Neal White is a London based artist who has been working with research-led practice since 2001. Drawing on a wide range of sources and contexts, from socially engaged and post-conceptual art, to arts interaction with ecological and environmental science, he situates the role of the artist as an investigator, as a visual thinker and as a connector - of people and ideas. His works operates in and beyond the studio, through fieldwork, experimental systems, curating and contextual inquiry inside institutions or through residencies and in collaborations with others. Artworks take a variety of forms, from drawing and digital media, through to digital imaging, artist publications, installations and para-institutional structures.
He has worked solely and in collaboration on projects commissioned Internationally, including at Kochi Muzaris Biennale (India, 2023), Kunsthalle Trondheim (Norway, 2022), Venice Biennale (Central Pavilion 2021), Portikus, Germany (2014) and across the UK - including; Whitechapel Gallery, FACT - Liverpool, John Hansard Gallery - Southampton, Natural History Museum, Barbican Gallery and Lux Gallery, amongst others.
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Selected recent 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.
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.
Teaching on MA Global Contemporary Art
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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, 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.”
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.