1 / 10
Strip
2024
Acrylic and enamel paint on steel wire
285 x 690 x 90mm
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2 / 10
Gamut Series
2025
Acrylic paint, steel hook, silicone cord
1450 x 130 x 130mm each
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3 / 10
Palimpsest (detail)
2025
Acrylic paint, steel hook, silicone cord
1450 x 130 x 130mm approx
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4 / 10
Mangrove (detail)
2025
Acrylic paint, steel hook, silicone cord
1450 x 130 x 130mm approx
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5 / 10
Trace (detail)
2025
Acrylic paint, steel hook, silicone cord
1450 x 130 x 130mm approx
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6 / 10
Orange Trace
2024
Acrylic and enamel paint on steel wire
345 x 600 x 80mm
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7 / 10
Pink Trace
2024
Acrylic and enamel paint on steel wire
360 x 875 x 150mm
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8 / 10
Ultra Blue
2018
Acrylic and enamel paint on steel wire
435 x 900 x 140mm
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9 / 10
Softly hooked
2022
Acrylic paint, steel
Green blue: 475 x 100 x 85mm. Blue: 660 x 100 x 85mm.
Blue green: 462 x 130 x 85mm
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10 / 10
Softly hooked
2022
Acrylic paint, steel
Silver: 520 x 90 x 85mm
. Pink: 472 x 85 x 85mm
. Yellow: 580 x 75 x 85mm
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Helen Calder
Ōtautahi Christchurch based artist Helen Calder graduated with a Master of Fine Arts from the University of Canterbury in 2003. Her thesis on painting’s relationship with architecture has shaped her practice which sees architectural space as a frame for her work. Her work is held in private and public collections including the Museum of New Zealand Te Papa Tongarewa, the Christchurch Art Gallery, the Chartwell Collection, the Fletcher Trust Collection and Simpson Grierson Collection.
Recent exhibitions include Kaleidoscope: Abstract Aotearoa, Museum of New Zealand Te Papa Tongarewa, 2018, Qualia 760-620, Enjoy Public Gallery, Wellington, 2014, Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker, curated by Justin Paton and Felicity Milburn, Christchurch Art Gallery, 2014; and Unpainted, Blue Oyster Gallery, Dunedin 2014. Her first solo exhibition at The National The Tidy of Behaviour of Matter was in 2023.
“Helen Calder makes three-dimensional paintings that investigate the interface of painting and sculpture. Her painting explores the limits of the medium offering a direct physical engagement with the materiality of paint, its weight, tactility and malleability and colour. These paint-skins, as she calls them, hang in space – free to flutter and move. Concern with colour, form and how painting operates in space when freed of its traditional support on canvas and stretcher is at the heart of Helen Calder’s practice”. Alison Bartley