Holly Hendry is a London-based artist whose sculptural work questions traditional architectural disciplines. Employing, and sometimes exploiting the language of architecture and building, her ‘materially overwhelming’ sculptures use scale to challenge the notion of space, often combining function with the ridiculous
Hendry’s non-traditional architectural approach is permeated by a fascination with rear spaces and open cracks ‘where you can see the gooey insides’. Works such as Wrot (BALTIC, Gateshead, 2017) use a variety of materials, from Jesmonite to steel and foam, to represent oozy forms, peppered with absurd, comic elements, such as dog chew bones and spinning plaster teeth.
Themes of bodily containment and disposal are prevalent in Hendry’s work. Her recent outing at the 2018 Liverpool Biennial – Cenotaph – examined the architectural anatomy of our surroundings, using huge slices of industrial-looking pipe to represent the innards and plumbing of the city itself.
Using research from archives such as ‘The London Crossrail Archeology Archives’, Hendry often draws on specific objects and our bodily or architectural relationship with them. Her current exhibition Homeostasis II (Domaine Pommery, Reims, France 2018) investigates this relationship by looking at the use of air as a material, and how it can connect bodies to buildings.