Essay by Noemi Smolik
Issue April 2022
Glasses, half filled with water, empty, or broken, sitting on smooth reflective surfaces; light fixtures; faucets polished to a shine—these are some of the motifs in London-based artist James White’s black-and-white paintings. Prompting associations with the pictures of seventeenth-century Dutch masters such as Johannes Vermeer or Pieter de Hooch—which feature similarly crisp reflections of lights and crystal-clear mirroring of images—White’s work aligns itself with the large body of pictures in the history of art that are about seeing itself. (...)