David Henderson

David Henderson: In the early 1970’s, a distinct vision of what 21st Century aesthetics would look like permeated the set designs of several seminal science fiction movies. These worlds were clean, climate controlled, fluorescent indoor cities populated by androgynous jumpsuit-clad men and women. They would leisurely recline on globular davenports while gazing through massive domed windows at Concorde-like spacecraft effortlessly zipping to their destinations. This not-so-distant Utopia was to arrive in just a few short years (with an ever-present ambient music soundtrack included at no extra charge). The majority of us seem to have missed the intergalactic bus to this pristine future. We’re still driving the same basic gas guzzlers, and wearing pretty much the same jeans and t-shirt combo sported by those folks who were behind the camera way back in the Nixon years.

The sculpture of David Henderson, however, did evolve as planned. His works are masterpieces of sensuality and grace. It should come as no surprise that the New Yorker has called Henderson’s work, “Space Age Brancussis'.” While he means to delight, if not awe, us with the magical scale and scope of the work, he is also extremely adept at engineering them. Geometry and calculus are the classical underpinnings that he uses to devise these otherwise romantic forms. Henderson is also informed by the techniques of boat building and marine architecture. This is evident in the extremely ingenious design of the polymeric pieces; they descend from walls, affixed by delicate tails. Mass shifts, floats, and redirects. Henderson is an explorer. Interestingly enough, he often names his pieces after 19th Century French and English frigates. And so, like any adventuring aeronaut or mariner of old, Henderson sails into the aesthetic and scientific unknown, to bring back oddities and curiosities for us to behold.