The artist Helena Aikin He returns to Gandia with a new exhibition: “Altres Nits.” Through sculptures, paintings and facilities, his work invites the spectator to a trip where quantum physics crosses with ancient cosmogony and intuition guides the creative process.
In this interview, he tells us how he balances his different techniques, the influence of his artistic trips and residences, and his constant search to explore the mystery of existence through art.
- Return again to Gandia with the exhibition “Altres Nits”.
This is the third time I expose in Gandia. The first was in 2014, in the Coll Alas room, with an exhibition dedicated to ancestral labyrinths. Then, in 2019, I exhibited in the old Hospital of Sant Marc, in the gift room, a wonderful space where, curiously, many people who still live in Gandia have been born. That exhibition was called Gifts, women, women And it was a tribute to the Eternal female. I presented a series of recreations of sculptures of ancestral civilizations, which is an issue that I love deeply.
This third exhibition remains in the same thematic line, but with a broader approach to the cosmos. In reality, the labyrinths and deities of my previous works already represented, in some way, the great cosmos, the great cosmic mother. In this sample I focus on the concepts of different cultures and their cosmogonies. There are images that explore ideas related to quantum physics, such as cosmic mesh, which symbolizes that great sea of energy where everything is connected. I even illustrate the theory of Pythagoras, representing it as a door that opens towards the void. I like to play with such concepts.
There is also an area dedicated to sculpture, where I represent the muses of astronomy, the uranias. They are figures made in terracotta and porcelain. In addition, I present an installation that represents a medicinal wheel with the four directions, symbolized by female figures.
Another important piece of exposure represents the Mapuche cosmogony, which for this culture has always had a geometric expression related to sacred geometry.
- It is a very complete exposure. How do you create this type of exhibitions that include sculptures, pictures and facilities?
I alternate between painting, sculpture and facilities for a long time. I find it interesting to be able to express my ideas in different formats and media: two -dimensional, three -dimensional and sculptural sets that, in reality, form a whole in the facilities. Each technique allows me to explore different aspects of the topics that interest me and offer a richer experience to the viewer.
- How do you balancing all those elements so that they have a sense together?
I think one of the most important things is that I always work on a central theme. It is the same concept represented in different ways. That is essential, because my exhibitions are always theme. It is an idea that is explored and deepened through many different images, but deep down, it remains the same idea.
In addition, I play a lot with intuition, especially at the aesthetic level. For example, I have other facilities that could have fit in this exhibition, but I felt that Uranias and the Medicinal wheel They were the most suitable for this context. It is a process that is giving naturally, as if the pieces were harmonized by themselves. I don’t need to rationalize it too much; I simply follow what intuition dictates.
- He works recurring issues such as mythology, celestial bodies and the universe. What attracts you about these concepts to create your exhibitions?
The cosmos and the spiritual connection are very present in my work. For me, all part of that need that human beings have to look beyond everyday life and seek a deeper meaning to our existence. The great mystical question of all time is: why are we here? That search for the spirit, of the transcendental, of what some would call God, is something that has always been present in my work.
In addition, I am interested in going beyond what we understand as traditional physical laws, such as Newton’s. When we enter space and move away from our solar system, these laws begin to fade and enter the field of quantum physics. The fascinating thing is that many millenary mystical theories, such as those of Hindu tantrism, maintain concepts that now quantum physics is beginning to confirm. That connection between science and spirituality seems incredibly inspiring. In the background, my art is always a spiritual search, a way to explore what is beyond what we perceive as reality.
- His artistic training has been quite international: London, New York, California, Madrid, São Paulo. How have these experiences influenced their artistic development?
Indeed. I am an English daughter and I spent several years at school in England. Then I studied in the United States, where I made a master’s degree, and I have also had research stays in Mexico, Brazil and India. All these experiences have enriched me a lot, not only at the artistic level, but also personal. I have been allowed to see life from different cultural prisms, and I think that diversity of perspectives is reflected in my work. Each place has given me something different, and that translates into the themes and techniques I use.
- And combines his artistic work with teaching.
Yes, I still work at the university, for me the educational work is fundamental. I think education is one of the most important pillars in society. We have the responsibility of promoting independent, critical thinking and creativity in young people.
Somehow, I take my creative potential to the classroom. I think that not only enriches my teaching, but also gives me great personal satisfaction. I feel that I contribute something valuable to society, not only through my art, but also through education. In my classes, I invite students to leave the rational paradigm in which we already live with the greatness of the universe, to explore concepts beyond the tangible. For me, teaching and art are deeply intertwined and both are part of my vital purpose.
- Looking a little towards the future, does new issues or projects have in mind?
I continue working with the theme of the cosmos, which has not exhausted me at all. In fact, I want to take it one step further, creating facilities that work as temples of light. I am exploring how to integrate light into my works to generate more immersive and spiritual spaces.
In addition, I have scheduled an artistic residence in Iquitos, the Amazonian capital of Peru, for September. There I will work with local communities in a cultural and creative exchange. The idea is to share my knowledge, but also learn from them. I am very interested in the use of natural fibers in its architecture, and I want to incorporate those techniques and materials in my sculptures. It is difficult to predict exactly what will result from this experience, because when you immerse yourself in such a different environment, ideas and approaches that you don’t even imagine now can arise. But I am sure that it will be an opportunity to experiment with new materials and perspectives.
- Have you participated before in artistic residences like this?
Yes, I have been in several artist residences in Spain, Portugal and Ireland.
It is a fantastic experience. You spend a season in a place where you live with other artists. They assign you a work space and simply dedicate yourself to creating, without day -to -day distractions. The best thing is that you can share ideas and processes with other creators, which is very enriching. In addition, many of these residences are in remote or inspiring environments.
These residences allow you to work with new concepts and structures. In addition, not only plastic artists participate, but also musicians, writers and creators from different disciplines. For example, in one of the residences, a musician was recording bee sounds and then integrating them into a sound piece. It is fascinating to see how these meetings can lead to unexpected collaborations. There are more and more residences of this type, and for us artists is a wonderful way of renewing us, experimenting and leaving our comfort zone.
- How would your art describe?
That is complicated … but I think my art is an exploration of the mystery of life. It may sound a bit cheesy, but it is what I really look for: go beyond the visible and question what we understand by reality. If I had to define it in a few words, I would say it is an invitation to look beyond.
