Alfie Rouy and Bo Sun have worked on a site-specific installation in which 213 is reimagined as a “cave” with wall paintings, markings, and bone-like structures. The remnants left behind call into question how the cave drawings appeared in the first place. The bones seem to indicate that some kind of an anthropomorphic creature was the culprit.

  • BO SUN

    BO SUN

    Bo Sun is deeply interested in the idea of biomorphic form which links body parts, bones either from animals, insects or human beings together also collaborating with the idea of relics, objects and their display.


    The dynamic of each layer of materials is about the "flesh" and the "bone", hard and soft, old and new. Sun is currently exploring the idea of flesh and bone where I reinvent bone structure from industrial parts, the shape of insect and quotidian objects. Insert a bone structure into them while pairing them up with "soft flesh".


    The sculpture always has multiple layers or parts that are complementary to each other. Each part has space for other parts to insert and install.



    Alfie Rouy’s paintings intend to explore subtle ways of materialising the flow of versatile, fluid-like energies that exist, within one’s current field of existence and that of others, which have the potential to be harnessed. Aiming to provide insight and synchronisation towards the two coinciding paths, it is visualised by confined yet free flowing forms expressing elements of polarity and unity through figurative imagery. Accompanied by warm, hazy colours formulating together to create a vision of dreamlike divinity and a surreal reality, extending an over exaggerated notion of the works original intent of transposing peace, love, wisdom and unity upon the viewer. Therefore, encoded within the paintings is a consistent pattern of elements that draw to this conclusion, aiming to only be caught by the individual who already knows, leaving the rest open for speculation and wonder in auspicious mystery.

    While engaged upon this path of understanding, his influences range from historical events and civilisations offering a romanticised view upon the mystery of The Dark Ages combined with ancient eastern and western philosophies, Alchemy, Hermetic symbolism and esoteric beliefs, while all culminating with a minor element of Synaesthesia being apparent in the initial stages of creation.

    The derivative thought behind the installation at 213 Kupfer was another path in search of understanding and working with the subconscious, while also acknowledging external energies present in the given moment and space in order to create an automatic response. Resulting in the ‘cave’ drawing upon the wall of the space, with the presence of the two sculptures intending to disrupt this idea by pursuing a more structured approach to creation.