David Ben White is a British artist who paints restrained semi-abstractions that suggest a half-understood adult realm. Making it uncertain what exactly one has seen, yet intuiting pleasure. They inhabit a proto-lapsarian world on the borders of Eden as sensuality slides towards shame. Haptic passivity shades into guilty action as we reach out to prove the sensations we see. Awareness of self puts an end to innocence.

In his Temples To The Domestic, White has  attempted to address and contrast the architectural language of corporate modernism, which the Clifford Chance building embodies, with that of the decorative domestic. For me, the domestic location is a strangely powerful location. Like a theatre set, or work of fiction, the home is a place in which we, as consumers, define our own aspirations and taste. Televised design shows, shop windows enacting domestic interior configurations, interior decorating and furniture magazines all elaborate a familiar language of nostalgic possibility, which we, in turn, aspire to surround ourselves with. In this dialogue, the domestic space becomes a familiar, but also alienating location.