Helen Pynor

  • Information
  • Artworks
  • Biography
  • Exhibitions
  • Collections
  • Bibliography
  • Awards
‘Fallen 1’, 2017, archival pigment print, 80 x 120 cm, edition of 5 + 1 AP

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1964
Born Sydney, Australia

Currently
Lives and works in Sydney and London

2010
Doctor of Philosophy, Sydney College of the Arts, The University of Sydney

1993
Bachelor of Visual Arts, Sydney College of the Arts, The University of Sydney (Major: Photography, Sculpture, Installation)

1987
Bachelor of Science (First Class Hons), Macquarie University, Sydney (Major: Cell and Molecular Biology)

2005-2007
University Postgraduate Award, The University of Sydney

2005-2006
‘Antipodes’ Artist Exchange Project, l’Ecole Nationale Supérieure des Beaux-Arts, Paris and Sydney College of the Arts, The University of Sydney

2005
Artist residency, The Gunnery, Sydney

2001-2004
Lived and worked in Paris, France

2001
Public art commission, The Stanton Library, North Sydney

1998-2001
Artist-in-Residence, The Children’s Hospital at Westmead, Sydney

1993
Bachelor of Visual Arts (sculpture, photography), Sydney College of the Arts, The University of Sydney

1986
Bachelor of Science (First Class Honours) (biological sciences), Macquarie University, Sydney

SOLO EXHIBITIONS

2017
Fallen, Dominik Mersch Gallery, Sydney

The Body is a Big Place, The Old Operating Theatre London, collaboration with Peta Clancy, curated by Science Gallery London

2016
World Science Festival, Eagle Lane public light boxes, Brisbane, commissioned by Brisbane City Council

2014
The Accidental Primate, Dominik Mersch Gallery, Sydney

Burial, Kandos Projects, Kandos, New South Wales, collaboration with Peta Clancy.

2013
The Body is a Big Place, Galerija Kapelica, Ljubljana, Slovenia, collaboration with Peta Clancy, curated by Jurij Krpan

2012
The Life Raft, Dominik Mersch Gallery, Sydney

2011
Milk, Australian Centre for Photography, Sydney

Breath, GV Art, London

The Body is a Big Place, Performance Space, Sydney, collaboration with Peta Clancy, curated by Bec Dean

The Body is a Big Place, Leonardo Electronic Almanac, collaboration with Peta Clancy, curated by Vince Dziekan

2010
Liquid Ground, Dominik Mersch Gallery, Sydney

2009
Swelling, Dianne Tanzer Gallery, Melbourne

2009
Milk, Sydney College of the Arts Gallery

2008
Milk, Dominik Mersch Gallery, Sydney

Love Letter, Galerie Chez Robert, France, curated by Michel Delacroix

2007
red sea blue water, Dianne Tanzer Gallery, Melbourne

2006
Breathing Shadows, Harrison Galleries, Sydney

2005
Shadowbreath, Linden-St Kilda Contemporary Arts Centre, Melbourne

1996
Defence, Artspace, Sydney

1994
Worth It, Pendulum, Sydney

The Body Crypta, Selenium, Sydney

GROUP EXHIBITIONS

2018
Deconstructing Patterns, The Francis Crick Institute, London, curated by Bryony Benge-Abbott

Summer Exhibition, Dominik Mersch Gallery, Sydney

2017
No Such Thing As Gravity, National Taiwan Museum of Fine Arts, Taichung, curated by Rob La Frenais

BLOOD: Life Uncut, Science Gallery London at Copeland Gallery, London

The Rise of Bio-Society, Riddoch Art Gallery, Mount Gambier, Australia, curated by Melentie Pandilovski

The Patient, Manning Regional Art Gallery, Taree, Australia, curated by Bec Dean

The Patient, Riddoch Art Gallery, Mount Gambier, Australia, curated by Bec Dean

Seeing Science, Grace Cossington Smith Gallery, Sydney, curated by Lisa Jones

10, Dominik Mersch Gallery, Sydney

2016
No Such Thing As Gravity, FACT – Foundation for Art and Creative Technology Liverpool, UK, curated by Rob La Frenais

HAAR, Centraal Museum Utrecht, Netherlands, curated by Ninke Bloemberg

The Patient, UNSW Galleries, Sydney, curated by Bec Dean

Femel_Fissions, The Block, Queensland University of Technology, Brisbane, curated by Trish Adams and Rachael Parsons

Octoroon, Ateneo Art Gallery, Ateneo de Manila University, Philippines, curated by Michael Brennan and Bindi Cole

Identity, Dominik Mersch Gallery, Sydney

2015
Post Mortem, Rommelaere Instituut, University of Ghent, Belgium, curated by Marjan Doom, Chantel Pollier and Pascale Pollier

Chez Robert, FRAC – Le Fonds Régional d’Art Contemporain – Franche-Comté Besançon, France, curated by Michel Delacroix

Collectors’ Space – Art Month Sydney, Ray Hughes Gallery, Sydney, curated by Glenn Barkley

Octoroon, La Trobe University Museum of Art, Melbourne, and Visual Art Centre, Bendigo, Victoria, curated by Michael Brennan and Bindi Cole

Josephine Ulrick and Win Schubert Photographic Award, Finalist Exhibition, Gold Coast City Art Gallery, Queensland, Australia

Sydney Contemporary, representing Dominik Mersch Gallery, Sydney

2014
Vanishing Entities, London Science Week, Limewharf, Vyner Street, London, curated by Christiana Kazakou

Berlin-Sydney, Galerie Patrick Ebensperger, Berlin, curated by Dominik Mersch

Encyclopedia Galactica, GV Art, London, curated by Sophie Kosmaoglou and Frances Sampayo

