海伦·金凯德（Helen Kincaid）的创作聚焦于绘画与摄影图像处理过程之间的相似性，以及如何在其中锚定过去与现在、意义与缺失、碎片化与消逝。她尤为关注“整体”这一日益难以把握的概念，探讨我们是否能在视觉世界中捕捉到完整的图景，还是仅能在碎片、痕迹、断裂与空白的交织中寻求理解与表达。金凯德常着眼于那些构筑着室内空间边界的日常元素——窗帘、壁纸与软装。通过对其凹处、褶皱及表面的细腻刻画，将具象转为抽象，从而创造出暗示着永恒性的微观景观。

在创作过程中，她通过剪切、撕裂、折叠并重新组合摄影图像，在不协调元素的碰撞中，让熟悉的事物处于即将变成他物的边缘，从而预示着变化与新意的诞生——正如布朗肖所言，处于“未揭示却已显现”的状态。她在这一系列作品使用了薄薄的油性釉料，尽可能减少颜料的用量和笔触的痕迹，从而强化如制作照片般的概念。这种摄影与绘画的互突出了物理实体与观念之间尺度的差异，即“某物”与“无物”之间既直观又富于象征意味的邻近关系。

Drawing on the parallels between painting and our relationship to photographic images and processes, Helen Kincaid’s work explores ideas around our anchorage on past and present, meaning and absence, fragmentation and erasure. She’s interested in the increasingly elusive notion of a whole, of seeing the complete picture and the idea that we are only ever dealing with fragments, traces, disconnections and gaps, Kincaid works with images of soft furnishings, curtains, wallpaper, upholstery – elements that often boundary our interior spaces. She is interested in how their recesses, folds and surface become psychological spaces, timeless micro landscapes, where perspective shifts and the figurative becomes abstracted.

Kincaid’s process involves working with multiple images, cutting, tearing, folding and reassembling the photographic fragments; looking for a collision of ill fitting parts that might suggest transformation or new meaning, the familiar on the verge of becoming something else, what Blanchot described as ‘unrevealed yet manifest’. Using a series of thin oil glazes the paintings are rendered with as little paint and as few brush marks as possible, reinforcing the idea of a fragile layer of pigment over a blank surface, just as in the construction of a photograph. This parallel with painting highlights for her an interesting contrast in scale between a physical thing and an idea – a literal and symbolic proximity of something and nothing.