Kate Henderson

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Find, make

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 “Sculpting has always been a part of my life, it is my passion and over time has grown into an essential part of my creative expression.”

 

Based in Midhurst, West Sussex Kate’s sculpture is centred on a purity and simplicity of form and finish, creating sensual objects that beg to be touched. These very modern pieces are crafted using traditional skills and tools, and the finished results reflect her passion for finish and her creative freedom in shape and form.

 

She works in both direct carving and casting; her cast work is derived from her original carvings, normally in wood. Direct carving can be a long process as it means working without a pre-decided form or maquette. This in turn means not using power tools to remove large amounts of wood, allowing the material to inform the process is key so hand tools are her mainstay.

 

As Part of the 'Find, Make‘ exhibition Kate is showing a collection from a body of work that she refers to as ‘The Ordinary – Made Less Ordinary‘.

Kate has taken materials more associated with the construction and building industry and in ‘The Beam Series’ literally worked with recycled material salvaged from her family home where she grew up in Dorset, reshaping and repurposing them into aesthetic, abstract art.

 

As with all her work, this series of abstract carvings are intended to be enjoyed from every angle, there is no front or back, just the way you enjoy viewing it most. In reflection of their original purpose as timber framing the larger pieces with their notches and holes stand tall on flat bases but in contrast to the solidity of their construction life they have a fragility and tension with their bold curves and sweeping lines.

The bases they are placed on are created especially for them, becoming part of the piece rather than merely a pedestal to present them.

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“I love to work with the authenticity of whatever material I am working in, none more so than wood. Celebrating the inherent qualities whether natural or from a previous life … the grain, the knots or the nail holes and woodworm scars …any and all perceived imperfections are important to me and will both inform the initial direction of a piece and give it it’s final personality.”

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