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ePaper created 2014-08-04, 00:18:43 | version 1.32.01
After that, she was hooked on adorning urban spaces. White finds the challenges of painting on concrete and brick inspirational. No texture is the same; the bumps, cracks and pores of the surfaces have their own vocabulary. “I was really attracted to the opportunity to release the illusion of control and just see what came about,” she says. She finds the impermanence of the medium thrilling. Adopting a free approach to the imagery, she throws paint around, using garden tools or anything else at her disposal to drag paint across the surface. “When I paint a wall, it’s like an intimate dance with my image,” she says. “[I move] my points of awareness in a continuous flow, responding to the moment.” That is not to say White’s work is abstract. Her paintings are most often surrealistic. She creates recognizable images altered in some way that cannot be real, like something seen in a dream. Many of her paintings include eyeless children, or human faces containing blocks, strata or other static elements. Even so, her paintings often have an immediate, abstract feel: paint is allowed to flow down the image in long drips or splashes of color that may represent a specific object… or not. White sometimes works on commission, usually inside cafe's or businesses. She most recently painted murals in a Raleigh yoga studio as work-for- hire. She is quick, however, to dispel notions that life as a muralist is in any way glamorous or comes with a money-making guarantee. More often than not, her larger works are created for passion alone. “If you find a wall and are granted permission to paint on it, you might be lucky to get your materials covered by the building owner.” There are other small perks, like food or coffee, but White paints murals mostly for the joy of the experience. TAE MAGAZINE 41