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Pae White: In Between the Outside-In (installation view)
Past

Pae White: In Between the Outside-In

May 05 – July 18, 2009 at New Langton Arts

Los Angeles–based installation artist Pae White explores issues of site and context while blurring any boundary that may remain between art and design.

Developed during a FOR-SITE residency, White’s installation at New Langton Arts in San Francisco proposed new paradigms for art and landscape. Using a noninvasive data collection and mapping procedure, three-dimensional scans were taken of an 800-year-old massive oak tree, a wild raspberry bush, and a manzanita grove. White used these topographical scans as conceptual source material for a series of color-treated, morphing animations.

As a material rather than ethereal element of the installation, White incorporated ceramics drawn from the extensive collection of Joe Meade of Nevada City. Displayed en masse, these earthenware objects deconstructed the relationship between nature and culture.

Related Media

  • Pae White: In Between the Outside-In, 2009 (installation view); photo: Wilfred T. Jones, courtesy of New Langton Arts
    Pae White: In Between the Outside-In, 2009 (installation view); photo: Wilfred T. Jones, courtesy of New Langton Arts
    Pae White: In Between the Outside-In, 2009 (installation view); photo: Wilfred T. Jones, courtesy of New Langton Arts
    Pae White: In Between the Outside-In, 2009 (installation view); photo: Wilfred T. Jones, courtesy of New Langton Arts
    Pae White: In Between the Outside-In, 2009 (installation view); photo: Wilfred T. Jones, courtesy of New Langton Arts
    Pae White: In Between the Outside-In, 2009 (installation view); photo: Wilfred T. Jones, courtesy of New Langton Arts
    Pae White: In Between the Outside-In, 2009 (installation view); photo: Wilfred T. Jones, courtesy of New Langton Arts
    Installation Views
Pae White
Pae WhiteAmerican, born 1963

Based in Southern California, Pae White has had her work presented internationally at venues and fairs including SITE Santa Fe; Solomon R. Guggenheim Museum, New York; the Whitney Biennial; the 53rd Venice Biennale; and neugerriemschneider, Berlin.

Top: Pae White: In Between the Outside-In, 2009 (installation view); photo: Wilfred T. Jones, courtesy of New Langton Arts

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  • It's a full house (er, Chapel) tonight for FOR-SITE's first #Sanctuary Salon https://t.co/ABOANPBfeV
  • Happening now: Free #silkscreening workshops with #SanctuaryPrintShop outside #Sanctuary @FortMasoninSF Chapel https://t.co/4BGs628mct

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  • It’s Day 6 of FOR-SITE’s 5-year “Tree Fall” anniversary and we’re back to the clay! Remember the clay chips we talked about on Day 3? Those were added to a clay pug mill along with water and the prepared hair and mixed to create the clay used for the surface level. Exact measurements of each component were necessary to ensure uniformity in each round of clay. Once the clay was out of the pug mill, it was rolled into uniform patties of approximately 1 – 1.5” thick. (Shout-out to our amazing program director, @jaxvontreskow, working that slab roller in the third photo!) #ArtAboutPlace
  • We’re taking a brief departure from clay for Day 5 of our 5-year “Tree Fall” anniversary to talk about the hair component of the sculpture. What’s that you say? HAIR component?! It’s true—hair is the surprising “ingredient” of “Tree Fall” (or, perhaps not so surprising if you’re familiar with the process of making adobe bricks; the hair—human, horse, or otherwise—provides additional strength to the clay). The human hair used in “Tree Fall” was sourced from @edosalonandgallery. Once amassed, our incredible volunteers sorted, combed, and cut the hair into 1” pieces. #ArtAboutPlace
  • Day 4 of our 5-year “Tree Fall” anniversary has us back with the clay slip. As explained yesterday, some of the slip was used to make clay chips. Slip was also used for mixing with hay (a process that was surprisingly painful, as our comm. & dev. manager @a_m_konecki can attest to—she really should have worn gloves!). The resulting slip-soaked hay mixture formed the base layer of the sculpture, and was woven into the steel caging and the tree by hand by Goldsworthy and his team. This base provided texture crucial for enabling the smoother, outer layer of clay to adhere. #ArtAboutPlace
  • For Day 3 of our 5-year “Tree Fall” anniversary we’re picking up where we left off in the clay processing yesterday. After screening, the resulting slip was poured into drying beds created from plastic sheeting bolstered by wooden planks. The slip was then left to dry and crack in the sun. Simple enough, except we all know how rare full, warm sun is in San Francisco summertime with #karlthefog ☁️always lurking about (particularly in @presidiosf). Although we did get a few clear, sunny days, we often needed backup from large industrial fans. When at last the clay was sufficiently dry, the chips were then harvested by hand. (Shout-out to our executive director @cheryllhaines gathering those chips in photo 4!) #ArtAboutPlace

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Field Notes

  • Allison Stone talks Art in the Presidio

  • Art in the Parks and “Home Land Security”: A Partner’s Perspective

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