April 30 - June 13, 2015
Sherrick & Paul, Nashville
White’s paintings have a muscular energy that flattens the viewer. That’s how I felt, anyway, when I saw two of her paintings in the inaugural Sherrick & Paul exhibition last year. Asymmetrical, unbelievably smooth, and often huge in scale, her abstract acrylics offer panoramic views of her experience in the world. This month, White presents Double Vanity, a series of new work at Sherrick & Paul. Although this series is not as overtly sports centered as other of the artist’s work, it captures the same kind of in-the-moment, untempered bursts of action that White likes. Though the text in White’s paintings does not usually have a discernable meaning, it reflects the human need to leave a mark on the world. Rather than trying to force meaning into a work, White relies on the vagueness of abstraction. “Meaning,” she wrote in a catalog piece, “doesn’t breathe outside of a moment.” —Erica Ciccarone, NashvilleArts Magazine
The installation at Sherrick & Paul—in part a commentary on the social structures of domesticity that create hybrid masculine/feminine spaces—speaks to the ways in which private environments are shaped (and divided) by their inhabitants’ degree of comfort with one another. The gallery’s design, split in two by a freestanding central wall, inspired White to hone the collection to heighten that duality. The exhibition includes a combination of small and large-scale paintings, figurative images with text, and a new ink jet printed textile that reads as tapestry, its texture created with layers of paint and handwork, informed by White’s years in textile design. Though each piece contains layers of paint and materials, the thinness of their application and the color palettes White chooses give them a ghostly quality that conveys lightness rather than heaviness, allowing the viewer to see the multiple dimensions present, even on flat surfaces.