Richard Frater’s new exhibition 蘇 Wake, curated by Wang Yiyi will open on 10 April – 15 June, at Boxes Art Museum, Shunde District, Feshan City, China and is presented with support of HU’s Art (Tāmaki Makaurau Auckland / Shanghai).


The character "蘇" (Sū) embodies grass, fish, and grain (homophonous with "harmony"), originally signifying the ancient practice of suspending fish with branches through their gills—a method where temporary dehydration does not harm the fish, allowing revival once released. "Wake," rooted in weg- (vigor, vitality), initially denoted awakening from sleep, later evolving to signify alertness to danger. Titled 蘇 Wake, (Awakening), this exhibition not only highlights cross-cultural dialogues between Chinese and Western civilizations but also crystallizes the multidimensional interplay of art and ecological restoration through linguistic and semantic layers, advocating a practice-driven, interdisciplinary ethos.

Frater’s work bridges the chasm between aesthetic expression and technical intervention. His avian photography captures not only visual composition, dynamic punctum, and symbolic narratives (e.g., birds’ marginalized existence, endangered fates, and “invitation dilemmas”) but also documents full conservation workflows—observation, rescue, measurement, release. Similarly, the Stop Shell series uses installations to expose marine degradation, tracing its roots to “attention economies” while proposing systemic solutions. Frater’s practice is guided by the Golden Triad framework (What, Why, How), blending minimalism with biological observation, material experimentation, and critiques of capitalist ecologies. Avian diversity becomes a metaphor for collective fragility, while oceanic ecosystems emerge from fragmented social media data, interwoven with reflections on ethical decay.

As a global citizen, Frater employs minimalist techniques to channel multi-media inspirations. His work transcends mere documentation or problem-solving to reveal existence itself through dynamic interplay—where subjects manifest meaning via objects, reconstructing unity between self and other. This philosophy echoes the Chinese concept of “天人合一” (harmony between humanity and nature). For Frater, art serves as both tangible social intervention and a reflective mirror. As Democritus asserted: “To the wise, the earth is a companion, for all the world is home to kindred spirits.” Here, art becomes a force that weaves humanity back into life’s interconnected web.

Wang Yiyi


Richard Frater is an artist from Aotearoa New Zealand, living and working in Berlin. Frater is represented in New Zealand by Michael Lett, where his exhibition Nicky’s Conversion, is showing from 19 March – 17 April.

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