Based in London, neal white is an artist whose practice deals with temporal structures* and dynamic assemblages, often created through fieldwork and research-led approaches. His work situates these forms as digital audio / visual installation, experimental moving image, online and off/site projects, involving diverse works that have included bus tours, self-experimentation and nomadic architectural forms.

After a background in printmaking, neal white studied for an MA in digital arts before co-founding one of the UKs first art & technology collectives; SODA in 1997 (to 2002). From here he focused his digital / research-led practice on projects that engaged science and technology, including its moral and ethical dimensions., whilst exploring the legacy of what had been termed post-conceptual art.

With an increasing focus on critical art practices, he established office of experiments in 2004 as an act acknowedging shifts in artistic production; both away the artist/studio myth and towards collaborative approaches, and also as a recognition of the shift in science toward experimentation outside of the lab  - moving into a social context or involving digital modelling.

Around this time, he met British artists John Latham, and Barbara Steveni (co-founders of Artist Placement Group) both who had a strong influence on his interest in the event structure and then social engagement that underpins his practice to this day. This included his role as Director of O+I (formerly APG, 2007-9), that preceded his strategic role in the launch of the Incidental Unit in 2016 with Steveni, O’Connell and others. Now based at Flat time House in London, Lathams former home, it was considered by Steveni as the contemporary form of APG . 

neal white’s engagement with temporal structures led to his conceptual reworking of his approach to ‘experiment’, as well as the role of fieldwork and situated knowledge/s, including a significant period working at the Center for Land Use Interpretation (USA). It shaped his understanding of mapping beyond spatial parameters, and is present in his work that looks to assemblage. His current ecological projects draw further on the concept of deep time and non-western engagement with futures / cycles that offer potential to shape our contemporary understanding and relationship to how we perceive the world at a moment of emerging and entangled crises.

Over the last 15 years, neal white has increasingly integrated his practice with Tina O’Connell, whose independent work has shared concerns that are also generative of new collaborative approaches.

*Whilst a temporal / event structure is a complex idea when referred to in musical composition, and science / physics, in art, time as a concept can inform the context, the process and production / making, all in all, the realisation of the artwork, including its multifaceted and dynamic forms (including deinstallation or even destruction). Art concerned with deep time also engages our reliance on material  and refocuses our attention on our environment.


selected project / exhibition history includes;

Glazen Huis, Amstelpark, Amsterdam (2022), Central Pavillion of Venice Biennale of Architecture, Italy (Collaboration with Monsoon Assembages 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).

funded by amongst others;

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.

neal white entered academia in 2003. He worked part time for most of his career, and now holds a position as a Professor of Art / Science at University of Westminster, where he supervises PhDs that are practice-led. Since 2017, he became co-Director of the research centre CREAM with Professor May Adadol Ingawanij, where both are founding members of Ecological Futurisms collective. He was a co-curator of the Soil Assembly first realised at Kochi Muziris Biennale 2023, with Meena Vari of Srishti Manipal Institute of Art & Design (IN) Ewen Chardronnet, Makery (FR) and Maya Minder, Hacketeria (CH). He is also currently a a member of the Board of Trustees for SPACE Studios, London, and a visiting researcher at Royal Botanic Gardens at Kew.

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.


Notes from the Field - Front Page

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.


In the depths of Star City, Moscow 2005.In 2005, I was asked to join a trip being led by Arts Catalyst to the training centre for Cosmonauts. All of the others on this trip, including Otolith group 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 play space for rehearsing a gravity free environment, and a moment more surreal than 2001 AD.

Asymmetic Power Protest (Unauthorised access). Dugway Proving Grounds / UTT- a documented protest using a nomadic structure 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 (machine decipherable) used in war games, and military planning that address zero-sum scenarios are elements of a work that address the asymmeties of power in democracies. Undertaken whilst in residence; Center for Land Use Interpretation, Wendover, Utah, funded by Henry Moore Foundation.