Through engagement with conceptual arts historical turns, artist archives, experimental systems and epistemic things, as well as culture values, from love to destruction, my focus has been on arts ability to contrast the ordinary and extraordinary in everyday life, to locate and point to the banality of scientific and technological progress or to make visible the beauty and cruelty of our relationships to nature. As processed by the artistic imaginary; visual, spatial, temporal or even technical, art can investigate and simulataneously unweave networked technologies, recode genetic science or apprehend multisensory environments. Contemporary arts formlessness and artists constant shapeshifting, their collaborations, collective identities, and reworking of representational politics and idioms, is creative thought in action. Art is a force that reimagines our world through banality and beauty, creating meaningful insights, mending and rebinding our relationship with the planet, with other species and with one another. Yet its greatest contribution to society is art itself (1).

Over many years, my own projects have used two investigative modes of research and art making to explore many of these qualities, as well as to investigate artists ideas,  power and knowledge. The projects have placed traces of arts destructive power within the archives of arts own historical institutions, explored clinical self-experimentation through invasive audience aesthetics, connected data from a global scale military sensors to a resonating sound sculpture made from recylced military hardware; mapped hidden scientific sites within British landscape of suburban business zones and edgelands, staged visual protests within the sublie void of military sites in the USA, as well as liberated the dying songs of genetically modified mosquitoes into still nocturnal forests. 


Following recent extensive research in Holland with Tina O’Connell , I am currently developing approaches to propositional projects that engage environmental policy, visual ecology and techniques of counter mapping to address issues of multispecies justice. This work has been supported by supported by  Mondriaan Funds, Nieuw en Meer and Zone2source (Holland), and in 2023 by Kew Herbarium, London and through curatorial and collective endeavour with Ecological Futurisms at University of Westminster and with other International partners.


1. A quote from my late friend and Director of O+I, the artist Barbara Steveni.


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, the 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 am fortunate to co-Direct the leading UK Arts and Media research centre 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.