Keening at the Edge of Empire
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At the closing of Deering Contemporary 2026: Here We Gather, Rebecca White and companions carried out a ritual within her installation La Guía. Designed to connect body and spirit with the Four Directions, and suffused with a live sonic landscape by Emily Peters (an Artist in Residence at Deering Estate), the performance was an invocation for the highest good of the Collective. Keening, a mourning practice shared among Gaelic-speaking people, was commonly seen in Ireland and Scotland up until the middle of the 20th century when it fell out of favor with the Church. Certain women offered ecstatic wailing cries during burials, which gave community members permission to release their own pent-up emotion and honor their loved ones. This modern-day Keening was intended to facilitate catharsis of collective rage, grief, and despair at the current state of our country.
Everglades Ossuary II
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My EVERGLADES OSSUARY project, comprised of sculptural tapestries adorned with invasive Burmese Python bones, honors these wild, powerful beings who bear no blame for their instinctual yet ecosystem-destroying behavior. The pieces confront us with the soul-starvation that afflicts modern humans, and our destructive attempts to fill the void within.
La Guía
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A site-specific installation on Deering Estate for Deering Contemporary 2026, Here We Gather: What we need, we already have, curated by Dainy Tapia. Reflecting on migration as an innate behavior of the human species, this installation opens space for people to process lived experiences and explore the connection between the body, the spirit, and the earth. The installation’s circular form echoes architectural footprints left by the early Tequesta people of South Florida (as seen in the Miami Circle in Downtown, and in the ancient burial site on Deering Estate, where graves are situated in a radial configuration). Anchored on all sides by “gates” which are oriented to the Four Directions (East, South, West, and North), the spiral invites contemplation, urging acknowledgement of the sacred.
The Star (In the Ravine)
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In the 17th card in the traditional Tarot deck, I found three primary elements: woman, water, and of course, celestial bodies. These symbols, abstracted, divulge a vision in which the energetic feminine contains the power of creation. There, within the void, dark waters move and tiny flickers point the way.
Temple Guardians
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Sculptures and site-specific installation completed during March / April 2024 artist residency on a cattle ranch in Salta, Argentina. Cattle rib bones were found in the mountains, cleaned and processed, and woven into tapestries. The works will be installed at the entrance to a planned temple / healing center on site.
Oxide IV
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Part of the Glyph-State series, this piece visualizes the experience of being guided by subtle wisdom: messages received via intuition, the body, dreams, omens, and synchronicities. Murmurs from this inherent communications frequency are presented here as deconstructed, vaguely familiar symbols, reflecting the varying degrees to which such transmissions are obscured by the conditions of modern life.
Quilt
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In the Glyph-State series, my invented language suggests a link between this moment in time, and others, in which one may have lived other lives, spoken different languages, and understood concepts that are currently obscured. Within this assemblage piece, the characters indicate loss of connection and fundamental inability to understand. Tightly bound together with wire and upcycled fabric, the pieces are suggestive of efforts made towards repair and reconciliation.
Pythia
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Working with earth materials is teaching me that a closer connection to land can provide a vital healing process for our time. The piece references the ancient snake-spirit, Pythia, which rose up from deep in the earth at Delphi to become one with her priestess, giving voice to oracular messages for their devotees. Artists too may work as intermediaries, weaving potent messages into culture when they are needed most.
Garden of Essence
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This was a temporary public art installation in North Bay Village FL in September 2025, a participatory space for contemplation and meditation. Inspired by human migration pathways and the waterways of the Everglades, this experiential artwork was designed to open a space for people to process their lived experiences.
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Rebecca White is an artist based in Miami, Florida.

Across painting, fiber, and interactive installations, she integrates found natural materials like bones and wild clay to explore the impact of social issues on the human spirit. Rooted in mythology and ritual, her work creates an alchemical space for processing lived experiences.

She recently exhibited at Deering Estate (Deering Contemporary 2026), and debuted a temporary public artwork, Garden of Essence, in North Bay Village FL in 2025. In 2024 she was a resident artist at Finca San Jose de la Viña in Salta, Argentina. She is a 2025—2026 recipient of the Miami Individual Artist Award (Miami-Dade County Department of Cultural Affairs).

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Photograph of Rebecca White
ART events

Deering Contemporary 2026

January 25, 2026 | Deering Estate

The D-Tour: Art Basel Pop-Up

Dec 5-7, 2025 | North Bay Village

Artist Panel Discussion

Nov 15, 2025 | Coral Springs Museum of Art

Artist Talk and Workshop

Nov 8, 2025 | CAMP Gallery

Transitions

Oct 17 2025 - Jan 3 2026 | Coral Springs Museum of Art

Don’t Be Absurd

Oct 17 - Dec 20, 2026 | CAMP Gallery, N Miami

Garden of Essence

Sep 9-30, 2025 | North Bay Village

Ancestral Lines

April 4, 2025 | Coral Springs Museum of Art

The Driven Woman

March 2025 | Miramar, FL

Mother Tongue

March 2025 | Miami, FL

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COPYRIGHT REBECCA WHITE 2026 · ALL RIGHTS RESERVED

Cuando quieres algo, todo el Universo conspira para que realices tu deseo.

paulo coelho