Feature: Dave White – The Good, The Bad + The Ugly

By - December 4th, 2007

Feature: Dave White   The Good, The Bad + The Ugly

Feature: Dave White   The Good, The Bad + The Ugly
Dave White by Fatsarazzi

Interview by: Thomas Bradley
Photography: Fatsarazzi & Dave White Studio

Twelve months in the making, Dave White will be debuting his new works at this years Fame Collective at Art Basel. Having worked with Nike sneakers as icons in the past, Dave White’s new series of works enter another genre which fit right into the culture we live in. With each new painting standing at least five feet tall and some spanning six, these new portraits of superheros and villains debut today at the FAME Collective during Art Basel Miami. Thomas Bradley interviews Dave on The Good, The Bad & The Ugly.

Make sure to stop by the Fame Collective show if you are at Art Basel this week. See you there!

What is the difference between pop art and fine art? Can one become the other?

Pop Art is a movement which falls under the category of Fine Art. Be it painting, Sculpture or Print. The grey area is what do you define as Fine Art? Using mass produced objects as a source of inspiration and making unique pieces of Art is what makes Pop so distinctive and has always appealed to me.

Complete interview after the jump…

Did working on these pieces feel different than the work that made you famous?

I have been painting for 20 years and have explored various subjects over time. To me the scale is totally different as they are much bigger than my previous works. The average size is 6ft So everything has been up-scaled. Each colour uses a pint of oil paint. The challenge is much greater. And the battle much more intense. I am planning some 20 ft works at the moment.


There is still that kinetic feeling attached to your art which has been present throughout your career as a painter. Is that a result of the process or the source of inspiration itself?

I would say both. The way the paint moves is something that happens naturally as I make a painting. The brush marks and paint splats can be seen in my work from 20 years ago. Movement is very important to me in my work. I don’t think about painting when I paint it just happens. However with these works keeping the graphic subject juxtaposed with the expressive paint is the challenge.


These pieces are portraits of superheroes in moments of shock, surprise, and even despair. What attracted you to capturing these emotions that are not generally assigned to superheroes? Should we notice a greater socio-political message in these works?

Capturing a frozen moment of emotion really appeals to me. The reflection of emotions in a portrait can have an incredible effect upon the viewer and leave a lasting mark. That’s one of my intentions with these works.


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