Judy Henson

Years practicing both art and museum exhibit design have interwoven the two in my work. Natural histories, understood to include the human, occupy sensory and storied layers. For example, in work shown at {Poem88}, water’s elemental forms - condensation, pool, river, waterfall, stream, bay, ice, vapor and liquid - inspire both method and metaphor in captured rain. Forest light recorded on and transmitted between interleaved film shifts, bends, dapples, diffuses, colors and stains. Collections, which include things like leaves, stones, feathers, bones, 3D models, photographs old and new, are combined and recombined, examined visually and linguistically. The process echoes that of the museum, in its form as sacred grove, often columned by the powerful trunks of trees. Science and technology take their places overlaying images and the rooted meanings of words. Mutable histories germinate along the way.

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