This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Ryder Henry enjoys crafting miniature buildings and spaceships out of found cardboard, plastic, and assorted electrical components. He works on a scale of 1: 213.333. This number is derived from standard 80” doorways being shrunk to a height of 3/8”. The volumes thus become less than one 9 millionth of the real world. The scale is the foundation for his miniature city, 4 Lydia, which has appeared in numerous exhibitions. Ryder depicts the world of 4 Lydia through paintings that begin as still-life (direct observation of the model) and move towards landscape with life activities portrayed. Ryder interposes models of real houses (places he has lived and places where friends live) among his imaginary buildings. Aside from being a valuable exercise in craft, this gives him a more accurate sense of the scale in which he works. Pittsburgh has been his home now for a few years.
Curated by Katherine Talcott
Exhibition
Ryder Henry attended the Rhode Island School of Design. Henry's work shows his varied background from growing up around the world. He is a sculptor and painter, most known for his work, 4. Lydia, which is a futuristic model city made from recycled materials.
Ryder Henry creates models of cities that replicate real places in his neighborhood (true to actual scale), combining fantasy sci-fi motifs like space ships and futuristic “Jetson-style” buildings with contemporary architecture. Henry’s preferred medium is recycled cardboard—often collecting boxes right off the street.
