Seo & Nicholas Bush
Live Performance, sound and body in two separate spaces
2026
Tae Kyung Seo's practice begins where language becomes insufficient.
Through painting, performance, sound, and moving image, Seo explores the body as an uncertain territory.
The body is not a familiar or fixed object, but an interior world that remains partially unknowable even to the person who inhabits it.
In this live performance, Seo's body enters into dialogue with the sound of a live piano|. Neither movement nor sound serves as a fixed accompaniment to the other. Instead, they unfold within a space of improvisation, responding to one another through moments of tension, interruption, stillness, and transformation.
The performance emerges from the encounter between two forms of expression that resist complete control. The piano releases vibrations into the space, while the body receives, transforms, and releases them through gestures and physical impulses. Their relationship remains open, allowing unexpected rhythms and movements to emerge in the present moment.
Rather than visually representing the music or translating sound into predetermined choreography, Ser pproaches movement as a form of listening-an embodied response to something that cannot be fully anticipated or explained.
The performance invites an encounter with the body as both material and mystery. Sound and movement become temporary traces of an experience in continuous formation. Within this exchange, the boundaries between intention and instinct, self and environment, control and surrender.
From Kota (Nicholas Bush)
“After War” had been spoken in the upstairs kitchen. Inground beneath the kitchen is the
basement laundry space with a piano against the wall and incenters a wooden post holding the
old house levels structured.
Vibration- I'm usually tired on Sundays as the last day of the week but do come to rehearsals by
playing the piano while somewhat synchronicity with a moving accompaniment dancer Tae
Kyung Seo.
A muscle for a tone in the hand is dependent on the great desperation of gratitude, from brief to
thought, feeling of what is it. Roughly. Kind of.
The tone is then pressed, struck and or defused by the volume of sound or by the volume of
water.
Sound is carried out traveling bouncing on the white cotton fabric wall and through the big glass
window into the garden in Herne bay.
Artist and Performer Tae’s in tensions were formed from the air she breathed outside before in the garden,
Wearing her cotton octopus mask. A rug on the concrete floor.
I could see the dancer behind me in the mirror ball eye.
Sharing feedback and loss of bad language or loss of good communication.
2026
Tae Kyung Seo's practice begins where language becomes insufficient.
Through painting, performance, sound, and moving image, Seo explores the body as an uncertain territory.
The body is not a familiar or fixed object, but an interior world that remains partially unknowable even to the person who inhabits it.
In this live performance, Seo's body enters into dialogue with the sound of a live piano|. Neither movement nor sound serves as a fixed accompaniment to the other. Instead, they unfold within a space of improvisation, responding to one another through moments of tension, interruption, stillness, and transformation.
The performance emerges from the encounter between two forms of expression that resist complete control. The piano releases vibrations into the space, while the body receives, transforms, and releases them through gestures and physical impulses. Their relationship remains open, allowing unexpected rhythms and movements to emerge in the present moment.
Rather than visually representing the music or translating sound into predetermined choreography, Ser pproaches movement as a form of listening-an embodied response to something that cannot be fully anticipated or explained.
The performance invites an encounter with the body as both material and mystery. Sound and movement become temporary traces of an experience in continuous formation. Within this exchange, the boundaries between intention and instinct, self and environment, control and surrender.
From Kota (Nicholas Bush)
“After War” had been spoken in the upstairs kitchen. Inground beneath the kitchen is the
basement laundry space with a piano against the wall and incenters a wooden post holding the
old house levels structured.
Vibration- I'm usually tired on Sundays as the last day of the week but do come to rehearsals by
playing the piano while somewhat synchronicity with a moving accompaniment dancer Tae
Kyung Seo.
A muscle for a tone in the hand is dependent on the great desperation of gratitude, from brief to
thought, feeling of what is it. Roughly. Kind of.
The tone is then pressed, struck and or defused by the volume of sound or by the volume of
water.
Sound is carried out traveling bouncing on the white cotton fabric wall and through the big glass
window into the garden in Herne bay.
Artist and Performer Tae’s in tensions were formed from the air she breathed outside before in the garden,
Wearing her cotton octopus mask. A rug on the concrete floor.
I could see the dancer behind me in the mirror ball eye.
Sharing feedback and loss of bad language or loss of good communication.
Bow / Nicholas Bush
Garden scuptures
2026
Bamboo pieces, aloevera, scoria rock, Kauri gum and string.
Kota’s simplization of found balanced balancing materials.
A flesh, solids and a line speaking to the garden environments receiving responding to the
welcoming weather through movements of bounce like flicks.
2026
Bamboo pieces, aloevera, scoria rock, Kauri gum and string.
Kota’s simplization of found balanced balancing materials.
A flesh, solids and a line speaking to the garden environments receiving responding to the
welcoming weather through movements of bounce like flicks.
After the war / Ryan Sun
Three spontaneous interview recordings
2026
2026
An undecidedly spring day & a message from Aristotle / Grant Duncan
A interactive poetry live performance
2026
Grant is a lifelong poet who’s mainly had an academic career. He also writes online about current affairs and politics.