The Mirror (Berlin Reflection), Dominik Mersch Gallery, Sydney, curated by Dominik Mersch

2013
TEA/Super-Connect, National Taiwan Museum of Fine Arts, Taichung, curated by Shu-Min Lin

Art and Science as the Conjectured Possible, National Centre for Contemporary Arts, Kaliningrad Branch, Russia, curated by Dmitry Bulatov

Synapse: A Selection, ISEA2013 – 19th International Symposium of Electronic Art Powerhouse Museum, Sydney, curated by Australian Network for Art and Technology

Oscillator, Science Gallery Dublin, curated by Douglas Repetto and Stefan Hutzler

Brains: The Mind as Matter, Museum of Science and Industry, Manchester, curated by Marius Kwint

Nature Reserves, GV Art, London, curated by Tom Jeffreys

The Body as Evidence, The Gordon Museum, King’s College London

Art and Science, GV Art, London, curated by Robert Devcic

Diverse Gatherings, No Format gallery, London, curated by Matthew Wood

2012
CyberArts 2012, Prix Ars Electronica, OK Center for Contemporary Art, Linz, Austria

Brains: The Mind as Matter, Wellcome Collection, London, and London tube stations, curated by Marius Kwint

Time and Vision, Australia Council for the Arts, London Studio 20-Year Anniversary, Bargehouse, London curated by Paul Bayley

Controversy: The Power of Art, Mornington Peninsula Regional Gallery, Victoria, Australia, curated by Vivien Gaston

The Body is a Big Place, video, The Centre for Tropical Medicine, Ho Chi Minh, Vietnam, curated by Danielle Olsen

Polymath, GV Art, London, curated by Robert Devcic and Jonathan Hutt

5, Dominik Mersch Gallery, Sydney

Fauvette Loureiro Memorial Artists Travel Scholarship, Finalist exhibition, Sydney College of the Arts Galleries, curated by Nicholas Tsoutas

2011
Love Lace International Lace Award, Powerhouse Museum, Sydney

Art-Science, GV Art, London, curated by Robert Devcic and Arthur Miller

William and Winifred Bowness Photography Prize, Finalist Exhibition, Monash Gallery of Art, Melbourne

Trick of the Light, Core Gallery, London, curated by Nick Kaplony

Josephine Ulrick and Win Schubert Photographic Award, Finalist Exhibition, Gold Coast City Art Gallery, Queensland, Australia

Art Stage Singapore, representing Dominik Mersch Gallery, Sydney

2010
Brainstorm, GV Art, London, curated by Robert Devcic

Hands On, Hazelhurst Regional Gallery, Sydney, curated by Cash Brown

Summer Exhibition, Royal Academy of Arts, London

Experiments on Plant Hybridization, Dianne Tanzer Gallery, Melbourne, curated by Drew Pettifer & Gillian Brown

5 BY 5, Menier Gallery, London

Melbourne Art Fair, representing Dominik Mersch Gallery, Sydney

National Photography Prize Finalist Exhibition, Albury Regional Gallery, New South Wales

Psychometry, Core Gallery, London, curated by Nick Kaplony

White Hot, Dianne Tanzer Gallery, Melbourne, curated by Dianne Tanzer and Lisa Keen

AGENDA 2010, Dominik Mersch Gallery, Sydney

Josephine Ulrick and Win Schubert Photographic Award, Finalist Exhibition, Gold Coast City Art Gallery, Queensland, Australia

Slick Art Fair, Paris, representing Capital Culture London

2009
Hong Kong Art Fair, representing Dominik Mersch Gallery, Sydney

RBS Emerging Artist Award Finalist Exhibition, RBS Building, Sydney

William and Winifred Bowness Photography Prize, Finalist Exhibition, Monash Gallery of Art, Melbourne

Willoughby Sculpture Prize Finalist Exhibition, The Incinerator, Sydney

Fraction, CBA Studios, London

2008
Tendances: Contemporary artists in review, The Art Floor Geneva, curated by Sascha Gianella

The Vernacular Terrain, Monash Faculty Gallery, Monash University, Melbourne, curated by Matthew Perkins

Postgraduate Degree Exhibition, Sydney College of the Arts Gallery

Josephine Ulrick and Win Schubert Photographic Award, Finalist Exhibition, Gold Coast City Art Gallery, Queensland, Australia

Bazaar ’08, Satellite Event, 2008 Biennale of Sydney, Clare Hotel, Sydney, curated by Terminus Projects

2007
Undercurrent, MOP Projects, Sydney, curated by Noella Lopez

Portes Ouvertes, L’Ecole Nationale Supérieure des Beaux-Arts, Paris

ABN-AMRO Emerging Artist Award, Finalist Exhibition, ABN AMRO Building, Sydney

L’Art Emmêlé, Hôtel de Crillon, Paris, curated by Erick Öge & Jérôme Le Berre

2006
Antipodes, Point Éphémère, Paris

Post It, Peloton, Sydney

ABN-AMRO Emerging Artist Award, Finalist Exhibition, ABN AMRO Building, Sydney

Woollahra Small Sculpture Prize, Finalist Exhibition, Woollahra Municipal Chambers, Sydney

