Through her installations and sculptures, Holly Hendry looks at the back of things; open cracks where you see the gooey insides. Using forms that one associates with burial or bodies, they gratify our continual attempt to try and feel around the edges or to peer underneath the surface to see the innards that are dirty and real.
For LISTE 2019, Hendry takes inspiration from institutional interiors – the airport and the hospital as architecturally specific spaces where the body is controlled and investigated through forms of imaging such as X-rays –flattening body and object onto the same plane. Works take the form of sliced or lobotomised anatomies presented as a series of wall and floor based sculptures that are flat but fighting to be three dimensional, straddling the lines of human, image and machine. These bodies are half human half diagram, based on anatomy and instruction manuals which will create a form of autopsy through the imagery they reveal. The works will address the ambiguity of the image where organ can slide into object and vice versa. Addressing the slippage of boundaries between people and things
Metal cut-outs are depictive of shadows or outlines of bodies and bags - a line that is part queue part storage rack. Some of the works utilise techniques of the caricature, with exaggerated line or proportion or a specific feature, drawing parallels with the medical cortical homunculus – a visual representation of the human body where proportion is linked to sensory function. There is a visual similarity to x-rays– each containing body parts and objects, ailments and images that reveal the innards of the subject. In this way, the work speaks of reliquary. Techniques force the body to conform to a specific size and shape – an acknowledgement of the idea of Procrustean dimensions in relation to the body – the procrustean bed as hospital bed or airport scanning machine.