Dominique White merges incompatible worlds into a universe using a visual vocabulary which draws from blaccelerationism, afro-pessimism and beliefs surrounding the Kalunga; a watery boundary between the living and the dead. Her work takes form as sculptures, performances and installations which act as beacons of a fictional and experimental universe that only emerges into this realm bit by bit.
Her sculptures demonstrate how black life could extend beyond its own subjective limits and act as emulations of a forgotten or ignored civilisation. She uses storytelling as a means of exploring the Kalunga, but also the Drexciyan (from the Detroit techno duo, Drexciya) theory of an existence of an underwater civilisation populated by the unborn slaves thrown overboard during the Middle Passage. She purposely combines nautical motifs such as sails, masts and anchors with materials such as kaolin, calico and dried palm leaf to forcefully dissociate the motifs from their original meaning or function and thus renew the objects with a magic charged with reclamation and retaliation.
Her works are an investigation into disrupting linear time and delicately balances the states of preservation, decay and renewal, but also emanates the sense that an event has/will/will never take place at any time whether there are witnesses or not.
Dominique White (b. 1993 UK) lives and works in London. Recent exhibitions and presentations include Fugitive of the State(less) at VEDA (Florence, 2019), Flood-tide, Love Unlimited (Glasgow, 2018); The Share of Opulence; Doubled; Fractional, Sophie Tappeiner (Vienna, 2018); °c, Clearview.ltd (London, 2018); The Conch (April), South London Gallery (London, 2018); Signs | Beacons, Caustic Coastal (Manchester, 2018). White was an artist-in-residence with the network Formerly Called at Wysing Arts Centre (UK) from March to September of 2018.
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