another path, to a major solo show at Yorkshire
Sculpture Park, The Dump is Full of Images, opening
later this month. Inside her Woolwich studio, located
in a wasteland of derelict factories, Hendry’s YSP
commission is still under construction, but gaining
traction. ‘It feels ridiculous that an idea in your
head becomes this big conversation; it’s terrifying and
exhilarating,’ she says, her eyes darting around her
space scattered with ambiguous silicone body parts –
a taste of what’s to come.
YSP is an apt stage for Hendry’s proposed diorama,
which responds to Feilden Fowles’ design of The
Weston, the park’s much-praised new visitor centre,
with its undulating roof windows and semi-submergence
in a landscape of sculptural stardom. ‘I’m doing a
sculpture made of reused plastics and crap next to
a Henry Moore that lasts for eternity in bronze.’
In its entirety, the piece is an 8m-long ‘monstrous’
human body lying supine. But what might appear to be
a set menu of moving parts is an all-you-can-eat buffet
of sickly sweet metaphors. The title is drawn from the
epilogue of The Real Thing, a study of technology and
culture by the American scholar Miles Orvell. ‘He talks
about junk as a system of disorder, but also as a way
to look at something in a different light,’ she says. ‘I’m
trying to do the same with materials’.
Within the installation’s Perspex and steel
framework, things get more complex. A reeling
conveyor belt of silicone ‘skin’ is yanked, warped »Left, Hendry layers the
skin-like belt using a
combination of materials,
including silicone, which
are then joined to form
a continuous strip
Below, a plastic anatomical
inlay that will be used to
create images in the belt‘I’m doing a sculpture made of reused plastics
next to a Henry Moore that lasts for eternity’
∑
Art
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