CONSTRUCT GALLERY PRESENTS
ORDER OUT OF CHAOS
LOGAN WAYNE WHITE
ATLANTA
"The work begins where destruction ends."
Using repurposed and discarded materials, Logan Wayne White constructs sculptures concerned with structure, control, and transformation. The works retain evidence of their prior usage. Saw marks and tire treads. Erosion and surface loss. These characteristics are part of the finished objects rather than imperfections to be concealed, a physical response to the cycles of collapse and reconstruction that is evidenced throughout human history.
Ordo Ab Chao, Latin for "Order Out of Chaos," refers to the formation of order from precipice of disorder. This concept relates also to the Ouroboros, an ancient symbol depicting a serpent consuming its own tail, commonly associated with cycles of creation, destruction, and rebirth.
White's work draws on these ideas through a process of accumulation and reconstruction. Used materials are saved, altered, and combined into new forms. Each stage builds on what came before it. The resulting sculptures reflect a continuous relationship between construction and destruction, where one process creates the conditions for the next.
The newly opened Construct Gallery on Atlanta’s Westside is rethinking what a fine art gallery can be. Founder and curator Beau Allen Collins envisioned a space where art, architecture, and design could converse. Drawing on his background in art handling, construction, and conservation, Collins spent six months transforming a former vintage car showroom into a sleek exhibition space for the gallery’s inaugural show, Order Out of Chaos.
The debut exhibition features American artist Logan Wayne White, whose modular, lacquered furniture sets the tone for Construct’s mission to champion emerging artists working between form and function. White’s assertion that “function is never neutral” echoes throughout the exhibition. Irregularly shaped chairs, off-kilter tables, and shelf-like structures push past the banality of practical objects towards a subversive reading of functional design. White continuously resists perfection and control as he tests the limits of balance, reinforces his structures at unexpected junctures, and counteracts rigidity with fracture. Even the glossy black epoxy finishes, reflective under the fluorescent warehouse lights, are left to drip over the furniture edges and freeze mid-fall in thick, suspended droplets.
Across White’s work, each object is forced past its resolute function to contend with transformation. Sun Cave's fiery gradient of red and orange is a standout among its solid black counterparts. It feels both elemental and ancient, using properties of form and color to nod at the cyclical forces of nature. The circular cutout is at once a literal reference and a recurring motif: White experiments with the assemblage of simple shapes as a gesture of survival and resistance. Other titles ranging from the Stonehenge-like Raised by Wolves to the totemic A Lamb to Slaughter underscore this artistic instinct. At their core, the works’ loyalty to survival and practicality over comfort and superfluousness becomes evident beneath their enigmatic exterior.
Construct’s high ceilings, white walls, and concrete floors allow White’s work to command attention without distraction. Minimal infrastructure brings the pieces into high relief, and even invites their rearrangement and reconfiguration: Collins occasionally alters their placement—clustered together or displayed apart—as a way of invigorating the exhibition’s dialogue between cohesion and isolation.
Order Out of Chaos feels like the final frame of a rewound film: the instant before the fragments of a shattered vase merge back together. In its first outing, Construct Gallery makes a confident case for rebuilding both objects and ideas from the ground up.
- Sophia Jactel
