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Karen Henderson's sculptural work resembles props that are separate from the architectural environments they occupy. Floor sections spotlit with inset pools of colored Plexiglas, glitter-covered disco-like tiled floor sections, and blacked-out stages with spotlights pointed at the audience all utilize architectural form as decorative backdrops. Intended as a section of theatrical space that is never occupied and which creates an indefinite suspense for an entertainment that never happens, the work addresses the demand on the artist to satisfy the audience's need for spectacle.Her work seems to invite the spectator to interact with them, like a karaoke stage waiting a performer to appear. | ||||
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But this illusion is deceptive as the object is clearly a work of art that would lose its status as commodity through use, remaining a proposed but suspended possibility of intervention and transformation. Karen Henderson
received an MA from the Edinburgh University and Edinburgh College of
Art and an MFA from Hunter College, New York. She had a one-person exhibition
at The Collective Gallery, Edinburgh, UK, and her work has been included
in group exhibitions at The House of William Blake, London, and Transmission
Gallery, Glasgow.
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