"Printed at a scale relative to the human body and cropped to abstract the figure, the fake flowers are imbued with a human quality. From a distance, they look like garden variety home décor; up close, it’s easy to see just how cheap they are." —Taylor Dafoe
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"This is an artist who isn’t afraid to revel in the tactile lusciousness of a terrific print, and her attention to texture, surface, and tonal gradation is a welcome antidote to the churned out digital dreck we are becoming increasingly accustomed to seeing." —Loring Knoblauch
"Looking at these images, we ask, ‘What are the things that look like they’re changing, what are the things that feel like they’re not changing, and what are maybe some of the things we don’t want to change?’" — Wassan Al-Khudhairi, Birmingham Museum of Art Curator of Modern and Contemporary Art
"What I was trying to avoid were some of the more stereotypical images of social and economic divide that you see a lot coming from the rural South and really just trying to explore what I found and to leave some ambiguity in the photographs so that the viewers could impart their own narrative." — Lauren Henkin
"...Lauren Henkin—in a series of up-close shots— has begun to collect parkgoers in those strikingly loose moments, where they've shed shoes, dozed off, or stripped half-naked. She plays with space and scale, playing up big trees and giant buildings against intimate human moments." —Christopher Bonanos
"Lauren Henkin reminds us that nature is just as much a part of the city as the buildings and busy haze are with The Park, her latest exhibition at Foley Gallery. ...Henkin’s photographs show the connection people have to the park when they give in to its wonder and force." —Amanda Everich
"Here we are, mid-May, and though rainy and gray at times, we are no longer wearing four layers of clothing. Central Park is full of blossoming flowers and green trees... As temperatures increase, New Yorker’s will take advantage of the park’s beckoning call to slow down and enjoy the summer." —Amy Wolff
"Artist Lauren Henkin’s terrific project, The Park, allows us to consider natural spaces in a massively urban environment and the behaviors that we apply to those spaces. There is a delicacy to her black and white images and the relaxed poses of many of her subjects are incongruous to the face paced city life just beyond the park’s borders." —Aline Smithson
"As shows go, “The Park” is eye-opening. Henkin shows us a Central Park that we may have seen before but really didn’t notice. The majestic scale, the rocks and the rock climbers, the boaters and the sunbathers, the hidden beauty — the great escape available to all of us." —Norman Borden
“For me, it’s as much about seeing the light on the softball field as it is about the softball. It’s as much about the deep grooves in the rocks as it is about the rock-climbing. It’s as much about the sun on your back as it is about sunbathing. My work is not so much about subject. It’s about developing an intimate relationship with a viewer so that there can be some kind of emotional response to the photographs.” —Lauren Henkin
"On their own, the crisp, vacant, urban-landscape images by Lauren Henkin would be intriguing enough—spindly tendrils climbing up a warehouse façade that suggests a color-field painting, or a tree that curves gracefully skyward from behind a mess of Dumpsters and recycling bins. But Henkin’s meditation on invasiveness asks how we choose whether to extinguish an outsider or let it be..." —Louis Jacobson
"Best D.C. Photography Exhibits of 2013"
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"The stark color photographs in “Growth,” at the Gallery at Vivid Solutions, might seem to celebrate the indomitability of nature. Lauren Henkin depicts trees and vines that wrap around industrial structures or insert themselves into absurdly small spaces between metal-clad buildings. Nature’s unruly vitality can be threatening, however, as Henkin shows with smaller, black and white images of internal growths."—Mark Jenkins
"We’re interested in abstraction because it intensifies the physicality of what’s photographed; disorientation is a by-product. A real useful one, but still a by-product. The Oregon landscapes, which say so much about abstraction in the found and the everyday, convey the sheer physicality of place--without reference to location and without documentary comment." —Lauren Henkin & Richard Benari Interview with Josh Franco
From an interview with ZingMagazine.
Read more here.
An image from Pictures is featured on the Contents page of PDN Magazine.
"Combining medical scans of her stomach, with colour landscape photographs of nature overgrowing man made structures and traditional portraits of plants [in this case parasitical ones] Lauren asks important questions about our often unquestioning worship of all things green and suggests that while usually benign, nature can also be invasive and destroy the host upon which it depends. ... "Growth" is an intelligent and complex response to our ambiguous relationship with nature; something we seek to control through our gardening, and forestry skills, yet still have a romantic attachment to the wildness of its seas and rugged untamed landscapes." —Bridget Coaker
"Wendy Webb interviews photographer Lauren Henkin about her new book, "Displaced." Lauren's work explores loss and renewal through experimenting with light and landscape in locations such as Nova Scotia."
"In its 30 year history the gallery has shown some fabulous work and I think Henkin's show is one of them. …there's an uncompromising beauty here that makes these photographs rise above just the 20th century documentary photography. The way … Henkin photographs this fog-drenched pier is almost out of the movies. This is a worthwhile show
and one worth visiting." —David Row
Video Review. Watch here.
"...these black-and-white photos stir with a contemplativeness and emotional directness that carry the frisson of discovery. We're witnessing the development -- pun intended -- of a peculiar, worthy talent. ... In Henkin's images, you feel the photographer's immersion in a specific world, its details and rituals and dankly exquisite weave." —David Row