2005
Contemporary Collection Benefactors, exhibition and auction, Art Gallery of New South Wales, Sydney

Antipodes, Sydney College of the Arts Gallery

re/thinking, Bus, Melbourne, curated by Tristian Koenig

Luminous Two, Helen Gory Galerie, Melbourne

Punch, MOP Projects, Sydney

Luxe de Luxe, avenue K, Kuala Lumpur, curated by Polyptyque, Paris

2004
Première Vue, Passage de Retz, Paris, curated by Michel Nuridsany

2003
Portes Ouvertes, L’Imprimerie, Paris

1996
Enough, Bankstown Square, Sydney

1995
Sydney Alternative Art, Australian High Commission, Singapore

Waste Not Waste, EcoDesign Foundation, Sydney

Seep, Centennial Park, Sydney

1994
T.I.P., Bankstown Square, Sydney.

1993
The Second Time I Lost My Leg, It Was Stolen, Sydney College of the Arts Gallery

Unresolved, Airspace, Sydney

1992
Brown Paper Show, Allen Street Gallery, Sydney

Value, Allen Street Gallery, Sydney

1991
Natura Morta, NCA, Sydney

1990
Ask Iris, Sydney College of the Arts Gallery

Wellcome Collection, London
The Francis Crick Institute, London
Royal Bank of Scotland
Macquarie Bank Collection, Sydney
The University of Sydney
Artbank, Australia
Gold Coast City Art Gallery, Queensland
Private collections in France, Germany, Switzerland, United Kingdom, Ireland, Singapore, Australia

GRANTS AND SCHOLARSHIPS

2017
Australia Council for the Arts – Arts Projects – Visual Arts

2016
Australia Council for the Arts – Arts Projects – Emerging and Experimental Arts

2014
Australia Council for the Arts – Creative Australia Grant – New Art – Emerging and Experimental Arts

2013
Australia Council for the Arts – Skills & Arts Development Grant – Visual Arts
Australia Council for the Arts – Interarts Project Grant
Arts NSW – New Projects Grant

2012
Synapse Art-Science Residency Grant, Australian Network for Art and Technology
Australia Council for the Arts – Visual Arts New Work Grant – Mid-Career Artists
Monash University, Faculty of Art, Design & Architecture, Melbourne – Creative Work Grant

2011
Besen Family Foundation Grant, Australia
Monash University, Faculty of Art, Design & Architecture, Melbourne – Creative Work Grant
NSW Artists’ Grant, National Association of the Visual Arts

2010
Australia Council for the Arts – Visual Arts New Work Grant – Established Artists
Australia Council for the Arts – Interarts Project Grant
Monash University, Faculty of Art, Design & Architecture, Melbourne – Development and Engagement Grant
Marketing Grant – National Association of the Visual Arts, Australia

2007
Marketing Grant – National Association of the Visual Arts, Australia

2006
Fauvette Loureiro Memorial Artists International Exchange Scholarship, Sydney College of the Arts

2005-2008
University Postgraduate Award, The University of Sydney

2007-2005
Postgraduate Research Support Scheme grant, The University of Sydney

2004
Marketing Grant – National Association of the Visual Arts, Australia

2002
Marketing Grant – National Association of the Visual Arts, Australia

1998
Australia Council for the Arts – Professional Development Grant
Australia Council for the Arts – Community Cultural Development Grant

1996
Australia Council for the Arts – Community Cultural Development Grant

1995
Australia Council for the Arts – Community, Environment, Art & Design Grant
Australia Council for the Arts – Community Cultural Development Grant

1994
Marketing Grant – National Association of the Visual Arts, Australia

1993
The University of Sydney- Cultural Grant
The University of Sydney- Cultural Grant
The University of Sydney- Shirbin Bursary

1991
The University of Sydney – Sir Frank Packer Bursary

AWARDS
2015
Finalist, Josephine Ulrick and Win Schubert Photography Award, Gold Coast City Art Gallery, Queensland, Australia

2012
Honorary Mention, Hybrid Art category, Prix Ars Electronica, Linz, Austria
Finalist, Fauvette Loureiro Memorial Artists Travel Scholarship, Sydney College of the Arts

2011
Highly Commended, Traditional Techniques section, Love Lace International Lace Award, Powerhouse Museum, Sydney
Judges special mention, William and Winifred Bowness Photography Prize, Monash Gallery of Art, Melbourne
Finalist, Josephine Ulrick and Win Schubert Photography Award, Gold Coast City Art Gallery, Queensland, Australia

2010
Finalist, National Photography Prize, Albury Regional Gallery, New South Wales, Australia
Finalist, Josephine Ulrick and Win Schubert Photography Award, Gold Coast City Art Gallery, Queensland, Australia

2009
Winner, RBS Emerging Artist Award, RBS Building, Sydney
Short-listed, William and Winifred Bowness Photography Prize, Monash Gallery of Art, Melbourne
Winner, People’s Choice Award, and Highly Commended, Willoughby Sculpture Prize, The Incinerator, Sydney

2008
Winner (joint), Josephine Ulrick and Win Schubert Photography Award, Gold Coast City Art Gallery, Queensland, Australia

2007
Finalist, ABN-AMRO Emerging Artist Award, ABN-AMRO Building, Sydney

2006
Highly Commended, Woollahra Small Sculpture Prize, Woollahra, Sydney
Finalist, ABN-AMRO Emerging Artist Award, Sydney

RESIDENCIES
2017
The Francis Crick Institute, London. Laboratory of Dr Iris Salecker

2015
Max Planck Institute of Molecular Cell Biology and Genetics, Dresden, Germany. Laboratory of Dr Jochen Rink

2012-2013
Heart and Lung Transplant Unit, St Vincent’s Hospital, Sydney

2011
Australia Council for the Arts, London Studio
Performance Space, Sydney
Sydney College of the Arts, The University of Sydney, Research residency

