Triple B brings together new works by Nayul Kim, Daniel Hofstede, and Marc Oosting, three artists whose distinct practices explore modes of mediation, appropriation, and transformation. The exhibition proposes that meaning is not constructed in isolation, but emerges from systems of reference—borrowed forms, inherited materials, and the slippages between image and experience.
Nayul Kim engages painting through the immaterial spatiality of virtual reality. Sculpting from memory within VR, Kim generates works that initially reference the designs of artisans or other artists, only to dissolve these citations into spatial impressions. The result is a form of painting rooted in embodied experience—an echo of immaterial gestures remediated through pigment, surface, and scale. In her work, medium becomes mutable; the digital and the painterly fold into one another.
Daniel Hofstede works at the intersection of assemblage and narrative, constructing installations from found materials including flea market paintings, domestic fabrics, and family artefacts. His approach foregrounds the artist as bricoleur—sourcing, selecting, and reframing fragments of personal and cultural memory. Hofstede’s works are not collages in the conventional sense but constructed situations where histories intersect, mutate, and recombine through spatial arrangement.
Marc Oosting advances a practice premised on constraint and re-use. Often appropriating designs from antique tiger rugs or natural motifs observed on walks, Oosting surrenders decision-making to a pre-existing visual logic. His paintings are neither ironic nor nostalgic; they inhabit a productive space between control and intuition. For Oosting, the artist’s task is not to invent, but to situate—to open a space in which inherited forms can be reanimated through gesture, colour, and compositional play.
Through divergent methodologies, the artists in Triple B each articulate a position of deliberate dependence: on histories, objects, and visual languages not of their own making. Rather than seeking originality through rupture, they practise a form of attunement—attentive to what is already there, and how it might be seen again.
