CONTACT

sarahwhiteart@outlook.com

Arts Mentor at Morphē Arts

EDUCATION & TRAINING

2014 - 2016. MA Fine Art, Chelsea College of Art, London

2008 - 2011. BA Fine Art, University of Wales, Abersytwyth

2013. Studio Lighting, London School of Photography

 2007 - 2008. Elevate Dance Company (Springs Dance Company Apprenticeship Scheme)

    

LECTURES  

2019. "Touch me Not": the Stand-in, the Decoy and the Redeemer, Performance Lecture, Morphē Arts, with Tyrone Isaac-Stuart.

2017. A Study in Scatology & Repulsion, Morphē Arts

2017. Vulnerability, Temporality & Dystopia, Morphē Arts

  

SOLO EXHIBITIONS

2019. Meals for One, Forum Artist Residency (installation)

  

GROUP EXHIBITIONS & PERFORMANCE

2020. Traces of An Absent Body, Koppel Project Round Room

2019. Fish, Birds, Fingers and Other Things, Deptford X Fringe

2019. The Taste of Home in the Wandering Body, All Saints Wandsworth

2018. Humble To The Ground, Laban Building Gardens (Trinity Laban), Deptford X Fringe

2018. At The Threshold, hARTslane, New Cross

2018. Paradise Underground, Sugar Cane Bar, Clapham

2018. Between Friends, St Stephen's Walbrook

2017. Show Home, Art Licks Weekend, The Old Police Station (Shortlisted for the Workweek Prize)

2017. ek(stasis), Deptford X Fringe, Archie's Bar, Deptford

2017. Cast of My Shape, 'Peace in it together bit by bit pt 3' Artist Series, 19 Goulston Steet

2016. MA Degree Show, Chelsea College of Art

2016. We/Us, Interim Exhibition, Chelsea College of Art

2015. Human Nature, The Archive Gallery, Haggerston

2015. P is For Process Project Part Time, Chelsea College of Art

2015. Connect & Grow, The Garden Museum

2014. Tangent, MAFA Intro Show, Chelsea College of Art

2014. Stick 'Em Up, HUSK Gallery & Project Space

2013. Two Lines, Inside The White Cube, Trinity Buoy Wharf

2013. Strike Against Art Group Exhibition, The Nunnery Gallery

2012. In Unison, Empty Shop Project, Dorking

2011. Degree Show, The School of Art, Aberystwyth University

2010. Internal Traces, The Aberration Group. Gloucestershire Arts and Crafts Centre

  

PROJECTS/ RESIDENCIES

2020. Round Room Residency, Koppel Project, The Campus

2019. Forum Artist Residency, Installation

2014. Connect & Grow, Siobhan Davies Dance

2014. Interplay, Interface Arts Scotland, Leith School of Art

2013. Sharing Moving Making, Independent Dance

2013. (Artist Assistant/Intern) Hidden in Plain Sight: Re-Imagining History & Landscape, Nottingham Castle

2013. (Producer/Devised Theatre Collaboration) These Feet, Morphe Arts

2013. (Project/ Publication) Still Moving, Siobhan Davies Dance 

2013. Strike Against Art, Bow Arts and Morphe Arts, The Nunnery Gallery

2012. Only Connect Lab, Aberystwyth Arts Centre

2011. Empty Shop Project, Second Hand Dance

2011. (Collaborative Project & Performance) Dwsin y Daith and Rhuddem Dance Company

WRITING

 

2021. Visual Commentary on Scripture, Kings College London.

 

2019. Essay on Alastair Gordon, at City and Guilds Residency, London

2019. "Touch me Not": The Stand-In, the Decoy and the Redeemer, performance lecture at Morphe Arts

 

2019. Exhibition Text, 'Black Stuff', Unit 3 Projects, London (Turps Painters)

2019. Essay on Matt Gee, exhibition at Husk Gallery, London.

2018. AMBIT Magazine, Review of 'Poetics. Trucks. Flood' by Michael Coppelov at Husk Gallery, London

The work is rooted in the history of collaborative practice between dance and visual art, and engages with contemporary questions of dance in gallery spaces, and its present relationship with contemporary art practice. The ongoing research wrestles with the body’s physical understanding of loss and grief, and its relationship with site and location: notably places which have become sites of loss, difficulty and tension. There is an incessant question of how we can remember physically through a returning to place and an abstracted re-enacting and remembering of one's own painful experiences, as the body is understood as a physical archive: a site of layers of sedimented memory.


Our physical body is the site we inhabit in the world. It is battered and bruised: a tangible testimony to what we have known. We carry with us in the body our memories and emotions of everything that has gone before, of everything that has been done to us and which have done. Alluding in part to the Entombment paintings, the work presents an image of a falling, collapsed and entangled body: utilising tools of repetition, mimicry, and endurance to physically explore grief.