2010
SymbioticA – Centre of Excellence in Biological Arts, School of Anatomy and Human Biology, The University of Western Australia, Perth
Monash University, Faculty of Art, Design & Architecture, Melbourne, Visiting Artist
Artists’ Residency Tokyo (A.R.T.), Visiting Artist

2007
Ecole Nationale Supérieure des Beaux-Arts, Paris, 5 month exchange

2006
Ecole Nationale Supérieure des Beaux-Arts, Paris, ‘Antipodes’ Artists’ Exchange Project, Stage 2

2005
Sydney College of the Arts, ‘Antipodes’ Artists’ Exchange Project, Stage 1
The Gunnery, Sydney, Arts NSW

1998-2001
Department of Adolescent Medicine, The Children’s Hospital at Westmead, Sydney. Artist-in-Residence

COMMISSIONS
2018
The Francis Crick Institute, London, ‘Deconstructing Patterns’ exhibition

2017
Branch Nebula, Sydney. ‘SKIN’, photographic works for performance work in-development

2016
Brisbane City Council, Eagle Lane public light boxes, World Science Festival

2011
Performance Space, Sydney, ‘The Body is a Big Place’. Media art installation, collaboration with Peta Clancy

2002
North Sydney Council, Stanton Library Foyer. Permanent public art work
The Children’s Hospital at Westmead, Permanent public art work and community cultural development project
North Sydney Council, ‘Aqua-marine’. Permanent public art work and community cultural development project

2001
NSW Department of Health, Mt Druitt Community Health Centre, Sydney. Permanent public art work and community cultural development project

2000
NSW Department of Juvenile Justice, Traxside Health Service, Campbelltown, Sydney. Community cultural development project

1999
South Sydney & Marrickville Councils, ‘Newtown Bin Project’, Sydney. Permanent public art work

1998
Inner Metropolitan Region of Councils, ‘Imagine’. Parramatta Road, Sydney. Temporary public art work

1997
North Sydney Council ‘Crossways’, Ernest Place, Crows Nest, Sydney. Permanent public art work and community cultural development project

BOOKS
2018
Tessa Laird, ‘Bat’, Reaktion Books: London

2016
Natasha Lushetich, ‘Interdisciplinary Performance: Reformatting Reality’, Palgrave Macmillan: London, p. 11, 236, 249-253

Rachael Allen, ‘The Body Beyond the Anatomy Lab’. Book chapter in ‘The Edinburgh Companion to the Critical Medical Humanities’. Editors Anne Whitehead and Angela Woods, Edinburgh University Press: Edinburgh

2015
Virginia Rigney and Nigel Krauth, ‘Prizing Diversity: The Josephine Ulrick Prizes 1998-2014’, Thames & Hudson: London, p. 34-35

2014
Arthur I. Miller, ‘Colliding Worlds: How Cutting Edge Science is Redefining Contemporary Art’, W.W.Norton: London, p. 197-198

MADA Research Office, ‘Trans-form: Impact Through Practice’, Monash University Art Design & Architecture: Melbourne, p. 98-103

2013
Dmitry Bulatov, ‘Evolution Haute Couture: Art and Science in the Post-Biological Age. Part 2: Theory’, National Centre for Contemporary Arts, Kaliningrad Branch: Kaliningrad, p. 470

2012
Julian Beaumont, Felicity Fenner and John McDonald, ‘The Macquarie Group Collection: The Land and its Psyche’, UNSW Press: Sydney, p. 170-171

2009
Esther Rose Berry, ‘Aestheticising Transnationalised Hair: Envisaging Difference in the Sculptures of Helen Pynor’. Book chapter in ‘Trunk Volume One: Hair’. Editors Suzanne Boccalatte and Meredith Jones, Boccalatte Publishing: Sydney, p. 98-103

CATALOGUES
2017
Bec Dean, ‘Fallen’ Dominik Mersch Gallery, Sydney. https://issuu.com/dmersch/docs/ecat_hp_2017_low_linked

2016
Bec Dean, ‘Art and the Medical Patient’. Essay in ‘The Patient’ UNSW Galleries, Sydney

Rachael Parsons, Lubi Thomas, Trish Adams, ‘Femel_Fissions’, Queensland University of Technology, Brisbane

Jacqueline Millner, ‘Fauvette: Fauvette Memorial Scholarship’, Sydney College of the Arts p. 70-71, 94

2015
Michael Brennan and Bindi Cole, ‘Octoroon’, La Trobe University Museum of Art, and travelling exhibition

Michel Delacroix, Sylvie Zavatta, Jacques Py and Julián Zugazagoitia, ‘Chez Robert’, FRAC – Le Fonds Régional d’Art Contemporain – Franche-Comté, Besançon, France

2014
Stephanie Britton, ‘My Foxy Darling – Helen Pynor’s Series: The Accidental Primate’, Dominik Mersch Gallery, Sydney. http://issuu.com/dmersch/docs/dmg_hp_e-cat_v6_low

2013
Dmitry Bulatov, ‘Art and Science as the Conjectured Possible’, National Centre for Contemporary Arts, Kaliningrad Branch, Russia

‘TEA/Super-Connect’, National Taiwan Museum of Fine Arts, Taichung

‘Oscillator’, Science Gallery Dublin. http://sciencegallery.com/oscillator/thebodyisabigplace

2012
Hannes Leopoldseder, Christine Schöpf and Gerfried Stocker, ‘CyberArts 2012, Prix Ars Electronica’, Linz, Austria, p. 140-141

