I have long been interested in gaining access to sites, places and knowledge that for me at least, were off-limits. My early interest in the inaccessible sites of suburban London,  developed later as a process of understanding hierarchies of knowledge and power that have shaped my views of how art can interact with other/s forms of knowing - disciplinary, professional expertise, the enthusiast, cultural etc. whilst also leading to meaningful collaborations. This experience resulted in my own involvement in the emergence of experimental and International artist-led organisations that address areas from social engagement to land-use.

My own work has explored the ethics of genetics through participatory self-experimentation, the public mapping and exploration of secret sites that we live with in plain sight, social projects linking space exploration to abstract protest structures in remote military landscapes, as well as archival research that links artistic destruction to temporal forms of creative resistance. Re-assembling and re-presenting disconnected ideas, artefacts, landscapes and imaginaries, the works reveal the limits of our understanding and experience of contested sites/places/spaces and hidden power as well as hierarchies of knowing and therefore access. These insights are increasingly relevent as we begin to understand the link between nature and culture in terms of addressing unfolding social and ecological crises.

Born 1966, Sunbury on Thames, Middlesex
Lives and works in London

Recent projects and exhibitions include;

Perfect Nature at Amstelpark, Shadow Floriade, Amsterdam (2022), Between the Barometer and the Dragonfly at The Central Pavilion, Giardina, Venice Biennale of Architecture (2021), An Atlas of Chrnographic Things, Kunsthall, Trondheim (2020, Norway), Tiny Love Songs, as part of Into the Great Wide Open Music Festival (2019, Holland), All that is Data Melts into Air, at Fargfabriken (2017, Stockholm, Sweden), 9Events at The  Royal College of Art (2016). I have been commissioned by The Henry Moore Institute (2005 and 2016), had a minor restrospective at Objectif Exhibitions (2015, Antwerp, Belgium), and an exhibition with John Latham at Portikus (2014, Frankfurt, Germany). Between 2007-10, I was an intermittent artist in residence at the Centre for Land Use Interpretation research centre in Wendover, Utah.

Many of these projects were supported by the International arts agency Arts Catalyst since 2001 

Other funders include; Mondriaan Fund (NL), Arts Council of England, Henry Moore Institute and Henry Moore Foundation, The Wellcome Trust and Center for Land Use Interpretation, Utah , USA, amongst many others in Europe. Some of my work is in the collection of the The Henry Moore Insitute and Leeds Gallery Sculpture Collection.

London Studio Contact ︎contact form

Links to academic publications, talks etc. are accessible via Neal White’s profile at CREAM.

Full Exhibition list and artist CV available on request - please use contact form.

Other biographical information

Some of my projects are made with my partner, Irish artist, Tina O’Connell.

I am also the director at large of the international art project/studio Office of Experiments conceived in 2004 - which has worked with a range of artists, architects, academics and activists - including Steve Rowell and N55.

As Professor of Art / Research, I currently co-Directed the hugely successful research organisation CREAM with Professor May Adadol Ingawanij

In other relevent areas of professional artistic expererience, in 2007 I was appointed to the Board of O+I (established by friend Barbara Steveni(1928-2020) and until his passing, artistic colleague John Latham (1922-2006) as part of Artist Placement Group legacy). This led to my further role as an initiator of the Incidental Unit in 2017.

In 1997, I co-founded one of the UK first art and technology collectives - Soda (to 2001) that exhibited Internationally and won a BAFTA for Interactive Arts in 2001.