Helen Shulkin has made impressive inroads in the international art world with a process that mixes of technology with an original creative process thereby defying persistent gender disparity.
Helen Shulkin’s grasp of science, technology, and fine art, translate to evocative painting with high dynamic range and color.
Her ideas and art remind me of the challenge of taking a photograph that does justice to the scene represented given the camera’s inability to capture the nuanced range of tones and colors visible to the human eye. The raw photograph often appears dull and has little of the sparkle of the split-second that it purports to represent. Shulkin’s algorithm, known as “limpidity,” provides the artist with a formula for deconstructing and reconstructing imagery, such as Station III with clarified light and added color in a process that loosely resembles editing a photograph.
Like photographic processes, Helen Shulkin’s creative processes are also informed by optical equations drawn from physics.
The artist’s process, predicated upon her concept of limpidity, emphasizes how patterns of transparent light with luminescent color centers coalesce within fluid environments. The artist takes imagery apart and puts it back together with light and luminosity while simultaneously freezing the fleeting instant. More, the artist renders the invisible visible in her portrayal of the flashing, one-of-a-kind, patterns found in nature and urban places, in paintings such as Terminal.
Shulkin’s treatment of time is also original. In paintings such as Station I below, she does not represent impressions of a passing hour, nor does she fix a moment in time with photojournalist accuracy. Instead, she gives form to otherwise subtle whispers of light that emphasize the existential properties of the transitory.
Helen Shulkin often employs seemingly low-art media like graffiti paint and industrial film, as well as science and technology, to produce high art that appeals to an international audience.
Her art will be included along with seventeen other select young artists in an upcoming exhibition for Arte Internazionale in Matera Italy emphasizing technology and creativity. Pino Nicoletti, the curator of the exhibition, is aware of the power of technology in the creative process. Nicoletti argues that technology provides opportunities to dream. Arte Internazionale is the latest in a string of exhibits that Shulkin has participated in that engage with a diverse range of artists and thinkers from The European Union, The United States, and The Russian Federation.
While some of the art world’s best scholars were examining persistent gender disparity within its midst last summer, Helen Shulkin was packing her Station series in a sturdy piece of Samsonite luggage to carry from her home in Baden- Baden Germany to Parallax Art Fair in London.
As the art world grappled with statistics indicating that galleries pass over 78% of talented women artists, Shulkin was selected as one of 60 artists to participate in Marler Kunstverein’s prestigious arts and cultural festival. She was also one of 75 women artists presented in 25. Art Fair in Bonn. While women artists have been routinely rejected by biased collectors, the artist was recently profiled in Aesthica Artists’ Directory, a publication that engages a global network of professional artists and provides critics and collectors with a network for interaction and discovery. Shulkin has succeeded by drawing upon a sophisticated understanding of technology, along with fine art, painting scenes with resonate color and high dynamic range. The artist effectively communicates her vision and evokes the dream of the places that she represents.