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Helen began her career at the National Portrait Gallery, London (2002-2016), where she curated and co-curated over twenty exhibitions. These included Man Ray Portraits (2013), Snowdon: A Life in View (2014), and Audrey Hepburn: Portraits of an Icon (2016). Most recently, Helen was Senior Curator of Photographs at the Royal Collection Trust (2016-20), where she was founding project manager and lead curator of Prince Albert: His Life and Legacy. Alongside roles with major institutions, Helen enjoys a diverse independent practice, writing regularly for international publications and consulting on photography.

Featured here are selected extracts from press coverage representing major curatorial projects.

Prince Albert: His Life and Legacy

‘He sincerely believed in photography as an art form at a time when its role in society was being debated. He saw photography’s potential across every aspect of society, from art form to historical record to being a tool for arts scholarship.’

Excerpt from interview with The Guardian, 22 August 2019

Photo50, London Art Fair

Resolution is not the point. is a thoughtful exploration of the key concerns of our contemporary moment: the effect of our historical actions as manifested in the present; the fact of our intractably connected world, one that, for all the far right’s rhetoric, we cannot undo.”

Photomonitor, January 2018

© Foundland Collective, The New World, Episode 1, 2017, video still. (

Audrey Hepburn: Portraits of an Icon 

“Generally the idea of photographer and model collaborating feels a pompous curatorial conceit, but here it rings true…The list of photographers is a roll-call of Post-War greats: Cecil Beaton, Norman Parkinson, Yousuf Karsh, Erwin Blumenfeld, Terry O’Neill. Combining European sophistication with Hollywood high-gloss, the impact of the gradually developing Hepburn image is truly hypnotic.” 

The Daily Telegraph, 29 June 2015

“Hepburn’s rise to international stardom anticipated the period of enormous cultural change that would characterize the later 1950s and 1960s. The combination of her perceived authenticity, acceptably different femininity and self-possession, spoke to a generation of young women who would go on to negotiate the changes brought by feminism. In the 1990s, it resonated for young women grappling with the “have it all” contradictions of post-feminism. Audrey Hepburn really was a woman’s star for the ages.

The Conversation, 6 July 2015

Interview with Amateur Photographer

“Snowdon’s photography, in all the genres in which he worked, was about having a direct approach and removing all artifice,” Trompeteler says. “He bought inventiveness, wit and humour to fashion photography and was part of a movement in which photographers pushed the boundaries of this genre.”

Excerpt from Amateur Photographer, October 2014

Snowdon: A Life in View

“This small but satisfying show reveals Armstrong-Jones’ establishment swagger and an audacity to unsettle his subjects”

The Telegraph, 30 September 2014

Interview with Digital Photographer

“Our aim behind the display was to introduce Peto’s photography to new audiences and help re-establish his position within the history of 20th century photography. Until now Peto has remained lesser known than his contemporaries who worked for The Observer, such as Jane Bown, David Moore and Robin Adler. I hope this exhibition has led to a reappraisal of Peto’s significance.”

Excerpt from Digital Photographer, 2014

Man Ray Portraits 

This first ever major museum retrospective of Man Ray’s photographic portraits highlights both his pioneering experimental photographic techniques and his choice of powerful and beautiful subjects…. Delivers a stunning selection of work from one of the world’s first great photographers.’

Time Out, 19 February 2013

‘Compelling new exhibition… The greatest surprise of his portraits was not that they were so absurdist or daring, but that they were so true to his subjects… His fondness for people is the overwhelming sense you get from this compelling exhibition’

The Independent, 11 Feb 2013

‘Engrossing examination of his work as a portrait photographer… A photographic tribute to one of the most desirable address books ever… Everyone who was anyone in the interwar avant-garde… The most enticing sequence of feminine portrayals in the whole of photography… Like all really good shows, this one has a tangible final act’

Sunday Times, 10 February 2013