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Next Exit brings together a group of works that engage the automobile as a site of translation - between design and image, movement and suspension, intention and drift. Across sculpture, painting, photography, and object-based practices, automotive forms and materials appear not as illustrations or symbols, but as propositions: fragments of systems shaped by repetition, calibration, and choice.

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The automobile occupies a peculiar register - at once utilitarian and charged, disciplined and excessive. It moves bodies through space while absorbing layers of projection, desire, and authorship. Within the exhibition, surfaces, finishes, scales, and engineered details operate as points of entry rather than explanation. Meaning emerges obliquely, through proximity, alignment, and refusal.

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A 1997 Bentley Brooklands is installed within the gallery not as centerpiece, but as measure. Its presence establishes a tempo - one of restraint, craft, and material intelligence - against which the surrounding works are read. Positioned among artworks, the vehicle collapses distinctions between art object and designed object, proposing a continuum rather than a hierarchy.

The title Next Exit signals a moment within motion: an interval where direction remains undecided. As with navigation, orientation is contingent - shaped by context, interruption, and return. Authorship disperses across object, space, and viewer, recomposing itself with each encounter.

 

​Formerly dedicated to the housing and restoration of classic automobiles, the gallery retains traces of its prior use. The exhibition neither reenacts nor resolves this history; it allows works to circulate within it. Movement is understood here not as spectacle, but as condition - through which form, meaning, and value remain provisional.​​​

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Logan Wayne White returns to Construct Gallery for Next Exit with new works that blend sculpture and furniture. Both are literal iterations of infrastructure that Logan encountered daily working in the city. Burn to Stay Warm (Bridge) is a MARTA train platform that passes over Hwy 85. Logan would drive underneath this structure daily during his commute to Atlanta.

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"I had seen this structure for years, week after week, and just had this longing to bring it to a smaller scale and transform the idea into sculpture. It is such an impressive form that totally engulfs the highway. Kind of hard to miss but also maybe totally overlooked. I am always looking at things while driving and seeing the potential for influence within my work."

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Similarly, Nothing Good After Dark (Gas Station) ​is based on local gas stations. 

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"There's lots of interesting ones (gas stations) and some of them if you reimagine the scale just look like a table. This is how I'm seeing and interpreting the world now. I try to imagine seeing it for the first time without any context of what it is or what it does."

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Both of these plywood works incorporate highway photographs, one taken underneath a connector bridge and the other the backside of a highway directional sign. 

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