Creative building – for art, films and beyond AND Mariana Abramović
Alan Dearling in conversation with Alan Henry
At 78 years of age, Marina Abramović is still going strong. She’s a Serbian conceptual and performance artist. Alan Henry has been working on the construction for some of the artistic ‘creations’ for the art-performance in Manchester. Here’s one of the descriptions about her work on-line:
“ Creating work since the early 1970s, Abramović is considered ‘the grandmother of performance art.’ Using her own body as her medium, she has explored themes of physical endurance and mental strength; artistic and female identity; the relationship between performer and audience. It’s pretty challenging stuff…”
Wikipedia suggests that her work explores body art, endurance art, the relationship between the performer and audience, the limits of the body, and the possibilities of the mind.
The show in Manchester was billed as ‘likely to offend’ by Manchester Evening News, and the Aviva Studios who hosted the show declared:
“ Brought to life by a cast of over 70 performers, dancers, musicians and singers, the experience unfolds across Aviva Studios. Audiences are free to choose their own path – with pop-up encounters punctuating the action, bringing bodies together in dance, song and ritual.
Watch Fertility Rite, a fevered ritual where bodies writhe against the ground in a desperate call for fertility. Witness Massaging the Breast where women gesticulate over graves to awaken the earth. In Scaring the Gods, women bare themselves to the sky to banish storms. Listen closely as Elke – narrator and guide – reveals more of the mythology.
Unafraid to push the boundaries of eroticism and performance art, Balkan Erotic Epic asks its audience a timeless question: What are our bodies truly for?”
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I was interested in finding out a little about Alan Henry’s ‘insider’s journey’ towards this performance/installation and more about his own work in films and the arts.
Alan D: Thanks for agreeing to share some of your experience, recent and in the past. I’ve known you for a few years and your tales of film studios, building stage props, creating fantastical landscapes all sound fascinating. Starting with your very current work for Marina, can you tell me about the experience and that of your co-workers?
Alan H: I wasn’t as deeply involved in the project as some of the others at Splinter the company that was employed to build the scenery for the show and then employed me to do the poly carving. To begin with I dealt with them and later with the designer Anna Schottl when she arrived from Germany. Anna knew what she wanted to achieve and was appreciative of the time-scale we had to work with, was lovely to collaborate with and seemed very happy with what we produced.
https://www.splinterscenery.co.uk/
Alan D: What were you building for Marina’s show?
Alan H: Originally I was approached by Splinter about sculpting five phallic-looking mushrooms between two and six metres tall, but by the time I came to sculpt them they had evolved into five slightly Beardsley-esque penises, though often still referred to as the mushrooms.
Alan D: How long were you involved – and will it lead on to other specific projects?
Alan H: I was on the project for just over five weeks. The workshop provided bases and a central framework, some with the ability to come apart for travelling which I clad in fire retardant polystyrene and carved. I had some help from Ian Bickerstaff at Splinter and a sculptor friend, Chris Kelly who worked with me for a little over two weeks. Once finished and approved they went off to be given a polyurethane coating for protection before coming back to the studio for the painters to work their magic.
Alan D: You’ve now seen the show. What did you make of it?
Alan H: Yes, I rather enjoyed the show, which was very skillfully done with some thirteen constantly evolving scenes all happening at once with sound, song, lighting, animation and excellent music, none in conflict with the other – more in harmony exploring Balkan myths and parts of Marina’s life.
Alan D: Did you get any opportunity to meet Marina – how was it?
Alan H: Very pleasant. Marina popped into the workshop once while I was there. She was very gracious, appreciative and invited us to the dress rehearsal. Before the show she gave a personal talk to the audience about the project before a band leads you into the performance space.
Alan D: Can you share some images and video links of the show and the construction work that I can share in my article, please?
Alan H: Yes I have a few from the workshop that I can share.
Chris Kelly working on the 6 metre penis
In the paint shop
The finished article!
And the erection process!
Here’s a little video clip: https://vimeo.com/1130138241
Alan D: I am intrigued as to how you obtain and choose projects to work on?
