Bloodlines not Borderlines (2019)
ANTHONY WHITE
Works About Biography
Ghost I, 2020
Acrylic on linen
Unique
35.8 x 24in (91cm x 61cm)
Series: Ghost
Ghost II, 2020
Acrylic on linen
Unique
35.8 x 23.6in (91cm x 60.5cm)
Series: Ghost
Ghost III, 2020
Acrylic on linen
Unique
23.6 x 35.4in (60.3 x 90.5cm)
Series: Ghost
Acrylic on linen
Unique
23.6 x 35in (60 x 89.5cm)
Series: Ghost
Ghost V, 2020
Acrylic on linen
Unique
35.4 x 35.4in (90 x 90cm)
Series: Ghost
SOLD
Ghost Series
« The Ghost series of works is a reflection upon the contemporary times in which we are living. With the outbreak of the COVID-19 epidemic I have used this confinement period to pose a series of questions about the role and relevance of my art practice. These works are a meditation upon the effects of forced isolation and confinement of the vast majority of life on the planet. How does this form of habitation affect us mentally? How could we use personal anguish? Can a form of beauty be built from this experience? Executed in acrylic paint, slowly and carefully built up of gradual layered veils of acrylic mediums the painted gesture is slowed right down to show the delicate correlation between the hand and mind of the artist »
« The Ghost series of works is a reflection upon the contemporary times in which we are living. With the outbreak of the COVID-19 epidemic I have used this confinement period to pose a series of questions about the role and relevance of my art practice. These works are a meditation upon the effects of forced isolation and confinement of the vast majority of life on the planet. How does this form of habitation affect us mentally? How could we use personal anguish? Can a form of beauty be built from this experience? Executed in acrylic paint, slowly and carefully built up of gradual layered veils of acrylic mediums the painted gesture is slowed right down to show the delicate correlation between the hand and mind of the artist »
Swan I, 2020
Monotype on Windsor and Newton paper, 190 gsm
29.5 x 22in (75.6 x 56cm)
Monotype on Windsor and Newton paper, 190 gsm
29.5 x 22in (75.6 x 56cm)
Swan II, 2020
Monotype on Windsor and Newton paper, 190 gsm
29.5 x 22in (75.6 x 56cm)
Monotype on Windsor and Newton paper, 190 gsm
29.5 x 22in (75.6 x 56cm)
Swan I and II
« The Swan works I and II of improvised mono prints were also executed during the period of confinement. They are unique and double-faced prints formed by a non-traditional printing process. A large piece of linen was placed on the ground and then painted with warm rabbit skin glue as in the traditional preparation of an artist’s support. Ultramarine pigment was then applied whilst still warm and multiple layers of wet paper were laid across the surface and then additional Ultramarine pigment added to the sandwiched paper. On top of this a piece of plastic was layered and then hand pressed with rollers and sealed and the resulting image fixed with a binding glue. This process references the Anthropometries of the late Yves Klein during the 1960s. However, my technique utilizes a mono typing process to achieve a large degree of transparency whereas Klein’s work resulted in heavier impasto forms ».
Streetcleaner, 2020
Oil and collage on linen
47.6 x 35.8in (121 x 91cm)
SOLD
Streetcleaner SOLD
« This work harnesses the energy from Paris with its amalgamation of cultures utilizing the aesthetic of found materials. There is a concern in my practice about “otherness”, something which is different to ourselves. I emphasize these cultural differences within the metropolitan region by research and experimentation with diverse media. The work incorporates collaged paper from the Parisian metro system. By combining important forms of analogue communication including posters of advertising and musical acts, I am drawing from the urban cultural history of the city. I often use the back of these metro “affiches” to build the image with tearing, re-cropping and utilizing painterly interventions acting as a form of dissent. The aesthetic borrows from the language of twentieth century Abstract Expressionism ».
« This work harnesses the energy from Paris with its amalgamation of cultures utilizing the aesthetic of found materials. There is a concern in my practice about “otherness”, something which is different to ourselves. I emphasize these cultural differences within the metropolitan region by research and experimentation with diverse media. The work incorporates collaged paper from the Parisian metro system. By combining important forms of analogue communication including posters of advertising and musical acts, I am drawing from the urban cultural history of the city. I often use the back of these metro “affiches” to build the image with tearing, re-cropping and utilizing painterly interventions acting as a form of dissent. The aesthetic borrows from the language of twentieth century Abstract Expressionism ».
