The dynamic sculptures by Henrik Menné are basically about process, (im)balance, and organizing matter by means of rigid systems on the one hand and chance on the other.

The majority of Menné's production consists of machines or arrangements temporarily put to work when exhibited. The visible process is always silent, controlled, and structured by repetitive movements as the machines transform a single material – plastic, wax, metal or stone – into distinct objects. The objects are seldom treated as autonomous works of art. They are destroyed or the material recycled after the exhibition.

Although closed and often self-referring, the system of Menné’s processual sculptures both change the environment and is sensible to changes in the environment. The instability of the exhibition space is what causes the important marginal variations in the almost identical objects produced by a particular machine.

The process of 56L seems self-evident, and, like other works by Henrik Menné, 56L displays an immense effort and obsessive trait by putting forces such as gravity and the well-known qualities of a material into play.

56L (2004) consists of solid glue, a fan, iron, a heating element, and an engine. The dimensions of the work are variable (machine 180x150x150 cm).

56L produces a white web of glue. The machine heats up solid glue, which then flows down in thin threads in front of a fan that blows the strings in different directions. As a temporary result in which the history of the white structure is contained, the web takes the shape of the object or surface on which it settles.

The intriguing low-tech and analogue character of Henrik Menné's works illustrates the principle behind the organization of the particular sculpture. Despite this rational transparency, works by Menné almost always appear logically impossible and tremendously beautiful.