Variations on White Rich at the Surface

Little white lies are the DNA of social discourse.

They’re also key to the alternately engaging and disappointing mixed-media exhibit “White,” on view through Jan. 20 at the Huntington Beach Art Center.

Indeed, stretching the definition of white--a sort of noncolor that reflects light of all colors of the spectrum--is what this show of supremely satisfying surface sensibilities and less rewarding thematic insight is all about.

At first glance, the concept of “White” is neat as a tidy little fib. Thirteen Southern California artists offer their surprisingly loose interpretation of the emotionally charged color--the stuff of purity and goodness but also mashed potatoes, soft ice cream, marshmallows and Wonder Bread--in 38 works. Media include acrylic and oil paints, wax, charcoal, glass, twigs and cut-up plastic.

Most of the images are abstract. Mostly, they are about making art an internal process that outsiders may have difficulty deciphering.

Mostly, the artists toy with how white really isn’t very white at all. Or how we think it isn’t. Or how we shouldn’t trust our eyeballs.

Most of the artists involved seem bent on making us think white is really something else. Which is why so much of their vision is tinged leaden yellow, bone, chalk, latte or other shades of pale.

Best in show are two lush, explosive 3-by-3-foot abstract paintings by Linda King that are only partly white.

King’s white tones drip, flare, seep, rip, cloud and bleed through fields of burgundy and pink. The panels smoke like blazing guns.

Barbara Kerwin’s meticulous, variously shaded encaustic-on-paper geometries are a subtle eye orgy. They strut patinas smacking of soap, smooth ivory, thick cake frosting, white chocolate.

But cool colors and gorgeous surfaces by themselves do not a seminal show make. And many of the visions on view feel rote.

Given the cultural clout of all things white, from white-hatted good guys to business shirts, clean toilets, mother’s milk and racial tension, you’d expect a fair amount of visual punning and sardonic commentary on view. Instead, you find just a few dollops.

Steve Schmidt serves a fair smidge with his cut and collaged plastic container constructions. An especially arresting one is “409, Lysol, Tidycats”--a clever jab at our sad over-obsession with plastic-fantastic cleanliness, right down to the litter box.

More such provocative playfulness would serve “White” well.

* “White” at the Huntington Beach Art Center, 538 Main St. (714) 536-5258. Wednesday, Friday, Saturday noon-6 p.m.; Thursday noon-8 p.m.; Sunday noon-4 p.m. Through Jan. 20.