I plan to use this funding to support my ongoing project, Performance of Colour, which is inspired by Johann Wolfgang von Goethe’s Theory of Colours. This body of work, originally created through digital photography and manipulated in Photoshop, examines the interplay between colour, scale, and perception. The grant will allow me to expand my artistic practice by incorporating analogue slides, enhancing the depth and dimensionality of the work.
Financial constraints have halted my progress, limiting my ability to experiment with alternative photographic techniques. This funding will enable me to explore analogue slides for the first time, offering greater control over scale and composition compared to the large-format digital approach I have used previously. Additionally, it will help me bring my work to the public through exhibition.
The project will be displayed using analogue slides projected through a carousel onto a white wall, while simultaneously exploring colour by projecting onto painted surfaces. By utilising multiple carousels running in tandem, I aim to create a dynamic, immersive experience that transforms static imagery into an evolving dialogue between light, space, and viewer interaction. The grant will support the purchase of carousels, slides, and paint for the exhibition space. At £3.37 per slide, with each carousel holding up to 80 slides, this investment is crucial for realising my vision. Additionally, I seek to explore narrative within the carousel format, leaving some holders empty to create moments of pause and transition.
The funding will also be allocated towards renting a venue, marketing an exhibition, and covering travel expenses required to install and present the work. It will provide the financial flexibility to take time off work, ensuring I can fully dedicate myself to executing this project.
By bridging digital and analogue methodologies, Performance of Colour reimagines how photographic work is experienced. This grant will allow me to transform my vision into an immersive, multi-layered exhibition that engages audiences and elevates my artistic exploration.
Abstract art, for me, is about stepping into a work with emotion and allowing that vulnerability to foster connection or self-discovery. Performance of Colour is not only a visual exploration but also an investigation into memory and communal experience. My hope is that this work will serve as a catalyst for conversation, inviting viewers to reflect on personal and shared histories that colour might evoke. By presenting the project in Darlington, I aim to create a space where the community can come together and engage with these themes.
Through this exhibition, I hope to inspire young artists demonstrating that creativity is possible even with financial limitations. Art should not be confined by economic barriers; it should be accessible to all.
Additionally, I seek to provide a platform for local artists who may struggle to gain visibility due to their rural location. Living outside major artistic hubs can often limit opportunities, but creative potential in these communities is immense. By curating an exhibition that highlights overlooked talent, I hope to bring new audiences to the area, showcasing the beauty and artistic richness of Darlington. I wish to use this opportunity as a starting point to something that could potentially happen annually.
I am a visual artist working across photography and sculpture, based just outside of Bath. With a BA (Hons) in Photography from Arts University Bournemouth, my practice explores themes of home, perception, and memory through the construction and deconstruction of commercial objects. I am drawn to the evocative potential of colour and the transformative power of texture, using these elements to challenge how we engage with the familiar.
Central to my work is an investigation of memory, how it is shaped by visual and tactile experiences. By repurposing everyday materials such as paint swatches, I invite viewers to reconsider their own associations with domestic objects, reframing them within new contexts. My process-based approach encourages an interplay between abstraction and recognition, making the familiar feel foreign while preserving its emotional resonance.
Influenced by the Bauhaus movement (1919–1933) and Minimalist art of the 1960s, I embrace simplicity of form and material focus, using restraint to elevate subtle details. I am particularly inspired by Marcel Duchamp’s Readymades, exploring the tension between mass production and the unique aura an object assumes when placed in a gallery setting. This interaction between industrial materials and conceptual framing drives much of my sculptural work.
Audience engagement is a fundamental aspect of my practice. I aim to create a space for personal reflection, where viewers can project their own memories and associations onto the work, often through the emotional triggers of colour. This participatory element transforms my pieces into dialogues between art and viewer, reinforcing the idea that meaning is not fixed but fluid.
My work has been exhibited at the OXO Tower in London, in galleries across Bristol, and internationally in Rome. As I continue to evolve my practice, I remain committed to exploring the intersection of materiality, memory, and perception, challenging traditional notions of how objects and images interact with personal experience.
I earned a BA (Hons) in Photography from Arts University Bournemouth in 2022, where I developed both technical and conceptual skills in visual art. My studies emphasised critical thinking, material experimentation, and the formation of a personal artistic practice, providing a strong foundation for my approach to photography and sculpture.
During my time at university, I was encouraged to engage in discussions with peers and lecturers, broadening my exposure to diverse artistic movements and perspectives. These conversations introduced me to many of the themes I now explore, allowing me to refine my research and conceptual development. With the guidance of my lecturers, I deepened my understanding of relevant artists and theoretical frameworks, ensuring my work remained thoughtful and well-informed.
A key aspect of my education was learning to articulate my ideas clearly, both visually and verbally. Developing this skill has been crucial in communicating the intentions behind my work and engaging in critical discourse. Additionally, my degree provided hands-on experience in exhibition planning through our Graduation Show at the OXO Tower in London, equipping me with practical skills in organisation and presentation. This experience solidified my ability to navigate the professional art world while continuing to refine my creative voice.
As a team member of Mint!, an artist-led residency, I oversee the logistical planning for the week, ensuring a seamless and well-organised experience for participants. My role includes creating a structured schedule, compiling essential kit lists, coordinating meal plans, and managing food collection. Given the residency’s remote location, my familiarity with the area makes me a crucial point of contact, offering guidance and support should any issues arise.
To ensure a meaningful residency, our team implemented an application process, allowing us to understand what each artist hopes to gain and how their presence will contribute to the group dynamic. This approach fosters collaboration and enriches the collective experience, creating an environment where artists can engage with one another in a thoughtful and productive way.
Recognising the importance of place, I conducted archival research on the residency’s location to deepen our understanding of its history. I then presented these findings to the team, with plans to share them with participants, ensuring their artistic exploration is informed by the landscape’s cultural and historical significance.
By combining logistical expertise with conceptual engagement, my role in Mint! supports both the practical and artistic elements, helping create a residency that is immersive, collaborative, and inspiring.
Launching my career during the Covid pandemic, I embraced online exhibitions as an accessible platform to showcase my work. Exhibiting with Art Collide and Ten Moir Gallery provided an invaluable opportunity to present new pieces that I could not afford to print, frame, or ship at the time. These digital spaces allowed me to continue developing my practice despite financial and logistical challenges.
My first major physical exhibition was at the OXO Tower in London as part of my graduation show, offering crucial insights into exhibition planning, from logistics to curatorial decisions. Most recently, I exhibited with Circle Arts Space in Bristol, my first independent show beyond university. This experience challenged me to navigate the complexities of transporting and installing work in a more restrictive setting, pushing me to adapt my presentation methods.
Beyond exhibitions, I am set to be published in 101 Contemporary Artists, marking a significant step in establishing my presence within the artistic landscape. As I continue to evolve my practice, I remain committed to finding creative solutions for exhibiting my work and fostering meaningful connections with audiences, ensuring accessibility remains a key pillar of my artistic journey.
Email: maeatrevettwhite@gmail.com
Address: 12 Chester Way, Chippenham, Wiltshire, SN14 0XR, GB
Local Authority: Wiltshire Council
