Interview with the Artist

Helena Poto’s work is indicative of a strong personal philosophy. “There is the truth that has to do with recreating the appearance of the real world, “Poto explains. “Then there is the truth which relates to making visual statements about the noble thoughts motivating human behavior in that world. My paintings are an expression of imagination with reason. They are concerned with dreams in a period dominated by realities. I am trying to reach beyond my limits to delve into the peaceful soul of humanity.”

The result is a positive, balanced sense of peace and spirituality. She is developing a symbolic language that visually conveys her feelings of open-mindedness poetic imagination and nobility. The paintings flow richly with symbolism. From her use of smooth, controlled line to her sensitively chosen colors, the eye delights in moving from one corner of the painting to another along rounded forms and geometric shapes. There is very little texture or chiaroscuro; colors are subtly used.

“Color is a privilege, “Poto says. “I use it to enhance my images, bring hem to life. Basically, I see the world as linear. I have eliminated realistic space and substituted a painting space based purely on the rectangle. The psychological implications are strengthened by taking great liberties with the shapes of the figures and implementing my developing language. This symbolism is a bridge between my inner feelings and a need to communicate.”

Flowers are used as symbols for women. Both flowers and women are used as symbols for creation and birth. Vases can be feminine as well as masculine symbols. Intense feeling and strong confidence evoked with undulating color, while protective lines often highlight a fragile subject within a painting.

Like the unfolding of a rose, Poto’s art has matured and changed with time. The technique of line drawing emphasized with tints of color remains her own. Her early art foundation was in printmaking where she was taken up completely with the strength of line to convey an image with the sturdy materials available to the process. Poto naturally evolved to drawing and painting in order to gain freedom of expression while holding on to the power of line.

“I had to search out a method of allowing the carbon of the pencil to dominate with an overlay of acrylic or pastel washes,” she explains. “Developing the right surface, glues, gesso control and backing system (rather than stretched canvas), was paramount to the conveyance of my vision.” Her work is not matted in the usual sense. She draws her mats as an integral part of the painting.

Subtleties of humor and passion; the absence of harshness and struggle are unique features of Poto’s work. “Why should I depict violence when I feel it is our responsibility to stop it? My art has to be non-violent, non-documentary. I promote an image that transcends the tangible world and opens the mind of the viewer to the struggle for beauty and simplicity. I try to bestow order, stillness, and lucidity on scenes and subjects that are in continual flux, by reconciling forms and emotional contact and by balancing the elements that form the structure of the picture.

Charlene R. Johnson, Florida Suncoast Almanac