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HENRY, Sean

“Henry’s figures are immobile. It is as if they have absorbed the sense of the time the artist dedicated to giving them life, as if they share an abstract time, a kind of duration created between his work and their imminent existence with him. They wait for him to finish producing them. And then they continue waiting. Henry’s decision to paint his sculptures with oil paint becomes the solution to a problem that is both existential and artistic. The encounter of inspirations and motivations, the infinity of cases which are multiplied, leading him to a result that is complex and very simple at the same time. As if Lucian Freud’s oil paint were to be spread over solid and compact, square and massive forms. The delicate shades of the oil on the body enable him to continue something that comes from within, from inside the body. His male figures, as Henry points out, are not those of menacing giants. The sculptures represent ordinary people, solid and present in real volumes like Georges Segal’s plasters, interested in the everyday, minimal, banal acts of cultured persons caught in a gesture that has no history and no significance. Henry’s men and women do nothing. They have inherited the austere and serious posture from Giacometti, as they wait attentively for a possible future, whose history is part of a subsequent, as yet untold, chapter. Donkey is the right size, the sculptor explains, to meet your eyes, he must not seem real. Life size sculpture is too close to death. The aura of myth always hovers around the sculpture. The enchanted circle comprehends, between life and death, his existence”.

– Beatrice F. Buscaroli, Curator, Museo Civico, Bologna, Italy. Translated from the Italian

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