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 several, regenerative heads. Using disfigured and deformed looking harpoons in place of the beast’s quite a few heads, and the Ship in position of the beast’s human body, Dominique White is questioning the regenerative powers of the Condition and its skill to continually mutate as a indicates of retaining an oppressive method. Acknowledged for offering life to kinds which embody both equally a phantom–like fragility and a threatening existence, White walks the guests via a universe of anticipation that weaves together 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 get the job done jointly to evoke the transformative electrical power of waves and wreck.
“Cinders of the Wreck” is the continuity of her modern analysis on a wide range of principles including 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 2nd iteration of her analysis on the myth of Hydra, adhering to the exhibition “Hydra Decapita” at VEDA Firenze, Florence, Italy.
Commissioned and manufactured by Triangle – Astérides, centre d’art contemporain d’intérêt nationwide. Coproduction: Friche la Belle de Mai and Fluxus Artwork Projects.
Curated by Céline Kopp.
At Triangle — Astérides, Marseille
until June 5, 2022