I've always wanted to wrestle with uncontrollable beasts: The ghostly works of Dominic White | Art

Dominique White remembers well when she started unraveling yarn about 10 years ago. She was a budding artist studying weaving, and needed more yarn than she could afford. Unraveling a two-strand sisal rope gave her twice the length to play with, a very practical choice. But she also liked how it looked like hair when unraveled. She also found the slow, gestural motion of unraveling to be very therapeutic, as it switched her brain off.

Since then, decomposed twine has become a signature part of White's sculptures, along with rusted metal, soft white kaolin clay, charcoal, raffia, cowrie shells, and driftwood. She creates enormous pieces that balance while bearing the weight of the world, dangling from sinew-thin limbs. There's something almost ghostly about her work, she says, because she uses materials that don't want to become solid.

White has a major solo exhibition at East London's Whitechapel Gallery this month, and its four oversized structures, titled “Dead Weight,” are the result of a six-month residency in Italy that she completed in June as the winner of the 2023 Max Mara Women in Art Prize.

Detail of “Deadweight,” due for construction in 2024. A 15kg, two-metre long iron arm is forced into the centre of a very heavy piece of driftwood, threatening to split it. Photo: Zuhair Belamaa

White says she is constantly reading. Deadweight was heavily influenced by the theories of anti-colonial scholars Catherine McKittrick and Calvin Warren, whom she was reading at the time. In her enlightening study of the Atlantic slave trade, McKittrick, a black scholar at Queen's University in Kingston, Ontario, highlights the concept of deadweight tonnage, which refers to the weight of a ship and everything on board (including all of its occupants, whether or not they were depersonalized by the slave traders). McKittrick writes that she finds the term a useful conceptual tool to shift the focus away from the constantly oppressed black body and towards a more radical one:

Like McKittrix, White is focused on the future of black people. His new works soar ten or fifteen feet from the ceiling and evoke a state of decay. His work involved reweaving thousands of meters of rope and submerging a group of giant metal skeletons (like shipwrecks and whales) in the ocean for weeks to see how salt water affects the pliable objects.

“I'm always looking for an element that's bigger than me, that I have to wrestle with, like an uncontrollable beast,” White says. She doesn't call her creations sculptures; rather, she says, they're entities that she breathes life into. They make noises, sometimes hum, and seem to breathe.

Making it Worth It: Four Works by the Artist Photo: Zuhair Belamaa

Rusty iron fur can be seen throughout the details of the Deadweight, due for production in 2024, and White, which was submerged in the Mediterranean for a month. Being on the coast of Italy brings to mind a history that you can't really get unless you're there. In Genoa, you suddenly think, “Oh, wait, this is where Christopher Columbus was from.”

Photo: Flavio Pescatori Courtesy of VEDA and the artist

The fugitives whose records are not found are the most successful fugitives. 2021 Many of White's large-scale installations feature two complex characters fighting, eating, tearing, but every once in a while, a very elegant supporting character appears. It doesn't always have to be this extremely complex and laborious expression. Sometimes it can be achieved with a deceptively simple gesture.

Photo: La Casa Encendida Courtesy of Enea Righi Collection, VEDA and the artist

May you be free and outlive your enemies in 2021. White's Hydra series uses the water monster of Greek mythology as a metaphor for black people, shipwrecks, pirates, and runaway slaves. When Hercules tries to chop off the Hydra's head, other harpooned heads grow in its place. It's a love letter to escaping and ending the fight.

Photos: Artist and Cristiano Orsini, courtesy of VEDA

Lighthouse Souls/Bankrupt Utopia (for Pate Savary), 2017 White has been painting the shipwreck motif again and again for ten years, ever since hearing harrowing reports of immigrant violent deaths. Where does a soul go when neither its birth state nor its new homeland will accept it? These two works were little lighthouses to lost souls.

The exhibition “Max Mara Prize for Women in Art: Dominique White Deadweight” runs until September 15th at the Whitechapel Gallery in London.

Sources 1/ https://Google.com/ 2/ https://www.theguardian.com/artanddesign/article/2024/jul/04/dominique-white-deadweight The mention sources can contact us to remove/changing this article

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