Lynne Hendrick
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  • home
  • ABOUT
  • INSTALLATIONS
    • Dis-position
    • Too Thick to Chew
    • Distended Lode
    • Grounds for Belief
  • BOOKWORKS
    • 1997-current
  • OTHER
    • Sculpture
    • Painting
    • Drawing
    • Photography
  • INFO
    • Resume
    • Press
    • Contact
The San Diego Union, September 24, 1992, section Night and Day

CRITIC'S CHOICE  by Neil Kendricks, Art Critic

The best installation art doesn't just draw the viewer into the space; it embraces him or her, sometimes as a part of the piece. IN/SIGHT '92, several exhibitions of installations scattered throughout the San Diego/Tijuana region, tries to follow in this tradition. This pilot project to a large-scale proposal has all the markings of a great idea.

The group of installations on display at Mission Brewery Plaza feels incomplete, however, a three-dimensional collection of rough conceptual sketches rather than a series of fully developed projects.  While the artists each have been given a good deal of space to work with, most of the rooms are simply used as framing devices to present work that could easily have been shown in a more conventional gallery setting.

There are exceptions, such as Lynne Hendrick's installation, "Disposition," with its subtle and unobtrusive presence. Her changes to a room are minimal and practically invisible, until you notice the rectangular panes of glass installed in an overhead girder. It's here that Hendrick has placed a mixture of found and sculptural objects: bits of mold and scraps of metal exemplifying the already-stark quality of the room.

Seen as a whole, Hendrick's "Disposition" is akin to an exhibit box filled with miscellaneous evidence - remnants to unknown rituals or artifacts unearthed during an archeological dig. It's here in this quiet room of mysterious connections that the viewer is offered a provocative hint on how an installation can effectively use a space. Hendrick doesn't simply opt to fill in the dimensions.