2026
Grant is a lifelong poet who’s mainly had an academic career. He also writes online about current affairs and politics.
Endless lanscape / Frankie Chu
Painting on paper
2025
We talk, though perhaps always beyond the language we use. And a vision that might come after the mist valley lifted. In one afternoon by myself, in the faint scratching friction of a pen moving across paper, a reflection from somewhere rising slowly, stripped, perhaps, the material weight and one had lived in. Perhaps the scenery might always belong to oneself only. After all something of it remains, quietly interesting.
2025
We talk, though perhaps always beyond the language we use. And a vision that might come after the mist valley lifted. In one afternoon by myself, in the faint scratching friction of a pen moving across paper, a reflection from somewhere rising slowly, stripped, perhaps, the material weight and one had lived in. Perhaps the scenery might always belong to oneself only. After all something of it remains, quietly interesting.
Music supported by Floral Clocks - Gabriel White, Gareth Price, lyricist Richard von Sturmer
Floral Clocks is an Auckland-based musical duo performing songs that combine poetic lyrics, evocative storytelling and atmospheric sound.
At its heart, Floral Clocks is a collaboration between musician Gabriel White and lyricist Richard von Sturmer that has spanned more than a decade and taken shape through several different ensembles. The songs move between the grounded and the ethereal, the melancholy and the quietly absurd, blending acoustic performance with electronic textures.
At its heart, Floral Clocks is a collaboration between musician Gabriel White and lyricist Richard von Sturmer that has spanned more than a decade and taken shape through several different ensembles. The songs move between the grounded and the ethereal, the melancholy and the quietly absurd, blending acoustic performance with electronic textures.
Bandage piece / public participate project led by Nicholas Bush
Material- Bamboo, Aloe fillets, earth, wind and participants at show.
Frankie’s view - A base structure so all participants at the show could create a face together.
I thought about how I could construct a base with the familiar materials I had in mind, Bamboo and Aloe.
The muscle memory carried out its ongoing practice with the familiarity of Bamboo and Aloe vera.
A base flexible and firm, the Bamboo came to play by splits of straws roughly 1 metre long by 5 to 10 millimetres width.
A mesh like a grid with the straws of bamboo are formed in plaits then are poking in the ground, stitching to the soil of earth.
The nature of the curvature of the bamboo’s surface makes an unrestricted lineage as it warps and with gravity and the wind blowing through the garden it has pushed the flexibility of material creating a curve like dome.
I have acknowledged and understood the wind had to correct or show what about this. Accepting the play from weather I have poked down the rest of the pieces of bamboo that were hanging out from the sides and tips making it look as if there is a swell of a bandage on the garden landscape.
Frankie and I examined this dome of a sculpt. Imagining a sense of a face that would have layers of clay and grass attached to the mesh of bamboo.
However, I had a filleted fillet of Aloe in the palm of my hand and dropped it into the bulge.
The formation has been layered through repetitive action of nature to human, human to nature. Either the Aloe has been hung strung on the bamboo or fallen through the gaps of a Bamboo mesh, like tossing a coin into the well without a trace of sound. Giving back to nature and nature giving back. The Aloe fillet reimburses back its full heroic nature in flesh on the bulge of a bandage.
Frankie’s view - A base structure so all participants at the show could create a face together.
I thought about how I could construct a base with the familiar materials I had in mind, Bamboo and Aloe.
The muscle memory carried out its ongoing practice with the familiarity of Bamboo and Aloe vera.
A base flexible and firm, the Bamboo came to play by splits of straws roughly 1 metre long by 5 to 10 millimetres width.
A mesh like a grid with the straws of bamboo are formed in plaits then are poking in the ground, stitching to the soil of earth.
The nature of the curvature of the bamboo’s surface makes an unrestricted lineage as it warps and with gravity and the wind blowing through the garden it has pushed the flexibility of material creating a curve like dome.
I have acknowledged and understood the wind had to correct or show what about this. Accepting the play from weather I have poked down the rest of the pieces of bamboo that were hanging out from the sides and tips making it look as if there is a swell of a bandage on the garden landscape.
Frankie and I examined this dome of a sculpt. Imagining a sense of a face that would have layers of clay and grass attached to the mesh of bamboo.
However, I had a filleted fillet of Aloe in the palm of my hand and dropped it into the bulge.
The formation has been layered through repetitive action of nature to human, human to nature. Either the Aloe has been hung strung on the bamboo or fallen through the gaps of a Bamboo mesh, like tossing a coin into the well without a trace of sound. Giving back to nature and nature giving back. The Aloe fillet reimburses back its full heroic nature in flesh on the bulge of a bandage.
Red is blood, is passion, is love, is hate / Rozana Lee
Textile art piece
Machine fleted in NZ, Merino Wool, 910 x 1550 mm
Machine fleted in NZ, Merino Wool, 910 x 1550 mm
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