Lena Henke

dooms day room, 2016
Greenwich, 2016
split, 2016
The Temple of the ducks, 2016
Musée d’art contemporain de Montréal

Lena Henke’s céramique sculptures of horses’ feet are alluring and womanly; coins are pushed in what seems like cracks, cleavages or vagina-looking forms. The hollow forms of the hoof sculptures are simultaneously awkward and robust, and suggest high-rise buildings with speckles evoking brickwork. Some include semi-opaque plastic milk containers, and become a kind of junk-animal homemade hybrid. Henke’s sculptures hint at horse fetishism, female sexuality, the subconscious, and collage, in a surrealist, almost “Dali-esque” world.


Crédit: Guy L’Heureux, La Biennale de Montréal 2016