In the 1970s Nigel Henderson began a new approach to his colleages. He would take a single found image and work through various imaginary scenarios until all possibilities were fully exhausted. The first example of this new approach came in the late 1970s in what is known as the Lovely Linda series, when a student of Henderson’s showed him a print of a woman he had found on the floor of a bus and of which Henderson imagined that “it must have fallen from a wallet, where it had been conserved lovingly, gazed upon from time to time to provide a momentary lift – like a double-whisk.”
