2004 Synthesis: photocollage
Plumas County Arts Council Gallery
Quincy, California
2001 Bodyscapes/Landscapes
Plumas County Arts Council Gallery
Quincy, California
1998 Hallowed Ground
Plumas County Arts Council
Quincy, California
1996 Helen MacKinlay: Photographs
d p Fong Gallery ,
San Jose California
1994 In The Beginning,
an installation, Sommerville Park, Singapore
1991 Bodily Speaking
Notices: the Gallery, Singapore.
Accompanying book: Helen MacKinlay: Fifty-five Photographs
Group Shows
2000 10th Annual Juried Center Awards 2000
Juror: Marc Holbert
Center for Photographic Art, Carmel, California
2000 A Woman’s View
Atrium Gallery at the Mitchell Museum
Trinidad, Colorado
2000 Man/Woman: Viewpoints
Juror: Bruce McGraw
Sebastopol Center for the Arts
Sebastopol, California
2000 Black and White and Read all Over
Plumas County Arts Council Gallery
Quincy, California
2000 Adornment
Plumas County Arts Council Gallery
Quincy, California
1999 Annual Valentine Art Exhibition
Institute of Contemporary Art,
San Jose, California
1999 Black and White and Shades of Gray
Plumas County Arts Council
Quincy, California
1998 Fotografie
Villa Haiss Museum fur Zeitgenossische Kunst
Zell, Germany
1998 Open Juried Art Exhibition, First Prize
Juror: Dale Latinen
Feather River Art Association,
Quincy, California
1992 The Nude: A Classic.
Silver Image Gallery Seattle, Washington
1991 Sacred Sites.
Ghia Gallery San Francisco, California
1990 Arte and Materia
National Museum of Art, Singapore
1987 The Human Vessel,
Sun Gallery, Hayward, California
1985 Hard- Edge Figures,
San Jose Art Center, California
1984 Impressions
West Valley College Art Gallery, Saratoga, California
1984 The Woman in Art,
West Valley College Art Gallery, Saratoga, California
1983 Studies in Black and White,
Group 21, Los Gatos California
1983 The Single Light Source
San Jose Art Center, California
Helen MacKinlay
For the past 20 years, black and white photography has been the art medium I prefer and the human figure my chosen genre. Because it is both familiar and yet alien, the human figure is a haven for recognition and also a vehicle for self discovery. I often see the human form as sculpture. I try to capture its latent power or vulnerability, hoping that the sensual image on the paper will become a vibrant voice. I consider the nude a universal genre and the silver gelatin process a timeless technique. There’s no other medium that translates the sensual beauty of the human figure so well.
Other portfolios I have in progress include subjects such as sacred sites, trees, Asian and European lifestyles and architecture.