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Helena Minginowicz (b. 1984, Poznań), is a graduate of the Faculty of Architecture and Design at the Magdalena Abakanowicz University of Arts in Poznań (2011). Helena is also a finalist of the Bielska Jesień 2023 contest, she lives and works in Poznań.
“I am inspired by everyday life and the highly subjective way we perceive it. Each of us filters reality through the prism of our own stories and emotions. Do our “filters” have common points? This question provokes me to reflect on the nature of human perception and what it reveals about us.”
- Helena Minginowicz
Hi Helena! It’s a pleasure to sit down with you! First question that I always ask. How does a regular day look like for you in Poland?
Helena: Hi Rubén, thank you—it’s a pleasure for me as well! 🙂 I generally dislike routine, but the kind that allows me to maintain a high quality of work is both special and necessary, so I fully embrace it. My day begins with a strong coffee—or two—and a light, symbolic breakfast. I drink my coffee while alternating my gaze between the window and the painting I’m currently working on. I search for mistakes, reflect on the story I’m trying to tell, and think about the things I don’t yet understand.
My bedroom and studio share the same large space, so my artworks are almost the first thing I see in the morning and the last thing I see at night. I enjoy the lack of separation between my work and my life—it feels natural to me. I don’t feel the need to divide work from my social or family life; I like it when these areas blend and overlap. After coffee, or sometimes during it, I dive into work. Once I get into the flow, time tends to disappear, and I only take a break around 3 or 4 PM. That’s when my housemates come home, and I shift to “home mode.” I cook, spend time with friends, and always go on a long walk—it helps me process emotions or think more freely. Walking stimulates me, and I often come up with my best ideas while moving. Sometimes I walk for hours. In the evenings, I read or watch crime films. I might sketch, study the works of artists I admire, review my own progress, or plan for the next morning. Occasionally, I write.
I’m curious, growing up what kind of kid were you? What did you enjoy doing, and how did you spend your time?
Helena: I was a quiet, serious, and observant child. I grew up surrounded by adults, with few children around me. I didn’t understand their language, and for a long time, I didn’t feel the need to socialize. I was a loner, spending hours drawing or creating small, imaginary worlds. Art was my language, my escape, and my way of understanding the world.
Alright, so when did you start to paint, and when did you start taking being an artist seriously?
Helena: I’ve been painting and drawing for as long as I can remember—it was always my domain, my language. In my free time, I rarely did anything else. I often had an intense thematic obsession—something I would explore until I felt I had exhausted it and reached a sense of fulfillment. Choosing an art high school and later pursuing art studies was a natural decision. I was also fortunate to have the unwavering support of my parents, for which I am incredibly grateful.
Ok Helena, with these next series of questions, I will try to delve into your work as best as possible… You’ve described using “visual mirages” to explore the boundaries between visibility and perception. Can you tell me more about that?
Helena: Visual mirages describe the way perception is shaped by what we expect to see versus what is actually there. My works rely on layers—what is hidden, revealed, or distorted—inviting viewers to question their assumptions and perceptions of what they are looking at.
Your work often features animals, particularly farm animals, as symbolic elements. What draws you to them? and what do they represent within the narratives of your paintings?
Helena: Farm animals have always held a special place in my heart. I spent at least a month every year on my grandmother’s farm, surrounded by animals. I was endlessly curious about them, and I loved helping to care for them. They intrigued, moved, and fascinated me. They represented a part of nature—a world that shaped me—and acted as silent narrators of my surroundings. In my works, they play a similar role: as quiet narrators, symbolic carriers of certain concepts and characteristics.
While studying art history, I became captivated by how meaning can be subtly conveyed through symbols, such as animals or elements of nature. It felt like a natural extension of my interests, almost like working with a universal visual dictionary that everyone can access.
With that in mind, can you tell me about your use of symbolism?
Helena: Symbolism, to me, is a language—a kind of code. It allows me to communicate universal ideas, concepts, or connections without resorting to literal representation. At other times, it lets me hide a piece of myself or a secret within my work, which feels deeply personal and valuable. At the same time, each viewer can interpret these symbols differently, shaped by their own experiences.
You focus on analyzing relationships and the perception of reality through art. What is it about these themes that resonate with you? And how do you translate complex interpersonal dynamics into visual forms?
Helena: Relationships are the foundation of our existence. Understanding their dynamics helps us understand ourselves. My art seeks to capture the layers within these interactions: the visible, the hidden, and the unspoken. Similarly, our perception of reality is deeply subjective. While we might look at the same thing, our individual experiences and histories shape how we perceive it. I’m fascinated by moments when perspectives diverge or converge, creating either connections or distances between people. Through perception, we construct our own realities, and it’s extraordinary when those realities overlap at a shared point of understanding.
