SINGAPORE.- 89 Seconds to Midnight, a new series of landscape works, examines the increasing risks of environmental and nuclear catastrophes. These themes are tied to the landscapes depicted, drawn primarily from locations across my native Australia.

The title references the Doomsday Clock, which has been set to 89 seconds to midnight—the closest it has ever been—symbolizing an unprecedented level of global peril. Originally conceived by scientists, including Albert Einstein and J. Robert Oppenheimer, the Clock serves as a stark reminder of existential threats such as nuclear war, climate change, and the rise of destabilizing technologies like artificial intelligence. Today, factors such as the war in Ukraine, the risk of nuclear proliferation, insufficient arms control, and a lack of international cooperation contribute to this heightened sense of urgency.

Climate change indicators continue to worsen, intensifying global anxieties. The rise of activists like Greta Thunberg has galvanized a generation of young people who believe their leaders are failing to take meaningful action). Climate experts warn that without immediate, cooperative global action, the probability of catastrophe will only increase. There is a pressing need for strong leadership and innovative solutions capable of addressing these complex challenges.

Increasingly throughout my practice, I’ve been interested in harnessing the power of social agency in addressing social issues and using this innovative sense of “connecting the dots between figures from recent history both contemporary political and artworld figures. The act of dissidence is now becoming an important part of both the climate change and pro-democracy movements.

Anthony White’s practice is committed to reclaiming the act of dissent through the production of cultural objects. His research is situated at the intersection of several fields, including politics, human rights, and postcolonialism. Concepts of design and its history as a form of social and political expression inform his approach to painting, drawing, collage, and printmaking. The references and materials he uses mark his predisposition for modernist aesthetics without this ever becoming the subject of his work. Through this practice, he tackles relevant questions to our time, to encourage emancipation and new ways of thinking.

Anthony White has recipient of prizes and cultural support over the years from international cultural institutions. The Elioth Gruner Prize from the Art Gallery of NSW during (2005), The Marten Bequest Travelling Scholarship (2007) from the Cauz Group, The Creative Fellowship at the National Library of Australia (2020) The Artists’ Archive Grant from ADAGP Paris (2023).His most recent project CARBONI (Rome) shortlisted received research funding by the Artists Author’s Society for Graphic and Plastic Arts,(ADAGP),Paris (2024)

White’s work has been widely exhibited in Australia, Europe, and Asia. Recent solo exhibitions include: After Eureka: The Studies for Manifestation at The Eureka Centre in Ballarat (2024-2025),Manifestation at Lennox St Gallery (2023) Mobilising Material at The Mark Rothko Art Museum in Latvia in 2023, the largest exhibition of his work in Europe; and the inaugural exhibition of Informality gallery in Henley on Thames, U.K. -The Curious Eye Never Runs Dry (2019); also Ghost Series (2022) and Signs of Civilisation (2018) and Crossing the Rubicon (2016) all three solo presentations at Nanda Hobbs Contemporary, Sydney.


Anthony White, Rêve V (Valley), 2025. Oil on linen, 94.5x 64.5cm. Copyright The Artist and Bridgeman Images 2025.

His work has been included in over 70 group exhibitions internationally as well as major Australian art prizes including The Brett Whiteley Travelling Art Scholarship, The Elioth Gruner Prize, The John Glover Art Prize, and The Churchie Emerging Art Award. He has been the recipient of numerous art prizes including The Marten Bequest Travelling Scholarship (2007); The Creative Arts Fellowship at The National Library of Australia (2020); and his work has been mentioned in The Australia Financial Review, Art Collector Magazine, and Elle Décor.

He has also been awarded numerous prestigious residencies, including The Vermont Studio Centre Residency USA (2008); The National Art School Paris Studio Award at La Cite Internationale Des Arts (2009); The Leipzig International Art Programme Residency, Germany (2010;) and the International Painting Symposium at The Mark Rothko Centre in Latvia during (2017). And he has received support through cultural agencies such as The National Association for the Visual Arts; The Copyright Agency Limited; and The Centre National des Arts Plastiques (CNAP).


Anthony White, Spectre, 2025. Oil on linen, 156 x 126 cm. Copyright The Artist and Bridgeman Images 2025.

Anthony White’s work is held in public and private collections internationally, including the Mark Rothko Art Museum, Latvia; Soho House London; and The Tweed Regional Gallery and Margaret Olley Art Centre,Tweed Heads, Australia and the South-East Centre for Contemporary Art (SECCA) Bega, NSW

For more information contact:

Rob Willock: robwillock@artworks.com

Marie Deneux: marie@artworks.com.sg

https://www.instagram.com/anthony_white_paris/
https://artworks.com.sg/artists/anthony-white/