Drummond tends to focus on process and ritual while contemplating ideas of location. He considers the entanglements of the human body, ecology, and dislocated histories within the landscapes of New Zealand. In the 1970s, he created several documented performance works. Drummond lives and works in Christchurch, New Zealand.[2] He earned his degree in Fine Arts from the University of Waterloo, Canada, and is currently a senior lecturer in sculpture at the University of Canterbury, School of Fine Arts.[2] He is represented by Jonathan Smart gallery in Christchurch, Page Blackie gallery in Wellington and Antoinette Godkin gallery in Auckland.[3][4][5]
Drummond works with a variety of media and materials. His work includes process-based installation, photography, figurative and symbolic imagery.[2] Drummond was included in a number of early exhibitions that featured performance art in New Zealand including ANZART initiated by Ian Hunter in 1981 and the F1 New Zealand Sculpture Project in 1982.
He had an exhibition at the Wellington City Gallery in 1981 titled Andrew Drummond: Works 80.[9]
Andrew Drummond: Observation / Action / ReflectionChristchurch Art Gallery. Drummond’s first full survey exhibition of works from 1980 to 2010 curated by Jennifer Hay.[12]
Mostly Harmless: A Performance SeriesGovett-Brewster Art Gallery, New Plymouth (group). ( Now Showing: A History of the Govett-Brewster Art Gallery eds Christina Barton, Wystan Curnow and Jonathan Bywater Gobvett-Brewster Art Gallery 2016 ISBN 9780908848744 [14] )
2000
Intervention: Post Object and Performance Art in 1970 and Beyond Robert McDougall Art Gallery (now Christchurch Art Gallery) - Contemporary Art Annex (group) The exhibition was curated by Jennifer Hay.[15]
Andrew Drummond: for beating and breathing Christchurch Art Gallery Annex, Christchurch.[18]
1994
Art Now: The First Biennial of Contemporary Art National Art Gallery Wellington. (group) The exhibition was curated by Christina Barton.[19]
1992
Between Rocks and Glass HousesCity Gallery, Wellington. With architect Noel Lane. Curator Gregory Burke noted in the catalogue that, 'Their installation focuses on the social and environmental considerations of architecture and highlights an interaction between the organic nature of building materials and the symbolic potential of building structures’.[20]
1991
Crosscurrents, Contemporary Australian and New Art, Waikato Art Museum, Hamilton (group).[21]
1990
Supports for Falling Limbs and Articles for an Ongoing Nature, Queensland Art Gallery, Brisbane, Australia.
Young Contemporaries Exhibition 1977 Auckland Art Gallery. (group) Drummond presented the installation and performed Onto Skin, a Performance in Three Parts.[31]
As part of the Canterbury Society of Arts 1978 festival Platforms, Drummond performed Crucifixion. He was fixed to a diagonally shaped cross while a latex skin was created on his naked body, once formed the skin was shed from his body and he left the stage. Drummond wore a gas mask throughout to protect himself from the ammonia generated by the drying latex, he was also connected to an ECG machine so observers could monitor his emotional state. For the duration of the festival the discarded latex skin was laid out on the cross and exhibited with Polaroid photographs taken during the performance plus other detritus from the performance.[11]
Two people in the audience took offence at the nudity and reported the performance to the police. The police laid charges (under Section 3(d) of the Police Offences Act.), when eventually heard in court the behaviour was found to be 'ill-mannered, in bad taste, crude and offensive', but the charges were dismissed.[32]
^ abBarton, Christina; Curnow, Wystan; Bywater, Jonatan, eds. (2016). Now Showing: A History of the Govett-Brewster Art Gallery. Govett-Brewster Art Gallery. ISBN9780908848744.
^Hay, Jennifer (2000). Intervention: Post Object and Performance Art in 1970 and Beyond. Robert McDougall Art Gallery. pp. 64–71. ISBN0908874618.
^Campbell, Joyce; Lloyd, Jillian; Museum of New Zealand, eds. (1994). Art now: the first biennial review of contemporary art; body, site, material; published to accompany and document the exhibition Art Now: The First Biennial Review of Contemporary Art, Museum of New Zealand Te Papa Tongarewa, 11 June - 18 September 1994. Wellington: Museum of New Zealand Te Papa Tongarewa. ISBN978-0-909010-19-5.
^Tyler, Linda (1991). Cross currents: Contemporary New Zealand and Australian art from the Chartwell Collection: Waikato Museum of Art and History, Te Whare Taonga o Waikato, 14 July-25 August 1991. Waikato Museum of Art and History, Te Whare Taonga o Waikato.
^Curnow, Wystan (1989). Putting the Land on the Map: Art and Cartography in New Zealand Since 1840. Govett-Brewster Art Gallery. pp. 61–63. ISBN0908848013.
^Burke, Gregory (1987). Drawing Analogies. Wellington City Art Gallery. p. 17.
^Barr, Jim; Barr, Mary (1987). When art hits the headlines: a survey of controversial art in New Zealand. National Art Gallery (N.Z.). Wellington: National Art Gallery in association with the Evening Post. ISBN978-0-9597785-4-0.