Vivien Gaston, ‘Controversy: Touching a Nerve’. Essay in ‘Controversy: The Power of Art’, Mornington Peninsula Regional Gallery Victoria, Australia

Paul Bayley, ‘Time and Vision’, Australia Council for the Arts – London Studio, 20-Year Anniversary, Bargehouse, London

Marius Kwint, ‘Exhibiting the Brain’. Essay in ‘Brains: The Mind as Matter’, Wellcome Collection, London

2011
‘Love Lace International Lace Award’, Powerhouse Museum, Sydney

Bec Dean, ‘Endings and Beginnings’, Performance Space, Sydney

Arthur Miller and Robert Devcic, ‘Art & Science’, GV Art, London

2010
Anne Ferran, ‘On Liquid Ground’. Essay in ‘Liquid Ground’, Dominik Mersch Gallery, Sydney

Cash Brown, ‘Hands On: Craft in Contemporary Art’, Hazelhurst Regional Gallery, Sydney

2008
Ashley Crawford, ‘Pynor’s Lore’. Essay in ‘Milk’, Dominik Mersch Gallery, Sydney

2007
Jacqueline Millner, ‘Undercurrent’, MOP Projects, Sydney

Jan Guy, ‘Never Ever Been a Blue Calm Sea: Notes on the works of Helen Pynor’. Essay in ‘red sea blue water’ Dianne Tanzer Gallery, Melbourne

2006
‘Antipodes’, Point Éphémère, Paris

Jan Guy, ‘Breathing in the Shadows of Aporia’. Essay in ‘Breathing Shadows’, Harrison Galleries, Sydney

2005
Jan Guy, ‘The Shadow of Breath’, Linden-St Kilda Contemporary Arts Centre, Melbourne

Contemporary Collection Benefactors, Art Gallery of New South Wales, Sydney

‘Antipodes’, Sydney College of the Arts Gallery, Sydney

‘Generation K: Luxe de Luxe’, avenue K, Kuala Lumpur

2004
Michel Nuridsany, ‘Helen Pynor’, Passage de Retz, Paris

1996
Samantha Donnelly, ‘Defences’, Artspace, Sydney

1994
Mark Jackson, ‘The Space of the Fold’. Essay in ‘Ship of Fools’ Selenium, Sydney

PRESS / REVIEWS / INTERVIEWS
2018
Philip Ball, ‘The Quest for Order’, Nature, Vol 554, p. 298-299
https://www.nature.com/magazine-assets/d41586-018-01810-y/d41586-018-01810-y.pdf

Liz Else, ‘Showing and Telling’, New Scientist, 3 Mar, p. 48

Tom Jeffreys, ‘Experiments in the Field: Why are Artists and Scientists Collaborating?’. Frieze, 21 Feb https://frieze.com/article/experiments-field-why-are-artists-and-scientists-collaborating

Richard Bright, ‘Random Precision: Countless Intimate Acts’, Interalia, 17 Mar

Random precision. Countless intimate acts.

Editorial, ‘Deconstructing Patterns’, CLOT, 3 Apr

‘Deconstructing Patterns’, discovering the exhibition at The Crick

2017
Simon Ings, ‘Bloody exhibition is only for the brave and the bold’, New Scientist, 20 Oct
https://www.newscientist.com/article/2151003-bloody-exhibition-is-only-for-the-brave-and-the-bold/

Eliza Burke, ‘New Frameworks for Art and Health’, Art Guide Australia, 11 Aug
http://artguide.com.au/art-plus/art-health
Anna Jamieson, ‘The Body is a Big Place: Peta Clancy and Helen Pynor at Science Gallery London’, Art Radar, 28 July

“The Body is a Big Place”: Peta Clancy and Helen Pynor at the Science Gallery London

Jane O’Neill, ‘Helen Pynor: Fallen’, Art Collector, July, Issue 81, p. 80-81

2016
Rana Mitter, ‘Free Thinking’, BBC Radio 3, radio interview, 29 Nov
http://www.bbc.co.uk/programmes/b083qy59

Simon Ings, ‘Flying machines and chickens: The art of thinking about science’, New Scientist, 21 Nov
https://www.newscientist.com/article/2113412-flying-machines-and-chickens-the-art-of-thinking-about-science/

Emily Sharpe, ‘Fluorescent rabbits, slime moulds and bacteria: Artists get biological’, The Art Newspaper, 6 Oct, p. 7-8 http://theartnewspaper.com/reports/let-s-get-biological/

Robert Clark, ‘No Such Thing As Gravity’, The Guardian: The Guide, 5 Nov, p. 33

Penny Durham, ‘Art-science collaborations bring a human perspective’, The Australian, 8 Aug
http://www.theaustralian.com.au/higher-education/artscience-collaborations-bring-a-human-perspective/news-story/c3a75f93e9e5aa5d125f14bb10d3fdad

Lula Criado and Cathrine Disney, ‘Helen Pynor’, CLOT, 31 Mar

HELEN PYNOR, exploring our bodies from the inside out

Vasia Hatzi and Richard Bright, ‘The Body is a Big Place’, Interalia, June

The Body is a Big Place (interview with Helen Pynor)

2015
Lula Criado, ‘Marius Kwint’, CLOT, 4 Dec

MARIUS KWINT, cultural historian and curator

Aegeans Wei, ‘Helen Pynor: Artistic Accomplishment of Human Body’, Vision, Dec, Vol 157, p. 180-187

