Henry Hussey

Henry Hussey produces emotionally raw artworks, created primarily through the paradoxically laboured and intricate medium of textiles, utilising a collage technique of embroidery, appliqué, digital printing, and silkscreening. He often uses vintage fabrics that imbue his artworks with a physical and symbolic weight, weaving history into his works. Hussey draws inspiration, particularly in his word based pieces, from historical union banners akin to those used during the British miners’ strikes, for their palpable conviction and guttural impact. Whether through an expanding vocabulary of quasi-mythological symbols, or embroidered lines of text extracted from weighted performative situations, he explores both personal, national and universal identity, often in response to aggravating relationships and events. The dramatic and intense impression created by these works is heightened by a vibrant and bold palette, which is used to both reinforce their narrative as well as underline the labour-intensive aspect of his practice. 

Further developments with other materials including glass, bronze, and monoprint, reveal a deeper concern with control and chaos and the place in between these two distinctive states.

Henry Hussey (b.1990) studied Textiles at Chelsea College of Art, London before completing an MA in Textiles at the Royal College of Art, London. His work has been exhibited at: Anima-Mundi, St Ives (2017), Textiel Biennale at Museum Rijswijk, Hague (2017); Art Central, Hong Kong; the Bloomberg New Contemporaries (2014); the Institute of Contemporary Art, London; and Volta NY, New York. Henry Hussey is represented by Anima-Mundi.


Platform Foundation Asks

Who is your artistic hero? Dale Adcock: his work is made with an emotional and intellectual depth that is astounding. I strive to give my work as much individuality as he does. 

Which work of art you wished you owned? The head of Constantine The Great housed at the Musei Capitolini in Rome, it was part of a monumental statue. The work has a breathtaking sense of grandeur and reverence. 

What is the most indispensable item in your studio? A highlighter. I am continuously writing and highlighting notes in order of imperativeness, there is pragmatic approach to my work and to do that effectively I need to be strategic and disciplined.

Describe your studio in three words: Chaos, Order, Unknown.

Do you collect anything? For someone that makes work which features found materials that is embellished with personal grievances from my life I am strangely minimalist. I try to expel any extraneous objects from my surroundings.

What kind of music do you listen to while you work? Right now I am listening to Frank Carters new album ‘End of Suffering’, following his work that has gone from raging-disaffected-youth-punk-frontman yet without losing the anger he is making refined and mature music.