Hélène Le Chatelier studied art in Paris at l’Ecole Nationale Supérieure des Arts Appliqués et des Métiers d’Art, Olivier de Serres, where she specialized in Fresco painting. Since her first painting exhibition in Paris in 1997 soon after her graduation, Hélène embraced various artistic modes of expression (painting, sculpture, photography, installation, writing). Working mainly in black and white, Hélène questions all aspects of memory, the idea of the passage of time, and the traces it leaves on our bodies and in our lives. She interrogates the secret and unconscious parts of ourselves, as well as the way we attempt reconciliation of our collective and family histories with our individual memory. Hélène currently lives and works in Singapore. Her work has been showcased in Singapore, Bangkok, Paris, Seattle and New York. She has private and corporate collectors all over the world.

For anything titled ‘Dark Matter’ or ‘Heliocentric’ “Heliocentric started by observing my working table after a painting session. I realized that there was sometimes more energy on this working table than on my artworks themselves. The traces left on the table were telling more of me and what I wanted to express than my artwork itself. From this realisation, I started to document this series with the idea of focusing on details. Playing with different scales is a constant in my work, and in this series I developed and enhanced the process by working with ink, graphite and chalk: scratching, erasing, wiping and skin printing on a central original piece, which I capture through photography.”

For all the other artworks by Helene: “In this series, Missing Parts, I focused on how it could be possible to lighten memories, transforming them into poetic objects no matter their original heaviness. We all sort our memories, sometimes focusing on details, sometimes forgetting others. We keep certain aspects to recompose our own truth afterwards. From a national scale to the scale of a single human being, we recreate a subjective reality to serve different goals. From that perspective, memory process can even become a political matter. I also wanted to explore the idea of feelings and memories which can hardly be shared with others being transformed into something that could be acceptable. This led me to consider that our memory process tends to retain only some parts of what we’ve lived.”