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Helen Seiver
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  • Current and Recent Works
    • 2023 | Emergences - Vasse Felix
    • 2022 | Sculpture at Bathers - Papirri
    • 2022 | Esperance book project
    • 2022 | Royal Perth Art Prize
    • 2022 | Jury Prize - Port Hedland
    • 2022 | South West Art Now
    • 2021 | Dwelling Rituals
    • 2021 | (t)ruth
    • 2020 | Bunbury Fringe Festival
    • 2020 | South Western Times Survey
    • 2020 | Sculpture@Bathers
    • 2019 | Fibre - Holmes a Court Gallery
    • 2019 | Wildflower State
    • 2019 | Alternative Archive
    • 2019 | Bunbury Biennale
    • 2018 | Are we there yet?
    • 2018 | Stations of the Cross
    • 2009-2017 | Gross Domestic Product
    • 2017 | The Spaces Between Us - Adding absence
    • 2016 | The Survey - Cloud Seed Express
  • Older Works
    • 2012 | Melville Sculpture Walk
    • 2012 | Marsh Art
    • 2012 | Castaways Sculpture Exhibition
    • 2015-14 | Inflorescience Series
    • 2014 | @home series
    • 2012 | Aurum
    • 2014 | Minnawarra Art Award
    • 2012 | Ladders
    • 2014 | Sculpture by the Sea Cottesloe
    • 2013 | Strangers in my Palace
    • 2011 | Birdland
    • 2013 | Melville Sculpture Walk
    • 2013 | Sculpture@Bathers
    • 2011 | Mt Narryer
    • 2013 | Sticks in my Mind
    • 2012 | Sculpture by the Sea Cottesloe
    • 2010 | Yarloop Townscape Sculptures
    • 2010 | Home is where...
    • 2010 | Old Mallokup Bridge
    • 2010 | Cnr Boonooloo and Heath
    • 2009 | Now we lie in it
    • 2009 | Whose Flag?
    • 2008 | Space and Place
    • 2008 | It's Child's Play
    • 2008 | Fringe Focus
    • 2008 | River Art
    • 2008 | Endangered Species
    • 2007 | Outside is the Real Place
    • 2007 | Bunbury Bienalle
    • 2006 | Translating Broken Space
    • 2006 | Fact or Fiction
    • 2008 | Standing Safe
    • 2005 | Sight Analysis
    • 2004 | 60 Gladstone Ave
    • Virginia Cunningham
      • Spin Cycle
      • 2009 | Gross Domestic Product
      • Cunning Stunts
  • Media
    • Media

2006 | Fact or Fiction

These works attempt to translate recorded history. They use memories interrupted, disturbed, or disconnected, to interpret fact from fiction. Torn 'storybook' histories, painted image and text are used as elusive fragments fundamental to the subjective broken space of history.

© 2014-2021 Helen Seiver | PO Box 95, Capel, Western Australia 6271 |  Email

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