A letter D’Arcy Henderson wrote to Martina Kuharic in April, 1975.
Some of my earlier works were involved with the use of colored lights -red, yellow, blue, - to produce white light. This white light was projected on two surfaces -- leaded plastic panels and white fiberglass forms, some including small flaked glass.
These panels were very similar to movie screens. The surface sparkled as the observer moved past and also due to color subtraction, the observer created shadows.
Hence developed an interest in lights on objects and light itself; and also the desire to develop an object with a maximum of an inherent reflection or refraction quality.
These early pieces were of wood (white) or black and white fiberglass - using two major surfaces - gloss and flat. And for a time this satisfied my desires.
Next, during a studio relocation, I photographed the pieces in various outdoor locations. This led to a desire for a more flexible object for photography. One which would express more of the various qualities I had observed while working with plastics.
Now, this object would be a "synthesis" of all or most of my earlier concerns with light on surfaces and the effects as a possible direction to an art form.
(Before) actually constructing pieces for light works I had "illuminated" various textured surfaces - artificial grass, metal, rope etc.)
By a random and, I suppose, partially selective process, I began to photograph the first resin spheres. The results fascinated me and I proceeded to do a series of photos which illustrated all the various qualities possible with such an object. At this time I was not concerned with creating a piece of "sculpture". The photos were enough and the whole process of photography, plus results, was something I had never explored before, so I continued in this vein for some time.
Then I wished for more spheres to obtain even greater variations in graphic quality of the photos.
Still I was not really concerned with working towards a sculpture piece -- but in retrospect I was doing just that. Also, at this time I took 16mm and 8mm studies of the spheres. Much of the material produced was similar in process to the glass leaded panels done earlier and were truer to the changing effect of light and movement. I also now had the record of these effects:
Now, here I was. I had 60 spheres, 100 photos, some film and a desire to go further.
I had done a lot of modular work and didn’t really wish to do more but perhaps I could use the spheres to develop another variation.
Two of the spheres were almost straight sculpture.
So we have:
1. Large sphere with resin disc (to me sculptural in relation to past fiber forms)
2. Spheres now off beach and into gallery (modular arrangement) similar to glass leaded panels
3. & 4. White domes containing approximately 9 various sized spheres, 3 resin hemi-spheres.
<>Next "Eyes" (in the show) specifically.
1. There were 9 various sized spheres for filming, Photography or just playing with.
2. These spheres were in a container with handle and hinges and could be easily transported.
3. The container was part and parcel of a piece-the three other white spheres.
4. The white sphere was in a sense a piece of sculpture.
5. The white sphere had most of the qualities of fiber pieces done earlier - light, white, round and flat (surface).
6. The light reflection, gloss, transparency of plastic was contained in the white sphere via the 9 resin forms.
7. Also the photos and film have been displayed with these pieces and gave a greater range to the objects so shown. (Their travels you might say)
I now had a piece which was "straight” but was also more manipulative than the earlier works. I wasn’t fixed to the gallery situation and its major concerns. I also had a "piece" which could evoke in myself most if not all the qualities I had observed in the "field" and in the "studio". And in a sense, the photos are not just documentation of the work but part of the piece and as necessary as the piece.