Maschine (2005) also deliberately plays with half-articulated meaning, as if delighting in teasing us with the idea of transition and pareidolia – the recognition of accidental anthropomorphic shapes in abstraction. Helbig’s subversion of the viewer’s expectations extends to his handmade frames, which are intentionally imperfect and
lead us to contemplate further the undefined and uncertain nature of what it is we are looking at.

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