Posts Tagged ‘Fredrick White

12
Jan
15

New Fredrick White Sculpture website

 

I have made a new website for my friend FW. The site is fully responsive on all devices and showcases his amazing work to advantage.

Visit his new website.

Marcus

 

 

Fredrick White Sculpture website

 

Fredrick White Sculpture website
2015

 

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

 

Fredrick White
Transference
2014
Aluminium pipe
802 x 133 x 290 cm

Photographed at Pipemakers Park, Maribyrnong

 

 

Fredrick White Sculpture website

LIKE ART BLART ON FACEBOOK

Back to top

17
Feb
13

Winner of the 2013 Montalto Sculpture Prize: ‘Abundance’ by Fredrick White

Exhibition dates: 17th February – 28th April 2013

 

Fredrick White. 'Abundance' 2013

 

Fredrick White (Australian)
Abundance
2013
Aluminium pipe
440 x 80 x 70cm

 

 

Congratulations to Fredrick White on winning the 2013 Montalto Sculpture Prize. Nobody deserves it more than you Fred. You work so hard on your amazing art with its dancing energy and spirit. Well done!

Marcus

.
See more of Fredrick White’s sculpture on his website. Please click on the photographs for a larger version of the image.

 

Fredrick White. 'Abundance' 2013 (detail)

 

Fredrick White (Australian)
Abundance (detail)
2013
Aluminium pipe
440 x 80 x 70cm

 

Fredrick White. 'Abundance' 2013 (detail)

 

Fredrick White (Australian)
Abundance (detail)
2013
Aluminium pipe
440 x 80 x 70cm

 

Fredrick White. 'Abundance' 2013 (detail)

 

Fredrick White (Australian)
Abundance (detail)
2013
Aluminium pipe
440 x 80 x 70cm

 

Description of 'Abundance' by the artist Fredrick White

 

Description of Abundance by the artist Fredrick White

 

 

Fredrick White Sculpture website

Montalto Sculpture website

LIKE ART BLART ON FACEBOOK

Back to top

28
Oct
11

Sculpture: ‘Everything’ by Fredrick White, 2011

October 2012

 

Fredrick White. 'Everything' 2011

 

Fredrick White (Australian)
Everything
2011
steel
210 x 120 x 250cm

 

 

A new sculpture by Fredrick White is appearing in the Lorne Sculpture Prize (now Biennale) which opened on the 16th October and continues until 5th November, 2011. The work continues the artist’s exploration into the matrix of what is seen and not seen, what lies above and below.

Marcus

.
Please click on the photographs for a larger version of the image.

 

Fredrick White. 'Everything' 2011

Fredrick White. 'Everything' 2011

 

Fredrick White (Australian)
Everything
2011
steel
210 x 120 x 250cm

 

 

Fredrick White Sculpture website

LIKE ART BLART ON FACEBOOK

Back to top

17
Feb
11

Sculpture: ‘Before The After’ (2010) by Fredrick White

February 2011

 

Fredrick White. 'Before The After' 2010

 

Fredrick White
Before The After
2010
Steel
220 x 105 x 95cm

 

 

Another beautiful new sculpture by Australian sculptor Fredrick White that will be appearing in the Montalto Sculpture Prize that opens this weekend at 33 Shoreham Road, Red Hill South, Victoria and continues until 1st May, 2011. The work has great presence and continues the artist’s exploration into the matrix of what is seen and not seen, what lies above and below. Please click on the photographs for a larger version of the image.

Marcus

.
Please click on the photographs for a larger version of the image.

 

Fredrick White. 'Before The After' 2010

 

Fredrick White. 'Before The After' 2010

 

Fredrick White
Before The After
2010
Steel
220 x 105 x 95cm

 

 

Fredrick White Sculpture website

LIKE ART BLART ON FACEBOOK

Back to top

29
Jul
10

Review: ‘Lifespan’ (2010) by Fredrick White

July 2010

 

Fredrick White. 'Lifespan' 2010

 

Fredrick White
Lifespan
2010

 

 

This is sculptor Fredrick White’s second public commission in Queensland. The sculpture Lifespan (2010) is located at Blackall in Western Queensland (see Google map). The work is 8 metres long. Blackall already contains public sculptures by William Eicholtz (Towners Call – Edgar Towner V.C. Memorial (2009)) and Robert Bridgewater (Wool, Water and Wood (2008)).

 

“And do you know what “the world” is to me? Shall I show it to you in my mirror? This world: a monster of energy, without beginning, without end; a firm, iron magnitude of force that does not grow bigger or smaller, that does not expend itself but only transforms itself; as a whole, of unalterable size, a household without expenses or losses, but likewise without increase or income; enclosed by “nothingness” as by a boundary; not something blurry or wasted, not something endlessly extended, but set in a definite space as a definite force, and not a space that might be “empty” here or there, but rather a force throughout, as a play of forces and waves of forces, at the same time one and many, increasing here and at the same time decreasing there …”

.
Frederick Nietzsche, The Will to Power.

 

Fredrick White’s sculpture has always been about flows and extrusions – the movement of energy both visible and invisible, above and below ground, inside and outside the body – an exploration of some giant vascular system of which we are all part. Sculptures sprout from manhole covers (Manwhole 1999), welling up from the hidden system of pipes and passageways that run under the earth; coffin-like boxes hover in suspended animation over the ground, anchored by pipes that disappear into the earth (Universal Attachment 2000); ectoplasmic, ethereal substances emit in Time Being No’s 1, 2 and 3 (2002). In recent work From Life To Life (2007), Drawing Water (2010) and ‘Lifespan’ (2010) these connections are even more intimately linked to the life cycle and the essential place of water in the scheme of things:

“I am interested in the stuff that holds us together, the dominant paradigms of human life, our reliance on the Earth and each other. There is no separation between anything – birth / death, above/below, past / future – all are part of the life cycle of living things. The life cycle is the main motif of my practice and is a manifestation of my Piscean nature.”