2014
Andrew Frost, ‘The Accidental Primate’, The Art Life 2.0, 4 Dec

2013
Urszula Dawkins The Science and Art of Tangible Things RealTime, 11 June
http://www.realtimearts.net/feature/ISEA2013/11169

Régine Debatty, ‘Artists in Labs’, Resonance FM, London, radio interview, 22 May

Claire O’Connell, ‘Exploring oscillation proves a moving experience’, New Scientist, 12 Feb http://www.newscientist.com/blogs/culturelab/2013/02/oscillation-dublin.html

Dick Ahlstrom, ‘Exhibition will explain oscillation in a heartbeat’, The Irish Times, 8 Feb, p. 9

Dick Ahlstrom, ‘New Science Gallery exhibition opens’, The Irish Times, 7 Feb http://www.irishtimes.com/newspaper/breaking/2013/0207/breaking37.html

2012
Carrie Miller, ‘The Life Raft’, The Art Life, 26 Oct

The Life Raft

Front page image, Alok Jha, ‘Wellcome joins “academic spring” to open up science’, The Guardian, 10 Apr, p. 1

Andrew Stephens, ‘Uneasy on the Eye’, The Age, 16 June, p. 25

Ella Mudie, ‘Art-Science: The Cerebral and The Sensory’, RealTime, 107, Feb-Mar, p. 47

Claire Ramtuhul, ‘More than just grey matter’, New Statesman, 28 Mar
http://www.newstatesman.com/blogs/cultural-capital/2012/03/brain-matter-collection

Ruth Garde, ‘Polymath exhibition’, Urban Times, 2 Mar
http://www.theurbn.com/2012/03/polymath/

Bryan Appleyard, ‘Soul Searching’, The Sunday Times, 18 Mar
http://www.bryanappleyard.com/soul-searching/

Nicola Anthony, ‘Polymath’, Trebuchet, 10 Mar

Polymath

John McDonald, ‘Laced with irony’, Spectrum, Sydney Morning Herald, 25-26 Feb, p. 12-13

Editorial, ‘2012 Synapse Art/Science Residencies Announced’, Artery, 22 Mar
http://artery.australiacouncil.gov.au/2012/03/2012-synapse-artscience-residencies-announced/

2011
Editorial, ‘Picture of the Week’, British Medical Journal, 22 Jan, Vol 342, p. 173

David Dexter, ‘Brainstorm art exhibition demystified the brain – it is not “degrading”’, Guardian online, 14 Jan http://www.guardian.co.uk/science/2011/jan/14/brainstorm-exhibition-brain-gv-art

Catherine de Lange, ‘Breath, body parts and what lies beneath’, New Scientist online, 6 May
http://www.newscientist.com/blogs/culturelab/2011/05/artist-helen-pynor-explores-what-lies-beneath.html

Tom Jeffreys, ‘Helen Pynor – Breath at GV Art’, Spoonfed, 9 May
http://www.spoonfed.co.uk/spooners/tom-699/helen-pynor-breath-at-gv-art-5139/

Tara Mulholland, ‘Studios to call their own’, International Herald Tribune, The New York Times, 21 Jun, p. 13-14

Tom Jeffreys, ‘Affordable, Secure, Permanent – Second Floor Studios’, Spoonfed, 26 Apr
http://www.spoonfed.co.uk/spooners/tom-699/affordable-secure-permanent-second-floor-studios-5100/

2010
Andrew Taylor, ‘Body is Beautiful’, The Sun-Herald, 31 Oct, p. 34

Lynne Dwyer, ‘Liquid Ground’, Sydney Morning Herald, 13 Nov, p.12

Lidija Liegis, ‘Brainstorm: Investigating the brain through art and science’, Oasis, Issue 15, p. 88

2009
Ashleigh Wilson, ‘Prize Won With Ancient Knowledge’, The Australian, 21 Oct, p. 16

Lenny Ann Low, ‘Twisted Whiskers’, Sydney Morning Herald, 16-17 May, p. 10

2008
Nick Dent, ‘Critics’ Choice’, Time Out Sydney, 5-18 Nov, p. 51, 58

2007
Clara Iaccarino, ‘Undercurrent’, Sydney Morning Herald, 28-29 Jul, p.16

2006
Sundandah Creagh, ‘Breathing Shadows’, Sydney Morning Herald, 22-23 Apr, p.16

2005
Anne Kay and Jane Polkingthorne, ‘The MCA Tapes’, video interview for ‘Situation’, Museum of Contemporary Art, Sydney

1997
Julia Jones, ‘Artful Protest: Review of the Tradition of Environmental Art in Australia’, RealTime, Aug/Sept, p. 8

1996
Chang Jing Er, ‘Ecology, Design and Developing A New Thinking’, Sing Tao, Hong Kong, 20 Mar, p. E6

Caroline Pidcock, ‘Waste Not Waste’, Architecture Australia, Sept/Oct, p. 38

JOURNAL ESSAYS / ACADEMIC
2016
Rebecca Griggs, ‘The Bird on the Floor’, The Monthly, Oct 2016, p. 14-15
https://www.themonthly.com.au/issue/2016/october/1475244000/rebecca-giggs/bird-floor

2015
Brett Wilson, Barbara Hawkins and Stuart Sim, ‘Art, Science and Communities of Practice’, Leonardo, Vol 48, No. 2, p. 156

