Informed by studies in philosophy and choreography, Helen Grogan uses sculptural, photographic, and filmic means to approach space and observation as material(s). Her works directly engage exhibition sites as situations to be expanded and opened in material, ontological, and political ways.

With a particular interest in framing what is already occurring, Grogan works from the perspective that the gallery exhibition is itself performative and viewers are implicated through the physical act of observation. Grogan practice operates critically and dynamically with exhibition formats and institutional conditions.

Works often incorporate explicit processes of flux, drift, layering, and reconfiguration as means to push or stretch potential temporalities and spatialities. By employing devices that resist fixed or prioritised points of view or points in time, her works seek an embodied attention within the ever moving present and actual.