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
Informed by studies in philosophy and choreography, Helen Grogan uses sculptural, photographic, and filmic means to approach space and observation as material(s). Her works directly engage exhibition sites as situations to be expanded and opened in material, ontological, and political ways.
With a particular interest in framing what is already occurring, Grogan works from the perspective that each specific exhibition contain affordances that charge and change the application of works into the world. The artist’s practice operates critically and dynamically with the eahc specific exhibition or commission formats. Viewers/visitors are implicated through the physical act of observation ‘infield’ through moving tragectories of noticing-in-process.
Works often incorporate explicit processes of flux, drift, layering, and reconfiguration as means to push or stretch potential temporalities and spatialities. By employing devices that resist fixed or prioritised points of view or points in time, her works seek an embodied attention within the ever moving present and actual.