Biography

Education

1986 BA Honors Degree, Mixed Arts, Painting, Animation and Illustration, Exeter College, England

Solo Exhibitions

2005 Simon Henwood, The Hospital, London, England

2005 The Compact Kido Show, Cano (estudio), Madrid, Spain

2005 Simon Henwood, Colette, Paris, France

2003 Kido, The Gallery at Pentagram, London, England

2000 Simon Henwood, Vedanta Gallery, Chicago, Illinois

2000 Simon Henwood, Hammer Project, UCLA Hammer Museum

2000 Simon Henwood, Richard Heller Gallery, Santa Monica, California

1999 White Kitten, Bronwyn Keenan Gallery, New York

1999 Simon Henwood: New Painitngs, Gallery Speak For, Tokyo, Japan

1998 Taught, ICA, London, England

Group Exhibitions

2001 Animations, PS1, New York including: William Kentridge, Angus Fairhurst, Christina Mackie

2001 Slice of Life, De Chiara Gallery, New York including: Diego Gravinese, Laura Mosquera, Suzy Spence

2000 Lemon Tree Hill, Asprey Jacques, London including: Paul Morrison, Anya Gallaccio, Tania Kovats, Mutean/Rosenblum

1999 Fast Forward, Kunstlerhaus, Ausria

1998 Supastore, curated by Sarah Staton, Cornerhouse, Manchester including: Tracy Emin, Gilbert and George

1997 Alice, with James Reilly, Wendy McMurdo, Perindar Kaur, James Robertson, 156 Brick Lane Gallery, London

Selected Writings on Simon Henwood


Raphael Rubinstein 2001 (New York)	Christian Haye 2000 (New York)	Mikato Saito 1999 (Tokyo)
The most obvious thread running through Simon Henwood's wide range of creative endeavours is his interest in childhood and adolescence. Over the last dozen years, as he has moved among different mediums and shifting forms of diffusion, Henwood has remained focused on youth, it's experiences and consequences. Take, for instance, his gouache portraits, which have been shown recently at the ICA in London, Bronwyn Keenan Gallery in New York, and Richard Heller Gallery in Santa Monica. These large, generally close-up views, which look to have been partly painted with nail polish, show mostly girls and boys in early adolescence. Their faces range form the postulant and wary (Daniel Age 14 Manchester) to the observant and vulnerable ...	Suburbia used to be the best place for resistance. The myth of conformity was the space where we were nonconformist. The creation, dissection and our attempted destruction of that space could be accepted as the industrial strength narrative of the twentieth century. The battle of normalcy has itself become mainstream. Later for suburbia that took too long. The same war happens instantaneously in cyberspace and it is won and lost in the blink of an eye. This is an age so dependent on recycling that yesterday's rebellion becomes tomorrows fashion at an astonishing speed. In the western world a new millennium has brought with it a tragic question. With no opposition to seemingly anything, what is there left to rebel against? ....	One pop girl' s group made a million in the music industry with their commercial pop-movie - it went on a road show last spring, and next season, it was sold as a video in the shops. This year, however, they had already stopped working as a group and started on their own solo careers. When an important person dies, the world has a moment to express its grief, though after a month the death will be forgotten in society as if nothing has happened before. The newest blockbuster SFX movies are made and flooded everywhere by the rapid endless development in technology that consists of perfectly analysed data from the past. The most brutal crime ever is frequently reported all over the world, and it is like the creation of world records won by athletes ...
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