Henry tends to paint ridge lines, roof lines, and power lines. His practice is, in large part, an effort to come to terms with the collective will mankind imposes on the landscape. Many of his better paintings depict a tension between the natural environment and the built environment. Rarely do we see an unobstructed view of a vast expanse. We take for granted all the panes of glass, telephone poles, cell towers, cheaply built buildings, guard rails and asphalt that constantly interrupt how we experience our native surroundings. Henry’s interested in the often awkward, sometimes funny, occasionally beautiful juxtapositions of: economic growth and plant growth, engineering and entropy, suburban sprawl and the sublime.