Breathing, The Breath of the Artist


The presented photograph, from a series called Explorations, took this phenomenon as its background source.


An illusion, creating a precarious balancing act


The images invite viewers to reflect on a distant, narrow band of clarity and masses of blurriness


Photography for Henry Lewis, does not exist as a necessity for the recording of an ephemeral work, it is a technic for the creation of images in which the object photographed exists only as a preparative stage of the completed piece.


We experience space thanks to our legs, we seize it thanks to our hands, but our eyes cannot see it.


There is in my work a predilection for circles and skies as subject matter

Lvna Proxima

The body has today disappeared unless the faces of the Moons are reminiscent of his own face

Body Art

The Body: Heads, Torsos and Hands. 1977-1985. This work stated in Sydney and continued during my time in the US and France

HENRY LEWIS: Artist using Photography

Henry Lewis was born and spent his childhood in Sydney, Australia before studying art at San Francisco Art Institute in the late 1970’s. During this time, he came into contact as a student with notable artists such as Chris Burden who was influential in his development. Later he resided in France for an extended period; here he was captivated by the likes of Klaus Rinke and Christian Boltanski, Vilém Flusser …

Lewis uses these background influences to inform his photographic works which often focus on notions of the body, optics and visual perception. Over time, a large number of visual solutions and unexpected approaches have been employed in his work ranging from auto-portraiture, to constructed ‘mise-en-scène’ (staged photography) in his Luna Proxima series, Radiography and biological captures in his Ears, Burning and Breathing series.