The exhibition title, Arrangement, is a term borrowed from music and suggests an adaptation or combination.

Hellmich creates space on canvas by placing several objects and structures together, without regard for cohesion. Hellmich’s works are simply exteriors or interiors of places that are anonymous and void of human presence. These places are not known or imagined; they are instead arrangements of his architectural perceptions.

The only narrative that exists in Hellmich’s pictures is the story of painting itself. At times he may offer the viewer a door or entryway to his paintings, withholding a glimpse of what lies beyond. For all of his rigorous engagement with the principles of texture, form and geometry, Hellmich’s paintings are fundamentally an exercise in taxonomy and architectonics. As Mark Gisbourne writes in the exhibition catalogue for Arrangement, “That the paintings are figurative is not, in fact, the most relevant of issues. That they are deliberately configurative seems to be more to the point.”