With that in mind. Your work delves into themes of fragility, human experience and hidden weaknesses. How do your personal experiences and emotions shape the subjects and themes you choose to explore?
Helena: I draw on my own struggles but aim to transform them into something universal. Feelings of inadequacy, the discomfort of not fitting in, have been a part of my life. The pressure to adapt to an environment or meet certain expectations has always felt both paralyzing and primal—like a survival instinct.
Society often rejects weakness. We are expected to be strong, composed, and adaptable at all times. For me, however, moments of weakness and vulnerability are the most authentic. These are the moments we allow ourselves only when we feel safe—usually alone. In these fragile spaces lies our greatest strength. They belong entirely to us and provide the clearest perception of reality. They are the source of deep reflection and humanity, far removed from societal expectations.
You’ve painted on single-use items like paper towels and disposable tableware. Why is that? And what significance do these materials hold in your exploration of resilience and transience?
Helena: These materials reflect impermanence. By painting on objects meant to be discarded, I challenge notions of what is considered “valuable” while exploring themes of resilience and transience. It’s also a commentary on the fragility of fundamental concepts and the fleeting nature of existence.
You’ve previously mentioned a connection to the works of old masters and the history of painting. Which artists or art movements have significantly influenced your work, and in what ways?
Helena: There are many. I’m deeply inspired by medieval illuminated manuscripts, Renaissance books of wonders, and illustrated alchemical treatises. The old masters remain an endless source of fascination for me—Giotto, Giorgione, Raphael, Caravaggio, Frans Hals, and Bruegel (both elder and younger). At the same time, contemporary art speaks to me profoundly, especially the works of Kiki Smith, Felix Gonzalez-Torres, Sarah Lucas, and Tracey Emin.
Your aesthetic evokes elements of contemporary reality, such as advertising banners and internet culture. Can you tell me more about that as well?
Helena: These elements are part of the visual noise of contemporary life. They naturally exist within our environment and form a part of today’s aesthetic. I incorporate them to juxtapose the artificial with the organic and to explore how these realms intersect—or collide—in our perception of reality.
Can you walk me through your creative process from beginning to end result?
Helena: Observation is the foundation of my process. Everything begins there. At this stage, I often “see” the entire painting in my mind, like a frame from a film. Sometimes it’s sharp and detailed; other times, it’s hazy, with gaps waiting to be filled. I take notes and write extensively—often during long walks—and immerse myself in the theme that captivates me. I might include literary or musical fragments to deepen my understanding. I sketch lightly to plan the composition but leave room for spontaneity during painting to maintain energy and freshness. As I work, I discover new facets of the theme or characters. The story often evolves, with unexpected elements emerging.
How do you approach color?
Helena: Color is fact, information, symbol, and emotion. It’s a language I let the subject dictate.
Interestingly, light and the seasons influence my use of color. I work with different palettes in winter and summer—it’s a very intuitive process.
So with what we just talked about, what are you hoping to convey?
Helena: I dislike moralizing or didacticism, especially in art. Instead, I paint, tell stories, and share secrets. It’s up to the viewer to listen and reflect on their own.
In a parallel universe who would you be? and what would you be doing?
Helena: A lioness.
Can you tell me a story about a time when a connection with someone had a big impact on you?
Helena: There have been many such moments. Relationships always leave their mark, forcing us to change perspectives, even briefly. Every deep relationship has influenced me, leaving behind traces—or sometimes scars.
What qualities do you find most important in the people you choose to spend time with?
Helena: Authenticity, curiosity, and independence.
Anybody you look up to?
Helena: People who never stop asking questions and have the courage to follow their own path. I admire those, who know how to remain silent.
What motivates you?
Helena: An inner imperative
How would you describe a perfect day?
Helena: Every single one 😉 I don’t believe in perfection and don’t wait for it.
Alright Helena, I always ask these two questions at the end of an interview. The first is. What’s your favorite movie(s) and why?
Helena: For now any film by Luca Guadagnino. It’s unconditional love—no one else can amaze and surprise me in so many different ways, without relying on formulas or tricks. And on top of that, his incredible shots and visuals.
The second is. What song(s) are you currently listening to the most right now?
Helena: Hahaha, I listen to a lot of different music and switch it up constantly, moving from one extreme to another. Recently, I’ve had Annie Lennox’s No More I Love You’s on repeat, alternating with Firesmoke by Kae Tempest, which is a staple in my playlist.