Guy Dixon reviews Nelson Henricks in the context of his retrospective at the 21st Images Festival. Dixon argues that Henricks' work exhibits a tension between mechanical order and visceral response. Hendricks himself admits that his earlier pieces were more personal but since the late 1990s his work has become less narrative based and more concerned with the mechanical and visual. This change exhibits a transition from the darker explorations of the mechanical body to a lighter discovery of the "clock work" order of sound and images.