Conjola, 2020
Oil on linen
42.1 x 35.8in (107 x 91.5cm)
Framed (size above unframed)
Conjola
« This work draws from landscape imagery of the south eastern coast of NSW in Australia. The region is where I was living as a young artist before I moved to Paris to undertake the Studio Award at La Cité Internationale Des Arts. The region was recently ravaged by bushfires during late 2019. This work draws attention to a former pristine coastal environment that is now becoming vulnerable to the effects of global warning ».
« This work draws from landscape imagery of the south eastern coast of NSW in Australia. The region is where I was living as a young artist before I moved to Paris to undertake the Studio Award at La Cité Internationale Des Arts. The region was recently ravaged by bushfires during late 2019. This work draws attention to a former pristine coastal environment that is now becoming vulnerable to the effects of global warning ».
Bloodlines not Borderlines, 2019
Oil and ripolin on linen
36.2 x 36.2in (92 x 92cm)
Framed (size above unframed)
Oil and ripolin on linen
36.2 x 36.2in (92 x 92cm)
Framed (size above unframed)
Bloodlines not Borderlines
« For me the intention of a work is inherent in the quality of the gestural mark. In my practice this mark acts as a signifier of dissent. My intention is to call into question the concept of Western ideals of civilization. Why do we make immigration a political agenda ? It turns modern Western civilization into a theatrical farce ».
« For me the intention of a work is inherent in the quality of the gestural mark. In my practice this mark acts as a signifier of dissent. My intention is to call into question the concept of Western ideals of civilization. Why do we make immigration a political agenda ? It turns modern Western civilization into a theatrical farce ».
The Stone Cutters, 2021
Oil on linen
38.1 x 27.9in (97 x 71cm)
The Stone Cutters
This painting’s title draws from a figurative painting of a similar name by Gustave Courbet (1849) and is an ideological nod towards the political in art. Courbet witnessed extreme poverty, and on encountering two stone cutters one day, he invited these two strangers into his home to paint their portraits. He stated that we must drag art down from its pedestal. For too long we have been making art that is pomaded and in ‘good taste’. Courbet’s realist movement led to radical change using this new direct form of realism.
Fiction, 2017
Oil on ripolin on linen
35.8 x 35.8in (91 x 91cm)
Permanent Collection of the Mark Rothko Centre, Latvia
Fiction
This work is in the Permanent Collection of the Mark Rothko Centre in Latvia.
Encore
Oil on linen
20.5 x 20.5in (52 x 52cm)
Soho House Collection, London
Image courtesy of Soho House.
Encore
In the Soho House Collection, London
In the Soho House Collection, London
Ghibli
The title means ‘the hot dry desert wind from Arabia’. Building on the long tradition of landscape painting in the region, the artist is here depicting a landscape that is at odds with itself. Rather than a landscape in the picturesque tradition Anthony evolved the genre into abstraction, mirroring the contemporary economic system and the overwhelming data concerning climate change. It builds on the themes of the passage of winds, the turning of the sun and moon, the movements of peoples around the world and the vital energy that surrounds us.
The title means ‘the hot dry desert wind from Arabia’. Building on the long tradition of landscape painting in the region, the artist is here depicting a landscape that is at odds with itself. Rather than a landscape in the picturesque tradition Anthony evolved the genre into abstraction, mirroring the contemporary economic system and the overwhelming data concerning climate change. It builds on the themes of the passage of winds, the turning of the sun and moon, the movements of peoples around the world and the vital energy that surrounds us.
Ghibli 2019
Flashe acrylic paint on linen
Lightly waxed solid oak frame
61 x 54cm
Flashe acrylic paint on linen
Lightly waxed solid oak frame
61 x 54cm
L’Effrondement, 2019
Collage, Hahnemuller paper and found objects
Lightly waxed solid oak frame
89.5 x 59.5cm
L’Effrondement
This collage marries disparate forms, ranging from the spontaneous gestural work of doused rag imprints, gestural painterly touch and hard-edge geometrical imagery. Structure is given to the overall composition through the intervention of found objects and assemblage of graphic elements alongside the destruction of the painterly image. It depicts, primarily through the use of monochrome with very minimal palette a sense of industrialized landscape, punctuated by the use of hard graphic vinyl signage found on the streets of Paris.
This collage marries disparate forms, ranging from the spontaneous gestural work of doused rag imprints, gestural painterly touch and hard-edge geometrical imagery. Structure is given to the overall composition through the intervention of found objects and assemblage of graphic elements alongside the destruction of the painterly image. It depicts, primarily through the use of monochrome with very minimal palette a sense of industrialized landscape, punctuated by the use of hard graphic vinyl signage found on the streets of Paris.