Helen Pynor’s practise explores philosophically and experientially ambiguous zones, such as the life-death boundary and the inter-subjective nature of organ transplantation. Her practice has long been engaged with ontologies of life, drawing on her dual backgrounds in the biological sciences and the visual arts. Pynor engages directly with the materiality of human and non-human bodies through her work with fresh and sometimes living organs, cells and tissues, and through the mediums of photography, sculpture, video and installation.
Pynor’s work is frequently developed during in-depth residencies in scientific and clinical institutions, most recently The Francis Crick Institute, London, The Max Planck Institute of Molecular Cell Biology and Genetics, Dresden, and The Heart and Lung Transplant Unit, St Vincent’s Hospital, Sydney. She also collaborates with members of the broader community whose embodied experiences connect with the themes of her work.
Pynor holds a Bachelor of Science (1st Class Hons) (Macquarie University), a Bachelor of Visual Arts (Sydney College of the Arts, The University of Sydney), and a cross-disciplinary PhD (Sydney College of the Arts, The University of Sydney) that drew together her dual backgrounds.
Pynor has exhibited widely nationally and internationally including at The National Taiwan Museum of Fine Arts; The National Centre for Contemporary Art, Russia; FACT – Foundation for Art and Creative Technology, Liverpool UK; Science Gallery Dublin; Science Gallery London; The Australian Centre for Photography; Performance Space, Sydney; Wellcome Collection, London; Galerija Kapelica, Ljubljana; Centraal Museum, Utrecht; The Old Operating Theatre, London; Ars Electronica, Linz; Powerhouse Museum, Sydney; ISEA – International Symposium of Electronic Art, Sydney; and Museum of Science and Industry, Manchester.
In 2012 Pynor received an Honorary Mention at the internationally prestigious Prix Ars Electronica, Linz, Austria for her collaborative work with Peta Clancy The Body is a Big Place, exploring organ transplantation, and she has received national awards in Australia including The Josephine Ulrick and Win Schubert Photography Award and the RBS Emerging Artist Award.
Pynor lives and works in Sydney and London.
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
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
Vasia Hatzi and Richard Bright, ‘The Body is a Big Place’, Interalia, June
2015
Lula Criado, ‘Marius Kwint’, CLOT, 4 Dec
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
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
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)
