Art icon Helen Pashgian’s optically majestic sculptures are a lesson in perception, as featured in the April 2022 issue of Wallpaper*. Pashgian’s solo exhibition ‘Presences’ at Site Santa F...
was such a success, it was promptly stolen. To this day, there is only a photograph of Pashgian with a big transparent grey disc weighing 200lb. She can laugh at that story today, but the creation of her new 5ft lens provided closure, as well as opening her path to future endeavours. Today, Pashgian still executes every detail of her sculptures in her studio, with trial-and-error use of colour, although specific finishing details sometimes require outside processes.
Pashgian’s first abstract paintings used 17th-century glaze techniques in oil. Once she discovered polyester resin, however, it became an all-consuming quest. Declassified after the Second World War, when it had been used by aerospace engineers, the liquid plastic became widely available in the 1960s. Pashgian, like others, saw that it could emulate the clarity of atmosphere or waves.
To celebrate International Women’s Day, we have released this exclusive profile as a digital first, ahead of the April 2022 issue of Wallpaper* hitting newsstands on 10 March. Pashgian also created the issue’s limited-edition cover, which is available to Wallpaper* subscribers. To get full details of our issues delivered directly to your inbox,, and ensure you never miss out on the latest news, features, and reviews from Wallpaper* magazine.
Courtesy the artist; SITE Santa Fe, New Mexico; and Lehmann Maupin, New York, Hong Kong, Seoul, and London Helen Pashgian: ’Presences’, Installation view, SITE Santa Fe, New Mexico, until March 27, 2022. Photography: by Shayla Blatchford.
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