David Henderson “Later That Afternoon”

Studio 10

poster for David Henderson “Later That Afternoon”

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Studio10 presents David Henderson’s second exhibition at the gallery, Later that Afternoon. In this exhibition Henderson presents an installation of two large carbon fiber panels incorporating sound by his brother Douglas Henderson, a large suspended sculpture and smaller plywood wall pieces. Their previous collaboration at Studio10, The Sea Is A Big Green Lens, travelled to Germany for two museum shows, and was acquired by ZKM Center for Art and Media.

Henderson’s sculptures themselves are complex objects born of simple geometry. They provide an image of frozen motion reminiscent of a DNA strand, the inside of a shell, or fossilized ripples of water. While insistently physical in their construction, they read as illustrations of masses moving through space/time, leaving visible tracks behind them.

His smaller plywood wall pieces are derived from an equilateral triangle that turns in a ring, twisting on its axis. This form is inspired by a type of particle accelerator called a “stellarator”, a torus (revolving ring) in which magnets confine a plasma field so that it moves in a twisting ribbon. These pieces are designed on computer and split into layers, sawed out of plywood, laminated together and carved by hand.

Henderson’s large, suspended sculpture makes visible the path of a triangular shape rotating along a helix and doubling in size. His two large panel pieces, Sounder and Ariel, are structured from three overlapping waveforms in a square field. One of these panels was painted by the artist Kate Teale, and both are converted to loudspeakers for sound compositions by Douglas Henderson.

Douglas writes:

To me, Sounder was calling for a soundtrack. My first step was to turn the sculpture into a loudspeaker: sound is broadcast by the vibration of the entire panel. I wanted the sound to be derived from the panel’s physicality, which models three propagating waveforms and their interference patterns, and which also reminds me of drops of water breaking the stillness of a pond.

I calculated the frequencies of these waveforms, giving me three sine tones to work from. I then located the resonant frequencies of the panel itself, many of which are below human hearing, but become evident kinetically, visibly shaking the panel, and producing harmonics derived from the rigid structure and shape of the carbon fiber.

Ariel takes a more phenomenological approach, using the physically resonant sine tones as well as recordings of rain, fountains, and water jugs.



from October 11, 2019 to November 10, 2019

Opening Reception on 2019-10-11 from 19:00 to 21:00


David Henderson

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