Installation image at Marty Walker Gallery, by Clay Grier, 2012
But the irony of placing White’s acerbic paintings in a gallery only added another layer to the intelligence of the work – art by the guy that loathes the art machine, fancy people, fakers, posers
and morons on view in front of the very sorts of people he’s deriding. Pretty funny, which is the point, because White believes strongly in the power of comedy, and the necessity of it because – as artists like Charlie Chaplin and Hogarth knew – laughter stands in direct defiance against all the other, less lovely crap that happens on a regular basis. The big heavy things, by the very laws of emotional gravity, will no doubt carry the most weight in life. But through levity we come to understand those things better, and so carry them more easily, and hopefully become better people for it. Wayne White’s harebrained life as a craftsmen and artist defines that sensibility. Throughout the film, his blue-blue eyes are a potent cocktail of sadness and delight.