For her to start with solo exhibition in an institutional context in France titled “Cinders of the Wreck”, Dominique White pursues her depiction of the Point out as the Hydra a relentless beast, with lots of, regenerative heads. Using disfigured and deformed searching harpoons in put of the beast’s a lot of heads, and the Ship in position of the beast’s body, Dominique White is questioning the regenerative powers of the Point out and its capacity to continuously mutate as a indicates of maintaining an oppressive program. Identified for giving lifetime to types which embody both of those a phantom–like fragility and a threatening presence, White walks the readers via a universe of anticipation that weaves collectively theories of Black Subjectivity and Afro-pessimism with the nautical myths of Black Diaspora. Ropes, drained hand-woven nets, casted iron, raffia, and cowrie shells casted and coated in a ghostly shroud of kaolin clay all function alongside one another to evoke the transformative electricity of waves and wreck.
“Cinders of the Wreck” is the continuity of her recent analysis on a range of concepts which include what the artist defines as the Shipwreck(ed) a reflexive verb and condition of getting. Her sculptures, or beacons, prophesy the emergence of the Stateless. This exhibition is the second iteration of her analysis on the fantasy of Hydra, following the exhibition “Hydra Decapita” at VEDA Firenze, Florence, Italy.
Commissioned and produced by Triangle – Astérides, centre d’art contemporain d’intérêt national. Coproduction: Friche la Belle de Mai and Fluxus Art Jobs.
Curated by Céline Kopp.
At Triangle — Astérides, Marseille
till June 5, 2022