LONDON — Worms are unsung heroes of our world, playing a key role in ecosystems by breaking down organic matter and turning it into fertile soil. The almost alchemical power of worms is literally and figuratively at the heart of Tamara Henderson’s solo exhibition Green in the Grooves at Camden Art Centre, which features a large compost bin containing the creatures, with “do not open” scrawled across the lid. In Henderson’s conception, worms represent a link between life above and beneath the earth’s surface, transforming death and decay into rebirth and growth.
A live audio feed of gentle bubbling comes from contact mics attached to the outside of the wormery, and the surprisingly relaxing sounds of digestion are broadcast through arcs of speakers. The effect is immersive and intriguing; visitors must take the worms’ presence on trust and focus on the sensory experience of listening to sounds that are usually out of the reach of everyday experience.
Green in the Grooves is conceived and structured around four key characters and forms of energy that emerged during Henderson’s experiments with composting: the Director, Light, the Gardener, and Sound. These investigations, which took place in Henderson’s studio and garden in Australia, are the subject of the 16mm film that shares the exhibition’s title. The film poetically charts the creation of the sculptural pieces housed in the gallery, entangling the artist’s processes and outcomes.
In both the film and the display of sculptures, the differentiation between the four characters is somewhat nebulous. Henderson’s world-building is multifaceted and complex — sometimes to the point of obfuscating her intentions. The central characters and personified forces are given a sense of physical form through a set of handmade costumes presented on rotating mannequins, with the wiring somewhat clumsily hidden under rubber mats. The execution is reminiscent of displays of craft work or historical objects. This effectively subverts visitors’ expectations around the conditions for viewing contemporary art, but it is also somewhat off-putting, particularly combined with the low light levels in the central exhibition space.
The dim lighting is presumably part of Henderson’s attempt to immerse viewers in the underground world of the worm. Light floods the exhibition’s final room, as the focus shifts to the force needed for plants to grow above ground, rooted in the worms’ fertile subterranean world. “The Gardener’s Bar” (2023) is a greenhouse based on the artist’s studio, filled with smaller artworks, objects, and interventions. While the display is engaging, the sheer variety of disparate items — from bespoke jewelry and collaged letters of the alphabet to bronze wizard figurines and blown-glass candle holders — can frustratingly obscure their meaning or connection to the show’s conceit.
It is unfortunate that elements of Henderson’s research and creative process get lost at various points in the show, primarily where the artist’s ideas are too complex to be conveyed effectively. However, Green in the Grooves is impressive in its entangled expansiveness, echoing the energetic vitality of composting that runs evocatively throughout the exhibition.
Tamara Henderson: Green in the Grooves continues at Camden Art Centre (Arkwright Road, London, England) through December 31. The exhibition was curated by Gina Buenfeld.
