Throughout his practice, White approaches sculpture as a kind of material alchemy \u2013 discarded substances are reworked forms that appear uncannily animate: industrial debris becomes wave, tree, or cosmic surface, revealing unexpected continuities between natural forces and technological systems.<\/p>\n
Two sculptures form the centre of the exhibition. In The Great Wave (after Hokusai), fragments of torn tyre rubber collected from roadsides around the world gather into a dense, turbulent crest that rises above the viewer \u2013 one of the most recognisable images in art history, understood as a moment of impending force poised above fragile human lives. And the monumental Black Palm rises through the gallery like an improbable organism, assembled from lengths of discarded tyre rubber, its trunk and fronds have presence of a living structure \u2013 an artificial tree grown from the residues of global mobility.<\/p>\n
Across the exhibition White\u2019s works reveal the hidden energies that shape material form. In the Lichtenberg Drawings, high-voltage electrical discharges burn branching patterns directly into the surface of wood, creating lightning-like structures that emerge through the interaction of energy and resistance. And the electroformed Black Sun works develop slowly through the accumulation of copper in electrically charged baths, allowing metallic surfaces to crystallise over time.<\/p>\n
To 6 May.<\/p>\n","protected":false},"excerpt":{"rendered":"