Helen Pashgian is a pioneer of Southern California’s Light and Space movement of the 1960s and 1970s. Her abstract sculptures in cast polyester resin include columns, discs, and spheres in delicate coloration, suspended or encased within coated glass forms. Her semi-translucent surfaces contain illumination, which changes as a viewer moves around her forms.
She was one of the few women in this male-dominated group of artists, who included James Turrell, Larry Bell, Peter Alexander, Robert Irwin, and DeWain Valentine. After World War II, these Light and Space artists experimented with materials used in the aerospace industry, such as fiberglass, polyester resin, glass, and plastics. Although Pashgian has shown her work steadily in solo and group shows since that time, she never achieved the same widespread recognition as her male contemporaries since women were overlooked in the art world at that time.
Pashgian studied art history at Pomona College where she met James Turrell. She received her M.A. from Boston University and was headed for a career in academia or museum work. While pursuing a Ph.D. at Harvard, Pashgian accidentally transitioned into art making.
She was teaching at a high school and stumbled on transparent ceramic glazes and became fascinated with how they picked up the light. She experimented unsuccessfully with oil paints and decided it was time to return home to Southern California. Pashgian does not remember the moment that she found the clear resins that made possible her transition to three-dimensional works in the early 1960s. She didn’t have much interaction then with Turrell or the other male artists because many of them were based in Venice, California while she lived and worked in Pasadena. For her, the relative isolation she had as one of the few women – along with Mary Corse and Maria Nordman – in such a physical art form was not of much consequence.
In 2014, Pashgian had her first large scale sculptural installation at a major museum, LACMA’s “Helen Pashgian: Light Invisible.” Her work in this exhibition was a notable departure from her previous work of smaller, three-dimensional pieces that incubated starker color and were meant to hang on a wall. Here her work consisted of a dozen 8-foot-tall cylindrical semi-translucent acrylic columns – hollow forms, standing in a row – which have illuminated varied shapes inside them. A viewer needs to stroll slowly around the perimeter and through the columns, treating all 12 cylindrical sculptures as one. Its overall impact is organic, fluid, and endless.
Pashgian’s work has been exhibited in numerous California colleges, universities, and museums. She was part of the group show “Pacific Standard Time: 1950-1970” at the Getty Museum and MOCA. In 2013, she received the “Distinguished Women in the Arts Award” from MOCA. Her work is in the permanent collections of LACMA, MOCA, Palm Springs Art Museum, Santa Barbara Museum of Art, Portland Art Museum, and the Norton Simon Museum.