Drawing is again a performative engagement in Amy White’s Further Adventures in the Realm of the Static and the Vital (2014), in which the Carrboro-based artist superimposes found texts and signature marks on a series of delicate hand-modelled ceramic tablets, thereby adding life-force to a medium whose unpredictable cracks and fissures already bespeak material autonomy.

Sometime INDY contributor Amy White also displays a sculptural work. "Further Adventures in the Realm of the Static and the Vital" is a shelf of ceramic tablets with drawings in their glaze. Part of a body of diverse work that connects the origin of life to clay, White's tablets also deeply link handwriting to individual identity.

elin o'Hara slavick, Amy White and Ashley Florence Talk About Mojo and Localism in connection with Local Histories I and II.

"It’s nice to see a public library support the visual arts, especially the really adventurous, unexpected kind. Following up on her Text/Image work recently shown at Lump in Raleigh, fellow Independent critic and artist Amy White has offered up precisely that kind of work. It is an exercise in multiplicity as her paintings, text work and sculptural elements all combine to form a cluster of installations with notions of process interwoven throughout. It is also immersive, as the work commands your attention at the main lobby and winds its way down the stairwell through the lower level corridor." [click above link for full review]

"All the things in our world exist surrounded by all the other things. They gain and lose and change their meaning accordingly. Perhaps the most salient example of this is language, as individual words work together in phrases and sentences in order to communicate. A word on its own means very little, but a word surrounded by other words can mean almost anything. Amy White seems to be getting at this structuralist understanding in her “Text/Objects/Painting” installations. . ." [click above link for full review - when page opens, click "pause" button on image]

"Amy White, an Indy contributor, offers the show's most ambitious piece: an assemblage of shelved objects and paintings that only features fragments of text mounted alongside jars of local dirt and rainwater, White's bottled hair, notebooks, blank Polaroids and other precisely numbered and arranged items. A row of photographs of Joseph Cornell is apt. It's as if one of his boxes of mysterious talismans took over a wall. In careful, line-by-line groupings—five of these, then two of these, then five more of these—the objects come to seem like letters, relaying a message we could understand if only we spoke bottle-and-dirt instead of English. The show flips on its head, with images acting like text." [click above link for full review]

"...Amy White’s Text/Objects/Painting No. 2: The Theory of Everything . . . as its title might suggest is as much multimedia installation as it is a text-oriented work." [click above link for full review]