Neal White is an artist from London, with a research-led practice.

Neal White is an an artist and researcher, who is also critically engaged as a curator / practitioner within the fields of art and ecology. This practice is grounded through his own art projects, temporary structures and artworks / installations that situate the artist within and beyond the studio, working within the lanscapes, site and context of their subject. 

Whilst Neal White’s practice can be defined by his collaborative relationships, initiated with other artists, and architects, activitsts etc. Following his own early experiences in an internationally successful digital art collective, his encounter with artists associated with O+I/ APG led to a more critically repositioned role, working as an artist in relation to collective practices associated with post-conceptual art, addressing technologies and media art/science. His individual artworks then evolved as both a temporal and materially grounded forms. Since 2018, his projects have dealt with issues and ethics of ecology, multispecies justice and environment, bridging his artistic and curatorial approach, at a local and international level.

Neal White continues to work closely with his partner on many projects, the Irish artist, Tina O’Connell. 

For a more detailed background and academic work, READ MORE here

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Neal White has has exhibited solo and collaborative projects, worked as an artist and curator, and has been commissioned and exhibited Internationally, including (selected) at; Kochi Muzaris Biennale (India, 2023/2026), Kunsthalle Trondheim (Norway, 2022), Venice Biennale (Central Pavilion 2021), Kunsthall Trondheim, Norway (Collaboration with Diann Bauer, Jols Thoms of Deep Field Project 2020), Fargfabriken, Stockholm, Sweden (Collaboration with Tina O’Connell 2017), Henry Moore Institute, UK (2005, 2016), Royal College of Art, UK (Collaboration with Tina O’Connell 2016), Objectif Exhibitions, Antwerp, Belgium (2015), Portikus, Stadehlschule, Frankfurt, Germany (2014-15), Whitechapel Gallery, London, UK (2014), TULCA, Galway, Ireland (Collaboration with Tina O’Connell 2013), Chelsea Space, London, UK (2010), John Hansard Gallery, Southampton, UK (2008-9), Camden Roundhouse, London, UK (2006), Natural History Museum, London, UK (2003), Moderna Museet, Stockholm, Sweden (With Soda 1999) Lux Galllery, London, UK (With Soda 1998), Gasworks, London, UK (With Soda 1998).

Funders include;
Biennale de Venezia (IT), Mondriaan Fund (NL), Arts Council of England, Henry Moore Institute and Henry Moore Foundation, The Wellcome Trust (all UK) and Center for Land Use Interpretation (USA), amongst many others in Europe. Selected works are in the collection of the The Henry Moore Insitute and Leeds Gallery Sculpture Collection.

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


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Notes on Front Pages

Latest
Previous and current.

Asymmetic Protest

Located on the edge of Southbase- this documented protest using a nomadic structure was situated at a High Explosive Bomb assembly area, used to make one of two Nuclear bombs used by the USA in WW2. Sitting on the edges of the largest US Military Bombing Range. (UTT) - Utah. 2007. The custom made mobile structure (F-Utility Vehicle) and placards with equations used in war games, and military planning that address zero-sum scenarios are elements of a work that address the asymmeties of power. Undertaken whilst in residence; Center for Land Use Interpretation, Wendover, Utah, funded by Henry Moore Foundation.

Space on Earth Station 2004-6

Camden Roundhouse, 2006. A project developed in collaboration with Danish architects N55, this space station was conceived as an exploratory platform to investigate our own planet and our impact on it. Using forms developed by Peter Jon Pearce (Structure in nature is a strategy for design) and with a critical view of the attempts to escape Earth and reach Mars, putting space over and above planetary health, we experimented with micro-economies, ecologies and low impact living. The space ‘on earth’ station included units for humans, birds, bees and plants, and hosted projects by artists across UK / Europe selected from an open call. It was produced in London and Copenhagen, and was open to the public for 6 days in September 2006.  Supported by Arts Catalyst, London.

Tiny Love Songs. Nocturnal Soundscape. 2019 

A nocturnal soundscape in the forests of the Netherlands, immersed the audience in the mesmerising and unnvering sounds of a million mosquitoes mating. Designed to start a few mins before the end of each hour, the work led to an intense crescendo, plunging the forest back into darkness on the hour. Produced with Office of Experiments. Commissioned by zone2source for Into the Great Wide Open Festival. 2019.

Dislocated Data Palm [Part 1 of 2] (2014)

A 9 metre tall man-made palm tree originally used to disguise mobile phone towers was cut into two parts, with the upper five metre section suspended inside Portikus gallery, floating just above the floor where John Latham’s sculpture ‘God is Great’ (2005) was installed. Ongoing broadcasts and guerilla actions by White were streamed from, in and around a complex of concealed data sites, used for high speed financial trading and US signals intelligence, in the Frankfurt region. As Portikus website states;
Rather than producing objects and proclaiming ways of how they should operate in the world, White’s practice focuses instead on mediating how things, or no-things, exist as events in space. 

Nocturnal fieldwork with The School for Multispecies Knowledges - Amsterdam, May 2022

Exploring nocturnal ecologies with members of the School for Multispecies Knowledges. Using a specially adapted XYZ cargo bike made by former partners on Space on Earth Staion - N55 (see below), we toured the nocutrnal landscape of Amstelpark in Amsterdam, after it had closed to the public. UV  / Black lights and an array of mobile phones capture  other realities through a spectral insight into other life worlds.
In the depths of Star City, Moscow 2005.

In 2005, Neal White was asked to join a trip being led by Arts Catalyst to the training centre for Cosmonauts. “Whilst all of the others on this trip were intent on a zero gravity flight, I was tagging along  as I was researching the possibility of remaking a scene cut from Kubricks classic 2001 AD (of an art class). Whilst inside the closed military facility of Star City, I had an unexpected encounter. Whilst others in the group were undergoing training - learning how to put on a parachute in case the parabolic flight they were all going on failed, I was left alone in a corridor. A small round light suddenly illuminated, followed by others. When I approach one of these lights, I discovered it was a porthole window, and far below me in the centre of

the building, in what turned out to be a vast and very deep swimming pool, was a full scale model of the MIR space station. Soon after, at the same levels as I was standing, divers entered the pool wearing neutral bouyancy kit. A vast space was recvelaled for rehearsing a gravity free environment, and a moment more surreal than 2001 AD emerged in front of my eyes.”