Michael Henderson

Gnawing Hunger

Michael Henderson & Kathryn Kelley
Gnawing Hunger
remnant tubes, thread, and video

When Kathy approached me about collaborating on this piece, she asked me what my work was about. I told here I was interested in infinity and the abyss, that I was making loops of language that had no beginning or end and had different meanings depending on where you began reading them.

I told her I was interested in the idea of a mise en abyme, — the idea of an image that contains an image of itself, like the kind of tunnel created by facing two mirrors toward one another.

We decided to combine my videos with her tire sculptures. These forms were her response to what I told her my work was about.

Michael’s Workspace

tires and monitors hanging on the wallcloseup of moving type on a monitor inside truck iner-tubesfour televisions in Michael Henerson's workspaceMichael Henderson's workspace at Box 13. large drawing on the table, old broken clock on the back wall

About Michael Henderson

Head shot of Michael Henderson of Box 13 in Houston

My work spans mediums. I paint and draw, I make videos that use 3D animation, digital-video, and super-8 film, and I make photographs and still images from videos. I paint images on walls and project videos on walls and I build structures that are sculptural and incorporate gallery spaces into installations that combine these elements.

Whatever form my work takes, it is driven by my interest in the way art is like language and the way images represent time. My dissatisfaction with the way a still image represents time leads me to repeat images over and over, like images in a strip of film. My dissatisfaction with the way moving images represent time leads me to make videos that continually loop and have no beginning or end. In all of my work, I am interested in creating structures that represent time in way that is non-linear.

My interest in the representation of time began when I did a series of paintings to describe personal experiences. I wrote stories about things that happened to me and compared the written versions with the diagrammatic paintings that described the same experiences. I realized that I was structuring the images like language and I soon began to incorporate moving images to add a temporal element.

The writing that I am interested in is visual. I get excited when I write something that I can turn into an image or a soundtrack, when I can use it in a film or as an object that can take shape and move and mean what it looks like. I like writing that moves from point a to point b (beginning to end) by a route other than a straight line. My work is influenced by concrete poetry, sound poems and experimental writing that emphasizes the visual aspect of language.

I think about words and images and images that have words in them and images of words and writing about images and imaging words and wording images. I ask myself how does a word work as an image and how are images like words.


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