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In the spirit of Claes Oldenburg and Christo, Red WHITE pursues a visual dialog aimed at examining the scale of everyday objects. Putting a patina of color, texture, or light on seemingly ordinary objects, and emphasizing their scale, WHITE transforms the viewer’s notion of common into the extraordinary.
Concerned with manipulation of form by the addition of dimensional “triggers”, WHITE finds solace in multi-dimensional industrial and commercial objects like nuts, bolts, forks, springs, hinges, screens, etc.. His fascination with depth on a small scale invites a closer inspection of the viewers pre-conceptions and opens a tactile narrative in which the artist and viewer share common conclusions. No longer are forks meant for eating. They’re meant for seeing, for example. WHITE’s use of small objects, as opposed to the grandiose scale of Oldenburg’s monumental sculpture for instance, inspires one to “touch” and “hold” what they see. If fact, it is encouraged. Unlike the acres of material used for similar explorations of optic perceptions by Christo, WHITE uses small, bite sized, hand held, objects from which to launch his explorations.
The dichotomy of scale is accentuated by WHITE’s bold use of color…….red and white. Always. These colors represent to him both ends of the spectrum and also serve as his signature. Rather than the complete saturation of all colors, resulting in black, WHITE prefers to stop spinning his color wheel when it reaches red. The clash of white’s purity and red’s passion creates a flash of palpable energy at the synapse of it’s borders. “Like Rothko in his color-field paintings,” says WHITE, “I find solace in the transition space between the colors”.
Art critic Clement Greenberg was onto this theory when in his 1960’s inspection of the early movement he declared that “color field painting seeks to rid art of superfluous rhetoric”. This too, is what WHITE is interested in. He himself is “conceptual”. His “conceptual” sculptures are just that, “conceptual”. They are not intended to belabor the viewer with art theory. They are simply to experience in a direct encounter. They can even be picked up to look at from any angle. They are accessible, immediate, and pure.
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