According to master Manabu Noda, to speak of ikebana is not to speak of ﬂowers. In the art of Japanese ﬂower arranging, one speaks in the language of bodily relation to objects; one speaks in the language of arranging space. The ﬂowers then, already beautiful and, in the Zen estimation of the universe, needing no particular human manipulation, act to frame their environments as much as they are framed by the hand of the artist. Flower in hand becomes ﬂower and hand. Likewise for Chase Henson, the revelatory moment of artistic production resides in an interrelation of body, object, space and language, not in unidirectional investment. In such work, products and production become conﬂated and the act of making loosens. Henson ﬂuidly explores a poetic interspace between sculpture and performance. In a construct devoid of hierarchy, performance and gesticulation suggest objects to be made while extant objects in the world allude to bodily interaction and performances. Just as a juggler might wander through the world seeing all things as potential props for gesture and manipulation, it is the quality of real time, bodily negotiation, discovery even, that constitutes the arc of making in this practice.
-Jovencio de la Paz