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Artist Helena Minginowicz creates Paper Towel Paintings |
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| All photographs by Helena Minginowicz |
“Civilizations are remembered through their monuments, but understood through the things they throw away,” says artist Helena Minginowicz, whose sensitive paintings interrogate our understanding of value. Using airbrushed acrylic, which can be built up in lightweight, translucent layers, the artist takes one of the most quotidian household items as a starting point: paper towel.
With its machine-embossed, moisture-wicking patterns, the absorbent paper comprises an instantly recognizable substrate. The precise, textured flourishes are aesthetically pleasing, and yet it’s hard to completely separate them from our associations with mass-produced paper products that are designed for one-time use and disposability. This dichotomy sits at he heart of Minginowicz’s practice, in which she explores “how changing the hierarchy of materials can reshape the way we perceive value, dignity, and the human experience,” she says.
Minginowicz’s embossed pieces from everyday domestic material are one facet of a broader multimedia approach to materiality in which she creates paintings on canvas and also painstakingly embosses delicate tissues. The paper towel works, in addition to some that are made on supermarket-style plastic bags, are then presented between thick slabs of acrylic, transforming them into objects with substantial heft and dimensionality.
“Every civilization constructs its own hierarchy of values,” the artist says. “It decides what deserves to be preserved, admired, and passed on to future generations. Monuments, works of art, symbols, and myths preserve an image of humanity as we wish to remember it—strong, beautiful, enduring, and heroic. Yet every monument has its reverse.”
Minginowicz’ imagery draws on the style of Renaissance paintings, especially focusing on expressiveness, intimacy, and the idealized female figure. One might think of Sandro Botticelli’s “The Birth of Venus” or aristocratic portraiture of the era. “For centuries, painting monumentalized what civilizations wished to remember: saints, heroes, gods, victories, myths, and ideals. I use that same language to ask a different question: Who deserves to be remembered with dignity? Not only heroes. Not only the victorious. But every human being.”
Minginowicz is currently working toward a solo exhibition at Galerie Primain Paris, which is slated to open on October 8. Follow updates and see more on Instagram.
Jo Nagai was raising swallowtail butterflies at his home in Kobe, Japan, when he noticed something odd. The ones he had looked after as caterpillars seemed to recognise him. Wild butterflies fled. His didn't.
He was in second grade. He wrote a four-page letter to Dr. Martha Weiss, an entomologist at Georgetown University who had studied whether moths could retain memories through metamorphosis. He asked if she could help him design a version of her experiment for butterflies.
She said yes.
Using a muscle therapy device, Jo trained caterpillars to associate the scent of lavender with a mild vibration. When the caterpillars became butterflies, 70 per cent of them still avoided the lavender. Their brains had been completely rebuilt during metamorphosis. The memory survived anyway.
Then he bred them.
The offspring, which had never been trained, also avoided lavender. So did their grandchildren. Without ever experiencing the vibration, two generations of butterflies inherited an aversion to a scent their grandmother had been taught to fear.
Jo documented it all in a 33-page research paper and presented his findings at the International Congress of Entomology in Kobe in 2024. He was 10.
A second-grader wrote a letter to a Georgetown professor, and together they found evidence that butterflies can pass memories down through generations
Just because ...
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| Crested Partridge (Rollulus rouloul) |
Sunday's Smiles ...
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