.
White’s hyper-textural work flows from one link to another, from one connection to another. His text is a body without organs, always moving between the visible and the invisible webs that connect us. As so a rhizome, so the work of White: there is no hierarchical trunk, no beginning and no end, for White’s work is multiple, lateral, circular.

Using the language of Deleuze and Guattari (A Thousand Plateaus, 1980), White’s assemblages (for that is what they are), “are the processes by which various configurations of linked components function in an intersection with each other …” In these assemblages the process of territorialization intensifies and the assemblages, “can be thought of as constituted by an intensification of these processes around a particular site through a multiplicity of intersections of such territorializations.”1

In White’s assemblages there is no language of itself. The rhizomic nature of their being produces an unconscious connection to all things: his work fosters connections, offers multiple entryways, detaches and modifies new cultural forms. Above all White’s work offers a new map for us to cultivate the soil of living, the site of his intersections extruding form in a vibrant intensification of energy.

Dr Marcus Bunyan

 

  1. Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance,” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p. 166.

.
Please click on the photographs for a larger version of the image.

 

Fredrick White. 'Lifespan' 2010

 

Sculptor Fredrick White sitting in front of his sculpture Lifespan (2010)

 

Fredrick White. 'Lifespan' 2010

Fredrick White. 'Lifespan' 2010

 

Fredrick White
Lifespan
2010

 

 

“Lifespan is made predominantly from recycled bore casing, a material chosen to suggest the language of plumbing as a conduit for dialogue on the theme of water.

The end sections of the work, like a hydro-electric scheme, rise from the ground and start crossing over. This form whilst inspired by the braided channels of Western Queensland is also about life in general; paths that converge or momentarily cross over, then towards the end of life, like the beginning, level out to a new time for experiencing.

The vertical pipes reference the artesian bore system that provides the main reliable source of water here. In this scenario, the top of the pipes are the surface of the Earth and the pipes bore into the ground to tap into the aquifers deep below in the Great Artesian Basin.

We are here because of the Earth and water is the primal substance that is the source of all life, in fact the artesian water of Australia is in places as old as humanity itself; the perfect symbol of the past, present and future.”

Fredrick White 2010

 

Fredrick White. 'Lifespan' 2010

 

Fredrick White
Lifespan
2010

 

Fredrick White. 'Lifespan' 2010 (detail)

 

Fredrick White
Lifespan (detail)
2010

 

 

Fredrick White website

LIKE ART BLART ON FACEBOOK

Back to top

24
Jun
10

Sculpture: ‘Drawing Water’ (2010) by Fredrick White

June 2010

 

Fredrick White. 'Drawing Water' 2010

 

Fredrick White
Drawing Water
2010

 

 

My best friend, Australian sculpture Fredrick White, has been commissioned to create two public sculptures in Western Queensland. The first has been completed at Thargomindah (see Google map), a town located 1014 km west of Brisbane and was commissioned by artplusplace and Thargomindah Regional Council. In a small town of 250 people this is the town’s first public sculpture.

“The town’s one claim to fame is its artesian bore. The bore, which lies 2 km out of town on the Noccundra road, was drilled in 1891 and by 1893, having drilled to a depth of 795 metres, the water came to the surface. It was then that the town successfully attempted a unique experiment. The pressure of the bore water was used drive a generator which supplied the town’s electricity. Enthusiasts have described this as Australia’s first hydro-electricity scheme. The system operated until 1951. Today the bore still provides the town’s water supply. The water reaches the surface at 84°C.”

Text from the Sydney Morning Herald travel website February 8, 2004 [Online] Cited 17/08/2019

 

The work Drawing Water (2010) addresses the need for water in such an arid location and the numerous bores that are sunk around the town to draw water to the surface. The earth is reflected in the sky and the sky in the earth in the central polished stainless steel disks (as friend Perry observes, like a tunnel connecting earth and heaven). A forest of bore pipes surround the central platform. Of the work Fred says:

“‘Drawing Water’ speaks of our connection to the Earth, specifically the Great Artesian Basin and the bores that provide the only continuous source of water throughout much of inland Australia. The 52 galvanised poles symbolise not only our year round need for water but are also as a reminder of how extensively taped the artesian water is.”

.
It is a wonderfully balanced and thoughtful work that has great presence and beauty.

The next commission is at Blackall in Western Queensland (see Google map). A drawing of the work Lifespan (2010), which is 8 metres long, is at the bottom of the posting. Blackall already contains public sculptures by William Eicholtz (Towners Call – Edgar Towner V.C. Memorial (2009)) and Robert Bridgewater (Wool, Water and Wood (2008)).

Dr Marcus Bunyan for Art Blart

 

Fredrick White. 'Drawing Water' 2010

 

Fredrick White
Drawing Water
2010

 

Fredrick White. 'Drawing Water' (detail) 2010

Fredrick White. 'Drawing Water' (detail) 2010

Fredrick White. 'Drawing Water' (detail) 2010

 

Fredrick White
Drawing Water (details)
2010

 

'Lifespan' (2010), drawing for commission at Blackall, Queensland

 

Fredrick White
Lifespan
2010
Drawing for commission at Blackall, Queensland

 

 

Fredrick White Sculpture website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,687 other followers

If you would like to unsubscribe from the email list please email Marcus at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

October 2020
M T W T F S S
 1234
567891011
12131415161718
19202122232425
262728293031  

Archives

Categories