THE PASSING OF YAWNS - M.L.H.

GOLDENROD: Adorned Log

2011-10-08T07:06:00.000-07:00

Four rational approaches to kaleidoscopic findings, 2010

Four rational approaches to kaleidoscopic findings, 2010 from M H on Vimeo.

As part of the group show GOLDENROD: Adorned Log, g39 Cardiff, Wales - October 2011

SLEEP: Performing Statistics - Kafe 17, Istanbul

2011-10-05T03:12:00.000-07:00

An international affair, programmed for BLACK DOOR ISTANBUL one-year anniversary.

Tapstry 2/2, 35mm Slide Projection - Installation, 2010.

BLACK DOOR ISTANBUL operates in SLEEP within infrastructures; systemic displays and timeframes derived from the fields of conference, fair and forum.

EBERHARD BOSSLET (Germany) WILLIAM BUCHINA (United States) JIANCUI (China) MARIUS DAHL (Norway) MANUEL GORKIEWICZ (Austria) LENA ROSA HÄNDLE (Germany) PAUL PHILIPP HEINZE (Germany) MARK HENLEY (New Zealand) JANET (Turkey) THOMAS JUDISCH (Germany) MATTHIAS CRAUSE (Germany) RALPH NASHAWATY (Lebanon) YURDAGÜL PAKALıN (Turkey) HANS PETRI (Germany) PETER PIEK (Germany) MIRKO WINKEL (Germany)

SPHERE OF ISTANBUL: Artistic Approaches to the Urban - Kiel, DE

2011-08-07T09:53:00.000-07:00

Contributing writer: FM Mapping and the case for Whisper Dishes
PUBLIC IDEA Sphere of Istanbul: Artistic Approaches to the Urban
(IBSN 9-783868-951479 )

I COULD HAVE SWORN I: Berlin DE

2011-02-15T03:22:00.000-08:00

Currently based between Istanbul and Berlin, Henley's practice engages found objects to assemble sculptural works that commonly necessitate input/animation from their surrounding environs. His motion camera work, The Iceberg Theory, (title derived from literary and psychoanalytic theories of the same name), turns the camera on the audience placing them within the works video component. The defined state in which one views their 'reflected self' positions them in a frame defined as above water, or conscious space. The work utilizes the refraction of a liquid volume as lens and manually defines separate strata to the closed-circuit TV transmission. The interactive playfulness of the work glosses over a more sinister notion to unsettle. The Staying Abreast series continues a questioning of the anthropomorphic aesthetics of utilitarian tooling; distancing objects from their expected context whilst heightening their reading as purveyors of narrative, again confronting the audience’s relation to artifact and associated sentiment.

– Courtesy of Grimmuseum, Berlin

Left: The Iceberg Theory, CCTV installation, 2011 Right: Staying Abreast, Acrylic on steel, 2010

SLIDE OVERLAY / DOCUMENTATION:

2011-01-29T04:53:00.000-08:00

Untitled (T.B.C), 2010

Found objects, 35mm slide overlay, Leica projector

UNCERTAINTY : Istanbul TR

2010-07-16T01:09:00.000-07:00

In response to the theme of 'Uncertainty' Henley has employed the reflectivity of a mirror sheet to create an illusionary effect for a series of 'half' objects. The reflection completes the symmetry of the forms where the other half does not literally exist. The Simit Masa's (pretzel table) mirrored visual aligns with a second table beneath creating an unnerving sense of illusion. Henley seeks to highlight the complex geometery of the objects; unfitting to their street-side vendor context and/or cottage industry processes of production. The work continues an examination of wooden vernacular constructions present in urban contexts. The aesthetics of structural strength of these readymades, within their given social context, combine to continue this line of investigation.

Integrity: Structural and Otherwise, 2010 (Mirror, timber)

SUBVISIONS KUNST OFF : Hamburg DE

2010-07-16T01:08:00.001-07:00

Invited to attend Subvisions Kunst OFF on the back of extensive research into the Middle Easts burgeoning artist initiatives TRFF take the opportunity to present a future mode for geographically / culturally displaced collaboration.

An experiment in real time collaboration. Surveillance Station Recordings live portal link between Hamburg, Germany and Wellington, New Zealand. Opening dialogue on the geographic isolation of NZ, its logistical repercussions and the future utilization of digital space.

NAVIGATION OF THE PRECIPICE : TRFF Gallery, Wellington NZ

2010-07-16T01:08:00.000-07:00

Navigation of the Precipice engages ubiquitous form animated through various sculptural mechanisms, posing a re-questioning of the banal. Bricolage combined with direct shadow-play offer abstract references to the everyday, bringing to light the unseen complexity, and at times beauty of objects we live amidst.
The shows title Navigation of the Precipice refers not only to the peripheral extremities of geographic course, but the bounds of ones imagined parameters. By removing objects from their expected context the viewer is confronted by a 'nudity' devoid of backdrop.
Henley conjures a realm in which one exists in a suspended state of disbelief. The learnt authenticity of ones surroundings is questioned; extrapolation of known truths is rife.
This show is born of a nomadic period spent in the Middle East throughout 2009.
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Untitled, 2010 (Glass, mixed media)

DEBUT GALLERY: Wellington NZ

2010-07-16T00:36:00.000-07:00

Remainent I & II, 2009 (Glass, collage, adhesive)

2010-07-16T00:34:00.000-07:00

Backstory, 2009 (Sheet-metal, adhesive)

CHIYAH ANNEX : Beirut LB

2010-07-16T00:31:00.000-07:00

Callum Strong (NZ) - Muhammad Ali (SYR) - Mark Henley (NZ) - Ralph Nashawaty (LEB)
An outsiders ability to see beyond Beirut's 'living for the day' mentality, gave impetus to engage the RUSSIAN FROST FARMER's alternate gallery model of exhibiting in temporal / ad hoc gallery spaces.
Surrounded by the perpetual abject ambition of young artist collaborations, Chiyah Annex serves as an example of what can be achieved. Seizing upon an opportune redundant space, an empty apartment in the heart of Chiyah, the Annex show was conceptualized. Through the collective motivation of the exhibitors, over the subsequent 72hr period, the show was realized.
The temporal nature of the show is echoed in its works. Insight is gained in an instant, the longevity of the works themselves, is unnecessary. As the alternate model of 'gallery' intends to dispel a preconception, so to does the work. Through the manipulation of localized material, both physical and intellectual, a second questioning of ones surroundings is promoted.
The 'living for the day' mentality, that casts shrouds over future endeavour, is also negated. Work within the show is a catalyst for further development, in some way engaging a future tense often lost in exhibition of artwork. Finality is not paramount, exploration and experimentation are.

Mate, 2009 (Animation, timber)

2010-07-16T00:17:00.000-07:00

Net Gain / Net Worth, 2009 (Crayon on cotton)

HIS GRENADES ARE OF WRONG DESCRIPTION : Portal Gallery, Wellington NZ

2010-07-16T00:15:00.001-07:00

An unusual title translated as 'No excuses, especially of the pathetic kind'. His grenades are of wrong system was an improvised line from the 1969 Russian auter film White Sun of the Desert.

The TRFF dossier of alternative methods of 'farming' were made manifest by re-cycling, re-working, and re-configuration of found objects and old technology. This subliminal unification of the diverse works translated to a new vision of light and sound that injected a sense of mystery and playfulness into the everyday.

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Patent I &II, 2008 (Crayon on paper)

2010-07-16T00:07:00.000-07:00

Untitled series, 2008 (Lead on paper, watercolour)