(not)WhiteHouse explores the perception of white in human and post-human vision and in the recursive relation of the two. While the former projects cultural and emotional accidents in the understanding of this color, the latter discerns its appearance in discreet points in a cloud first and RGB pixels then. If the first faces the impossibility of fully grasp the multitude of subjective values associated to this empty canvas, the second struggles in capturing its vanishing materiality, form and silhouette. From the compression of this two unstable and defective perceptions, new structures of representation and logic of comprehension are generated.
With the use of The White House as a testing ground, its historical and cultural iconicity faces the indifference of the machine before being re appropriated and reprocessed by the conscious viewer.
During the process, the white color fosters the misunderstanding and misfiguration of the object, obliging both the user and the tool to recalibrate their own frameworks.
Several layers of white ink are overlapped, bringing on paper what the camera could not capture.