2014
Marius Kwint, ‘Helen Pynor: Confounding Clear Separations’, Artlink, Vol 34, no. 3, p. 44-47

2013
Sarah Vandepeer, ‘Profile: Helen Pynor’, Artist Profile, Issue 22, p. 80-84

2012
Marius Kwint, ‘Land, Water, Light, Plants and Animals’, Asian Art News, May/June, p. 70-75

2011
Ashley Crawford, ‘Silent Running’, Antennae: The Journal of Nature in Visual Culture, Issue 18, p. 80-84

Doris McIlwain, ‘Transplanting Life: The Distributed Media of Embodied Selves’, Artlink, Vol 31, no. 4, p. 54-57

Photo essay, ‘Helen Pynor: Liquid Ground’, Black Warrior Review, The University of Alabama, Issue 38.1, p. 145-152

2010
Jane O’Sullivan, ‘What Now? Helen Pynor’, Australian Art Collector, Oct/Nov/Dec, p. 116-117

Juliet Gauchat, ‘Liquid Ground’, Das SuperPaper, Issue 16, p. 52-57

2008
Ashley Crawford, ‘Visceral Voyeur’, Photofile, Issue 83, pgs 44-47

2007
Jan Guy, ‘Tides of Hair’, Lino, Issue 18, pgs 80-85

Jan Guy, ‘Helen Pynor: red sea blue water’, Trouble, May, p. 12-13

2006
Esther Berry, ‘From Temple to Transnational: The Politics of Hair and its Globalisation’. Unpublished thesis, Department of Gender Studies, The University of Sydney, pgs 32-34, 38-39, 44, 47, 74, 78

2005
Jan Guy, ‘Arriving Here from No/where (Erewhon)’. Conference paper The Art Association of Australia & New Zealand

SELF-AUTHORED PUBLICATIONS
2016
‘On the emergent properties of death: When words fall apart’. Book chapter in ‘Performance and the Medical Body’. Editors Gianna Bouchard and Alex Mermikides, Bloomsbury Methuen: London, p. 173-189

2014
‘On the emergent properties of death: When words fall apart’. Book chapter in ‘Art, Science and Cultural Understanding’. Editors Brett Wilson, Barbara Hawkins and Stuart Sim, Common Ground: Champaign, Illinois, p. 189-206

2013
‘Fluid Threats: Notes on the Work of John A Douglas’. Catalogue essay, ‘Body Fluid II (redux)’, ISEA2013 – 19th International Symposium of Electronic Art, Performance Space, Sydney

2010
‘Transgressive Biology and Material Feminism: Bioconversations in Art, Evolution and Emergence’. Unpublished doctoral thesis, Sydney College of the Arts, The University of Sydney

2006
‘In Suspension’. Catalogue essay, ‘Antipodes’, Point Éphémère, Paris

2003
‘Art and the Language of Wellbeing in Adolescent Health Care’. Journal article in ‘Annals, Academy of Medicine Singapore’, Vol 32 (1), pgs 71-77 (Co-authors: Penny Thwaite, David Bennett, Helen Zigmond)

2001
‘Art and the Language of Wellbeing in Adolescent Health Care’. Invited paper, ‘International Congress on Adolescent Health’, Salvador, Brazil. Presented by David Bennett (Co-authors: Penny Thwaite, David Bennett, Helen Zigmond)

2000
‘Nurturing Creativity in Hospital: The Evolution of the Youth Arts Program’. Conference paper, ‘Pacific Rim Conference of The International Association for Adolescent Health’, Lincoln University, Christchurch, New Zealand. Presented by Helen Pynor (Co-authors: Penny Thwaite, Alison Marshall, David Bennett)

1996
‘Mapping : Motions’. Book chapter in ‘Waste Not Waste’. Editors Tony Fry and Anne-Marie Willis, Envirobook: Sydney, pgs 46-61 (Co-author Samantha Donnelly)

