Trees No.2 2004

Editor: Jeremy Henderson's "Trees No. 2," from 2004, appears to be a drawing employing charcoal and ink. There’s a kind of ghostly figure interwoven with the trees. What’s your interpretation of how these elements connect? Curator: The integration of the figure and the trees sparks questions about our relationship with nature and representation of the female form. Consider the historical context: Nudes have been a staple in art history, often objectified. Here, though, Henderson merges the female form with the natural world, maybe inviting a dialogue about ecological feminism and the interconnectedness of all living things. Do you perceive a sense of vulnerability or empowerment in how the figure is presented within the landscape? Editor: I see vulnerability, definitely. The lines are so delicate, almost hesitant, especially around the figure. Curator: The medium supports that idea. Charcoal allows for nuance, for shadows and fleeting gestures. I wonder if the tree motif speaks to ideas of rootedness and growth. In contrast, the nude can become symbolic of raw humanity, and therefore be vulnerable. Thinking about how the artwork was produced in 2004, shortly after 9/11 and the ensuing wars, does that context shift your perspective? Can we see this image as an act of defiance of female objectification and as an appreciation for the human body’s union with nature? Editor: I hadn't thought of it that way. So, you’re suggesting it’s almost a subtle form of protest? A re-evaluation? Curator: Precisely. By intertwining the organic forms of nature with the human body, the drawing reframes classical conventions. In essence, the artwork fosters an inclusive and ecologically sound aesthetic, reflecting a larger cultural critique and promoting values that honor a non-exploitative connection to the natural environment. Editor: That really changes how I see the piece. I see the drawing’s connection to environmental and social awareness much more clearly now.