Helen Grogan’s practice can be described formally and medially as a field of interactions and interferences between sculptural, photographic, and cinematic mediums. The process of observation itself becomes a material. Her work examines the material and immaterial conditions of the given exhibition location.

Spatial shifts, rearrangements, attenuations, and reconfigurations focus attention on the temporal and procedural dimension of the spatial, but also the socio-aesthetic. Beyond purely formal and phenomenological conditions, Grogan’s aesthetic examination involves a subtle critique of the institutional conditions of the exhibition format.

Grogan views the exhibition location as fundamentally performative. The viewer’s process of perception is not simply perception; rather, perception, i.e. the act of perceiving, is what first brings the space into being. The artist to call into question supposed certainties regarding spatial conditions. Her works seek to raise a kind of awareness of one’s own physical being, of the productive potential within the process of perception, and of the perception of an incessantly, albeit often indiscernible changing present and reality.

- David Komary, 2019

Notes on Practice / Accumulative Concerns

Helen Grogan's artistic practice often takes the form of exhibition scenarios that activate a sensitive, critical engagement with context. Informed by studies in philosophy and choreography, Material configurations of sculptural, photographic, and filmic components are setup in dynamic play with existing contextual conditions.  The action of attending (and being attentive) is tasked to ‘the viewer’ by shaping such configurations as tragectiories with spatial and temporal dimension. 

When Grogan develops exhibition projects for art instituions, this traversing/tragectory is equal parts practical and conceptual. Processes of traverse are useful in enduring institutionalised parameters and deliniations whilst intervening in such institutionalised parameters and deliniations.

Works often incorporate explicit processes of flux, drift, layering, and reconfiguration. By employing devices that resist fixed or prioritised points of view or points in time, her works seek an embodied attention within a present that is ever moving.