H O L L O W   B O D I E S


‘My body is everywhere: the bomb which destroys my house also damages my body in so far as the house was already an indication of my body’
- Jean-Paul Sartre, Being and Nothingness

Human beings have an immensely complex relationship to space. We construct virtual borders of private and public that adapt situationally, and have concrete boundaries of our own rooms, homes and living spaces that are the hard frameworks for our sticky subsistence. Once built, we dwell within a building and it shapes the way we live, therefore what we construct also constructs the way we are. To live means to leave traces.

Combining the brute force of building with the veneer and aspiration of architecture, Holly Hendry’s work refers as much to the way we navigate spaces as it does the history of sculpture. She uses industrial materials such as metal, wood, cement, plaster; basic building resources from our everyday environment, that are at odds with the delicacy of specific materials.

In her first solo show, entitled Hollow Bodies, she addresses the inside and outside of things; objects that are formed from the inside-out and shaped from the outside-in; invisible volumes and inflated spaces. The sculptures explore the space between construction and collapse, tensions of building up and crumbling away, where the making is more important than the monument.

Attention is drawn to the back of things; the open cracks where you see the gooey insides; supportive metal bars that form a type of exterior skeleton, resembling prosthetic limbs or crutches. Structures and materials usually used on the inside of houses become an external framework of support and control. What occurs in the background is brought to the fore.

This new body of work examines flatness and fullness: a giddy floppiness of excess materiality. Translating measurements derived from architectural interiors into inflatable forms, the materials that make two dimensions into three are employed to create objects that are made from spaces. These half-baked forms contrast the geometric structures that are bound by the rules of functionality. Baring the marks of their making, they are products of their own construction. The plaster membrane is nude and suspended like skin over knuckles, buckling under its own weight and evoking the hollowness of its form. The works are in pieces; behaving like tiles or bricks, stacked or cut off at the limbs, suggestive of the classical, fragmented figures that they mimic and mock.

Hollow Bodies confronts the seriousness of the absurd and how objects and spaces have their way with us.

Selected photographs courtesy of Oliver Perry Copyright, 2014 .