Join us for regular museum hours starting February 3, 2023.

  • Will Lentz '12
  • Heartspeak: Too Much Heart
  • 2019
  • Steel and tin
  • 9 x 20 x 8 inches
  • Courtesy of the artist

Will Lentz comes from a family of Hendrix alumni.  He grew up attending campus events and then Governor’s School, so by time he enrolled the environment was familiar. He spent time pursuing other majors before realizing he wanted a career working with his hands. He soon began taking Art courses and developed a focus in sculpture. During his time at Hendrix, Lentz worked as a Studio Assistant for the college’s 3D studio space and a showroom assistant for James Hayes Art Glass Company. Outside of the Art Department, he served as an Orientation Leader and was an active member of the Ultimate team.

After graduating in 2012 with a Studio Art major and a sculpture emphasis, Lentz accepted a position in the Core Fellowship at the Penland School of Craft in North Carolina. There, he spent two years of intensive study in ceramics, wood, and metal work. Lentz then moved to New York, where he earned an M.F.A. in design research from Products of Design at School of Visual Arts in 2017. He now lives in Richmond, Virginia where he is working to maintain his creative practice through the coronavirus outbreak.

Heartspeak: Too Much Heart is part of an ongoing series that Lentz started last fall. The series examines how our idea of wholeness often revolves around synchrony and harmony, particularly between what we feel, need, or want in our hearts and what our mind and body experience in the world around us. Lentz suggests that we often find ourselves out of sync, craving what is not there or feeling incapable of expressing how we feel.

In each piece there is a subordinate form, typically composed of negative space, tinned and thus highlighted. It is ensnared within a dominant steel structure, which impedes its ability to be seen. However, when the piece inflates, these concealed surfaces can expand, escaping restriction and becoming a disruptive element amongst the dominant, geometric shape.

By highlighting the negative, subordinate spaces that are out of sync with the whole, Lentz observes life’s inherent dualism and multiplicity, facilitating a conversation between what we know to be true on the inside and how that manifests on the outside. While some surfaces are highlighted as loss or imprint, as openings determined to be maintained, others are given force through inflation, able to affect dominant forms from the inside out.

Lentz’s work does not depict two materials at war, but rather two materials molecularly bonded or chemically altered to make a true whole. These materials, when acted upon by an exterior force, demonstrate the ways we react to internal change.