The whole is rendered with a characteristic texture due to the viscosity of paint and the two surfaces. Where it finally gives way from one surface to another can be traced in the ridges and rivulets, which oddly resemble pine forests, giving the otherwise abstract fields of colour the feel of aerial views of immense landscapes. Of course, the works are meant to sit on the verge of abstraction. In the manner of Rorschach, the residuum of paint is not illustrative but provocative. More works were made than those exhibited, which I guess is the collateral expense of working with chance.
Patience is also requisite.
While it's a truism to say, misrecognition is one of the truly generative forces in representation, artists usually own up pretty quickly to claim the results. Indeed, the initial moment of error and subsequent moment of discovery are often treated as simultaneous. If you look upon an old wall covered with dirt , or the odd appearance of some streaked stones, you may discover several things like landscapes, battles, clouds, uncommon attitudes, humorous faces, draperies, etc. But it's not the usual fine line between abstraction and figuration which White draws here. I could not often recognise these qualities in the work.