Alan H: I’ve been very lucky in that respect, as jobs tend to choose me… I know several people in various parts of the industry who get projects and need to crew-up and give me a call. Usually one will have something on the go and need a hand. The difficulty lies in moving from one job to another without leaving anybody in the lurch. All jobs tend to start later than planned and go on a little longer, so booking jobs is always a bit problematic.
Alan D: Just before working on the Manchester show, I think you were working down near London building a film set that involved a lot of icebergs and Huskies – tell me about it…
Alan H: That job was in Leeds. I had just finished at Pinewood and about to start the Marina project when a friend needed a hand on a film ideally for five weeks but I could only do two. Which was a shame as it was a nice project and lovely crew with lots of Huskies who had never been inside before, never mind inside a film studio. The film is set in Greenland, not much like Leeds, but they used a system called VP virtual production which is a bit like a large video wall which we then put a bit of setting in front of and lots of fake snow. It worked very well and will be mixed with some location filming later.
Alan D: I think you have worked on projects involving puppets and animations. What are some of the memorable projects? Are there links and images that I can share?
Alan H: Since moving back up North in 2000 I started to get involved in animation set-building, first by chance via a friend who was unable to do a job and passed it on to me. At the time there was a lot of children’s animation going on in Manchester, Bob the Builder and many others. Working on the remake of the Clangers, a childhood favourite, was a great treat. I have also worked fairly recently on the Sainsbury’s 2016 Christmas advert, The Greatest Gift, and on the Netflix animated film, The House released in 2022 among other things at Clockwork Frog.
https://search.yahoo.com/search?ei=utf-8&fr=aaplw&p=clockwork+frog+films
Street scene for The Greatest Gift. I made the middle house and base.
Alan D: I only have a hazy idea of what are your particular skills and what sort of things you actually do?
Alan H: In recent years I have tended to get given poly-carving jobs on larger projects, but also do model-making for animations and models of theatre shows for designers. Using various materials as well as mold-making, fiber-glassing, woodwork…anything really depends on what comes my way.
Alan D: Do you regularly have to sign non-disclosure agreements concerning your work on productions?
Alan H: All films now seem to have a non-disclosure agreement and the bigger the film company like Marvel, Star Wars and Disney, the more stringent they are, which I understand, as it helps protect their copyrights and stop spoilers. When the film is released you can talk about what you had worked on. The Greatest Gift had a non-disclosure due to the importance and competitiveness around Christmas ads.
Staircase: The House being constructed
Front door set: The House
Alan D: I’m sure you could give me lots of different answers to this question. But if push comes to shove, what are some of your proudest achievements? Any links and images?
Alan H: There is so much over the last 35 years to reflect on, with various jobs from costume props to animation and everything in-between, and I have been very lucky to work for some very talented people. Sometimes my contribution might only have been small, but despite that, I’m proud to have been associated with the productions. At Splinter we did 17 years of great shows with the Liverpool Playhouse and Everyman Theatres under the artistic directorship of Gemma Bodinetz. Back in 1990 I made some rat tails at Robert Allsopp’s for Sir Peter Wright’s Nutcracker, Birmingham Royal Ballet designed by John Macfarlane which was a wonderful show that still tours. The same year I worked on Marc Morris’s take of that ballet, The Hard Nut in Brussels. A 1920s’ Westland Wapiti aircraft diorama for a Saudi Airforce Museum, artificial shrubs for the Barbie movie and The House for Netflix.
Roman Holiday Theatre Royal Bath and Tour
https://www.brb.org.uk/shows/the-nutcracker-2025
Alan D: So, what of the future? Will you have to keep on working away from your home? Any particular offers of work that you fancy on the horizon?
Alan H: I’m hoping to spend less time away in future but inevitably it will depend on where the work is. Early next year there might be an animated film being shot up here by an interesting young director with a local script and set locally so if that happens it should keep me busy for a good while, so fingers crossed.
Alan D: Many thanks, Alan. And keep on sharing some cider apples with me!
Alan H: Of course, and it’s been a pleasure talking to you as always.
Wapiti biplane Saudi Airforce Museum
Giant Skull for pool-side show cruise ship, Chris Kelly sculpted skull I molded it and fiber-glassed it.