Anissa White
Anissa White grew up in an environment that actively supported her interest in art from an early age. Creative encouragement came from multiple directions within her family. Her grandmother, a painter, taught her how to paint as a child, and White still keeps one of the first works they made together, a blue pansy. Her mother enrolled her in after-school art classes throughout elementary and middle school, and when she expressed a desire to attend art school, her stepfather was a strong source of reassurance, helping her believe that becoming an artist was a viable and meaningful path.
White holds both a Bachelor’s and a Master’s degree in Fine Art with a focus in ceramics. Her undergraduate studies at the Hartford Art School provided a broad and rigorous foundation in three-dimensional art, introducing her to a wide range of materials and processes. The ceramics department, in particular, solidified her commitment to clay and its possibilities. Graduate school expanded that foundation, giving her the freedom to experiment extensively. During this period, her work shifted dramatically, moving from early sculptural forms toward refined dinnerware, installations, and concept-driven projects. She describes this transition as a complete reorientation of her practice, made possible by an environment that encouraged risk-taking, failure, and critical feedback.
White’s practice is concept-led rather than medium-bound. Although trained in ceramics, she regularly works across clay, fiber, printmaking, installation, and mixed media, choosing materials based on what best communicates the idea at hand. This flexibility has become central to her approach. Rather than maintaining a consistent style or material allegiance, she allows each project to determine its own form, embracing the research and historical context that often accompanies unfamiliar materials.
Recurring themes in her work include women’s health and safety, the questioning of gendered expectations, and the creation of spaces for dialogue and community. These subjects function as outlets for thoughts and experiences she has found difficult to articulate directly. Art allows her to address these concerns with clarity and confidence, while also inviting viewers into conversation. Over time, this openness has led to meaningful exchanges and connections, reinforcing the communal dimension of her practice.
Her creative routine is grounded in preparation and care for her working environment. She typically begins by making coffee or tea and cleaning her studio, using that time to settle into the work ahead. Creative blocks, when they occur, are often prolonged and difficult for her to resolve deliberately. Ideas tend to arrive unexpectedly, sometimes during ordinary moments such as driving or running errands, at which point she feels compelled to begin working immediately.
One of White’s most ambitious projects, The Station of the Woman, emerged from a period of creative stagnation during the development of her thesis exhibition. The work consists of fourteen wall hangings modeled after the Catholic Stations of the Cross, reimagined to trace the life of a woman from birth through death. Each station represents a burden shaped by societal, religious, or familial forces. The project was both technically and physically demanding, involving nine interlocking porcelain components per station, multiple firings, hand-painted imagery, gold luster, and a custom mounting system. The conceptual development was equally intensive, informed by conversations with women of different ages who shared personal experiences, fears, and moments of joy.
For White, the most rewarding aspect of her artistic journey has been the sense of community generated by her work. She values the moments when viewers recognize themselves or their experiences in what she has made, and she considers understanding and connection key measures of success. Looking ahead, she hopes to expand her reach through collaborations with illustrators and community-focused projects, and aspires to see her work featured on the cover of Sculpture Magazine. Her practice remains rooted in honoring lived experience, challenging expectations, and fostering shared reflection through material and form.
