ABOUT THE BOOK
Over the course of her career, Helen Pashgian has produced a significant series of sculptures comprised of vibrantly colored columns, discs, and spheres, which often feature an isolated element appearing suspended, embedded, or encased within them. Using an innovative application of industrial epoxies, plastics and resins, Pashgian’s works are characterized by their translucent surfaces that appear to filter and somehow contain illumination. This book will document Pashgian’s vast body of work, dating from the 1960s to now, with historic and new photographs of the artist’s spheres and discs. An essay by John Yau and a well-researched chronology will also be included.
ABOUT THE ARTIST
Helen Pashgian is a pioneer and pre-eminent member of the 1960s California Light and Space movement. Pashgian thinks of her works as “‘presences’ in space—presences that do not reveal everything at once. One must move around to observe changes: coming and going, appearing and receding, visible and invisible—a phenomenon of constant movement. It touches on the mysterious, the place beyond which the eye cannot go.” Trained as an art historian, Pashgian’s reverence for Johannes Vermeer, the painter of light, has been fundamental to her longstanding interest in the effects and perception of light. While she has always gravitated towards experimenting with non-traditional materials, her primary concern has been to maintain light as the object and subject of her work. For Pashgian, light is not simply a metaphor, symbol, or allegory; light itself is both the medium and the message.
Pashgian’s work can be found in numerous public and private collections internationally, including Norton Simon Museum, Pasadena, CA; Palm Springs Art Museum, Palm Springs, CA; Pomona College Museum of Art, Claremont, CA; Portland Art Museum, Portland, OR; Santa Barbara Museum of Art, Santa Barbara, CA; Los Angeles County Museum of Art, Los Angeles, CA; and Museum of Contemporary Art, San Diego, CA.