Clementine Edwards’ new film whiteness is a preliminary sketch about the white everyday. Tender scenes of comfort are placed in relation to Black critical theory to explore the idea of safety in white supremacist civil society. The film sets out to complicate its atmosphere of solitary intimacy by proposing that one cannot understand oneself if that understanding occurs within the assumption of the absolute fact of individual subjectivity.
Clementine is a Rotterdam- and Naarm-based artist whose practice is led by sculpture. Her art looks at how certain experiences and relationships might be enriched and expanded through material and at the reproductive potential of non-sentient materials. She works within the lens of post-traumatic stress disorder, departing from the concept of grounding. By addressing the historical present of the materials she engages with within her own situated present-tense, and by applying pressure to those presents, Clementine can then understand them as embodied and interlocked within her social network, as part of a queer and complex web that holds her up.
Clementine’s ongoing research line is material kinship, which has its genealogy in so-called Australia. She locates material kinship within the context of climate colonialism in an attempt to situate both her own body, as a white femme, and the black and brown bodies upon which her settler-colonial privilege is built. With uncontested access to personhood via whiteness, Clementine is then in a position to recuperate non-sentient material as oddkin - in a post-Haraway sense - and approach the subject as intimate world-building in the context of climate crisis. clementineedwards.com