James White’s objects deliver sermons of phenomenology even as the layers of their prosaic objecthood slowly give way to the poetry of his intent and aesthetic, conceptual administration. Compositions faithfully painted in grisaille to look like the photograph it describes are disrupted by a thin white stripe that runs along the bottom edge. Executed on an acrylic faced panel which the artist has deliberately left raw on its visibly corrugated sides. The object and its image are then, finally, encased in a large, tight Perspex box frame, serving to plasticize the viewer’s entire experience of White’s work – empowering itself as a reservoir of multi-laminated possibilities, probing object, subject and their ongoing quarrel of status hissing in between.