Helen Pynor’s practice spans installation, photography, sculpture, video, new media and performance. Pynor holds a Bachelor of Science (Macquarie University), a Bachelor of Visual Arts (Sydney College of the Arts), and a recently completed cross-disciplinary PhD from Sydney College of the Arts, University of Sydney. Drawing on her dual backgrounds she has undertaken a sustained enquiry into the relationship between the materialism of the human body and its culturally constructed status, as well as exploring possibilities for re-imagining the interior human body.
Pynor has exhibited widely in Australia and Europe, most recently in solo exhibitions at The Australian Centre for Photography (Sydney), Performance Space (Sydney, with Peta Clancy), GV Art (London) and Leonardo Electronic Almanac (with Peta Clancy), and group exhibitions at The Wellcome Collection (London), GV Art (London), The Powerhouse Museum (Sydney), and Hazelhurst Regional Gallery (Sydney). Pynor has undertaken residencies at Performance Space (Sydney), SymbioticA (Perth), A.R.T. (Tokyo), Ecole Nationale Supérieure des Beaux-Arts (Paris), the Australia Council Studio (London), Monash University (Melbourne) and Sydney College of the Arts. She has been recipient of several national awards in Australia including the RBS Emerging Artist Award (2009) and The Josephine Ulrick and Win Schubert Photography Award (jointly, 2008). Pynor’s work has appeared in publications such as Antennae, The Guardian, The British Medical Journal, New Scientist, New Statesman, RealTime, Artlink, Photofile, Australian Art Collector, and The Australian. Pynor has lived in Sydney and Paris and currently lives in London.
Peta Clancy completed a practice-based PhD at Monash University, Melbourne (2009); a Master of Arts (Media Arts) at RMIT University, Melbourne (2001); Bachelor of Fine Arts (Honours), University of Tasmania, Hobart (1992); and a Bachelor of Fine Arts, RMIT (1991). Clancy has investigated the intersection of art and biological processes for the past decade. Working predominantly with photography and more recently bio-art, sculpture, installation, and video, she has undertaken an in-depth analysis of the skin as a porous membrane. For the series She carries it all like a map on her skin (2005-2006) she punctured photographs using fine silver needles to create a lace-like effect over images of eyelids and lips.
Clancy has exhibited in Australia at the Centre for Contemporary Photography and Gertrude Contemporary Art Spaces, both in Melbourne; Australian Centre for Photography, Sydney; Mornington Peninsula Regional Gallery, Victoria; and internationally at Brighton Museum & Art Gallery, UK; Pingyao International Photography Festival, China; Glendale College Art Gallery, LA; and Mozart 2006 festival, Salzburg, Austria. Her artwork has been written about by Ingeborg Reichle in Art in the Age of Technoscience: Genetic Engineering, Robotics, and Artificial Life in Contemporary Art; Anne Marsh in Look! Contemporary Australian Photography Since 1980; and in the Australian art journals: Artlink, Eyeline, Photofile, RealTime and Australian Art Collector. Clancy is a lecturer in the Department of Fine Arts, Faculty of Art, Design & Architecture, Monash University, Melbourne. Born 1970 Melbourne.