2017
‘Fallen 1’, 2017, archival pigment print, 80 x 120 cm, edition of 5 + 1 AP
‘Fallen 2’, 2017, archival pigment print, 80 x 120 cm, edition of 5 + 1 AP
‘Fallen 3’, 2017, archival pigment print, 80 x 120 cm, edition of 5 + 1 AP
‘Fallen 4’, 2017, archival pigment print, 80 x 120 cm, edition of 5 + 1 AP
‘Fallen 5’, 2017, archival pigment print, 80 x 120 cm, edition of 5 + 1 AP
‘Fallen 6’, 2017, archival pigment print, 80 x 120 cm, edition of 5 + 1 AP
‘Fallen 7’, 2017, archival pigment print, 80 x 120 cm, edition of 5 + 1 AP
‘Fallen 11’, 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP<br />
‘Fallen 11’ (detail), 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 12’, 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 12’ (detail), 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 13’, 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 13’ (detail), 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 14’, 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 14’ (detail), 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 15’, 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 15’ (detail), 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 16’, 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 16’ (detail), 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 17’, 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 17’ (detail), 2017, archival pigment print, face-mounted on glass, 129 x 30 cm, edition of 5 + 1AP
‘Fallen 18’, 2017, archival pigment print, face-mounted on glass, 15 x 20 cm, edition of 5 + 1AP
‘Fallen 19’, 2017, archival pigment print, face-mounted on glass, 15 x 20 cm, edition of 5 + 1AP
‘Fallen 20’, 2017, archival pigment print, face-mounted on glass, 15 x 20 cm, edition of 5 + 1AP
‘The End is a Distant Memory’, 2016, single channel video, 3:31 min, edition of 3 + 1 AP
‘Fallen 8’, 2016, archival pigment print, 84 x 124 cm, framed, Edition of 5 + 1AP
‘Fallen 9’, 2016, archival pigment print, 84 x 124 cm, framed, Edition of 5 + 1AP
‘Fallen 10’, 2016, archival pigment print, 84 x 124 cm, framed, Edition of 5 + 1AP
'Slit Series', 2016, 10 Archival pigment prints on acid-free tissue, each 32 x 28cm, edition of 5 + 1AP
'Slit Series 1', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 2', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 3', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 4', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 5', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 6', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 7', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 8', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 9', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
'Slit Series 10', 2016, Archival pigment print on acid-free tissue, 32 x 28cm, edition of 5 + 1AP
Helen Pynor, ‘Development of the Visual Circuit of Drosophila melanogaster in 3 Acts: Larva; Pupa I; Pupa II’, 2017, video, 22 minutes 24 seconds, edition of 3 + 1 AP
2014
‘The Accidental Primate 1’ 2014, Pigment print, face-mounted on acrylic with shadow frame
‘The Accidental Primate 2’ 2014, Pigment print, face-mounted on acrylic with shadow frame
‘The Accidental Primate 3’ 2014, Pigment print, face-mounted on acrylic with shadow frame
‘The Accidental Primate 4’ 2014, Pigment print, face-mounted on acrylic with shadow frame
‘The Accidental Primate 5’ 2014, Pigment print, face-mounted on acrylic with shadow frame<br />
‘The Accidental Primate 6’ 2014, Pigment print, face-mounted on acrylic with shadow frame
‘The Accidental Primate 7’ 2014, Pigment print, face-mounted on acrylic with shadow frame
‘The Accidental Primate 8’ 2014, Pigment print, face-mounted on acrylic with shadow frame
‘The Accidental Primate 9’ 2014, Pigment print, face-mounted on acrylic with shadow frame
‘The Accidental Primate 10’ 2014, Pigment print, face-mounted on acrylic with shadow frame
2014
HELEN PYNOR and PETA CLANCY: The Body is a Big Place, 2013-14, 6 min 28 sec, edited video of pig heart perfusion performance, Science Gallery Dublin (Feb. 2013), sound by Gail Priest, Ed.5+2 AP
2012
'The Life Raft 20’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 19’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 18’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 17’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 16’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 15’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 14’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 13’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 12’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 11’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 10’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 9’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
‘The Life Raft 7’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
‘The Life Raft 6’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
‘The Life Raft 5’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
'The Life Raft 4’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
‘The Life Raft 3’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
‘The Life Raft 1’, 2012, toned and hand-coloured gelatin silver prints on archival fibre-based paper, framed, 57 x 77 cm, edition of 5 + 1AP
2010
'Liquid Ground 1, 2010, C-type photographic print face mounted on glass, 160 x 110 cm, Edition of 5 + 1AP
'Liquid Ground 2', 2010, C-type photographic print face mounted on glass, 160 x 110 cm, Edition of 5 + 1AP
'Liquid Ground 3', 2010, C-type photographic print face mounted on glass, 160 x 110 cm, Edition of 5 + 1AP
'Liquid Ground 4', 2010, C-type photographic print face mounted on glass, 160 x 110 cm, Edition of 5 + 1AP
'Liquid Ground 5', 2010, C-type photographic print face mounted on glass, 160 x 110 cm, Edition of 5 + 1AP
'Liquid Ground 6', 2010, C-type photographic print face mounted on glass, 160 x 110 cm, Edition of 5 + 1AP
'Thames 3', 2010, hand-cut ordnance, survey maps on rag board, framed. Edition of 5 + 1 AP. 75 x 48 cm
'Thames 2', 2010, hand-cut ordnance, survey maps on rag board, framed. Edition of 5 + 1 AP. 75 x 48 cm
'Thames 1', 2010, hand-cut ordnance, survey maps on rag board, framed. Edition of 5 + 1 AP. 75 x 48 cm
'Milk (tea tree, bird's nest fern, wattle)', 2009, C-type photograph face-mounted on glass, 3 panels, each 160 x 105 cm, edition of 3 +1 AP
2008
Milk 1 (Sweet pittosporum), 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 1 (Sweet pittosporum) Detail, 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 2 (Sydney red gum), 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 2 (Sydney red gum) Detail, 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 3 (Bird's nest fern), 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 3 (Bird's nest fern) Detail, 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 4 (Wattle), 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 4 (Wattle) Detail, 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 5 (Tea tree), 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
Milk 5 (Tea tree) Detail, 2008, C-type photograph face-mounted on glass, 100 x 66cm, edition of 5 + 1AP
‘Untitled (brain heart gut)’, 2007, knitted human hair, 94 x 34 x 30cm
‘Untitled (brain heart gut)' Detail, 2007, knitted human hair, 94 x 34 x 30cm
‘Exhale’, 2005, knitted human hair, 197 x 130 x 70cm
‘Untitled (heart lungs)’, 2007, knitted human hair, 25 x 40 x 15cm
‘Head Ache’, 2008, C-type photograph on Duratran, face-mounted on glass, 173 x 39cm, edition of 5 + 1AP
‘Head Ache’ Detail, 2008, C-type photograph on Duratran, face-mounted on glass, 173 x 39cm, edition of 5 + 1AP
‘Biliousness’, 2008, C-type photograph on Duratran, face-mounted on glass, 173 x 39cm, edition of 5 + 1AP
‘Biliousness’ Detail, 2008, C-type photograph on Duratran, face-mounted on glass, 173 x 39cm, edition of 5 + 1AP
‘Constipation’, 2007, C-type photograph on Duratran, face-mounted on glass, 173 x 39cm, edition of 5 + 1AP