Mae Helen yn byw yn agos at yr atomfa ac mae wedi treulio blynyddoedd yn arsylwi a myfyrio ar yr adeiladwaith grymus a rhyfeddol hwn a saif yn ei chynefin naturiol o fôr, creigiau ac awyr. Gan weithio mewn cysylltiad uniongyrchol â'r lle ei hun mae wedi creu cyfres o ddelweddau ffotograffig sy'n cofnodi a sylwebu ar gyfyngiad cynhenid a rheolaeth o'r tir o gwmpas adeiladau niwclear. Defnyddiwyd ei chyfrwng dewisedig, sef cemeg cyanoteip neu Glas Prwsia, yn Eryri yn dilyn trychineb Chernobyl ym 1986 i liniaru effaith y llwch ymbelydrol am fod ganddo'r gallu i niwtraleiddio'n gemegol y niwclidau ymbelydrol peryglus a ganfyddir mewn anifeiliaid a phlanhigion heintiedig.

Mae atomfa'r Wylfa wedi ei hamddiffyn rhag ymosodiad gan frawychwyr gan ffensys diogelwch uchel sydd wedi dod yn rhan annatod o dechnoleg niwclear ac ni cheir defnyddio camerâu ar unrhyw gyfrif. Mae ei delweddau cyanoteip, a wnaethpwyd ar y safle ond heb y camera, yn tanseilio'r gwaharddiad hwn ac yn cyflwyno delweddau fydd heb unrhyw ddiben defnyddiol i ddarpar derfysgwyr. Mewn ail gyfres o waith mae hi'n archwilio'n uniongyrchol y posibiliadau, neu fel arall, y broses o lanhau'r môr o gwmpas yr atomfa.

Helen lives close to the power station and has spent years observing and reflecting on this potent and puzzling complex set within its natural surroundings of sea, rock and sky. Working directly in contact with the place itself she has created a series of photographic images that record and comment on the inherent restriction and control of the land surrounding nuclear installations. Her chosen medium of cyanotype or Prussian Blue chemistry, was used in Snowdonia after the Chernobyl disaster of 1986 to mitigate the effects of the radioactive fallout since it has the property of chemically neutralising dangerous radionuclides found in contaminated animal and plant materials.

Wylfa power station is protected from terrorist attack by high security fences which have become integral to nuclear technology and the use of cameras here is strictly prohibited. Her cyanotype images, made on location but without the camera, gently subvert this restriction and provide images that will have no useful purpose for potential terrorists. A second series of works explores directly the possibilities, or otherwise, of a cleansing process in the sea around the power station.

I ddechrau, dilynodd Helen Grove-White yrfa mewn dysgu hanes celf a dylunio (Coleg Chelsea a Phrifysgol Middlesex) cyn gwneud Gradd mewn Celf Gain yn Lancaster (Anrh. Dosbarth 1af). Fel myfyriwr, arbenigodd mewn cerflunio, ond newidiodd yn fuan i ddefnyddio cyfryngau ffotograffig arbrofol, yn aml mewn mewnosodiadau gofodol, wrth iddi archwilio'r cysylltiad rhyngddi hi a'r byd naturiol. Mae ei gwaith fideo, cyfryngau ffotograffig, cerflunio a ffurfiau llyfr, yn parhau i droi o amgylch y gyffordd rhwng y tir a'r dynol. Caiff ei gwaith ei sbarduno gan bynciau archeoleg a newid hinsawdd, y gorffennol a'r dyfodol, gan barhau i gynnal estheteg haniaethol gref.

Mae ei gwaith wedi ei arddangos yn eang ledled Cymru, gan gynnwys yr Eisteddfod Genedlaethol, yr Alban, Iwerddon a'r UDA.

Helen Grove-White first pursued a career teaching the history of art and design (Chelsea College and Middlesex University) before taking a Fine Art Degree at Lancaster (1st class Hons). Specialising in sculpture as a student she quickly moved to the use of experimental photographic media, often in spacial installation, as she explored the interface between herself and the natural world. Her work in video, photographic media, sculpture and book form continues to revolve around the intersection of the land and the human. Her work is propelled by issues of archeology and climate change, the past and the future, whilst maintaining a strong abstract aesthetic.

She has exhibited widely within Wales, including the National Eisteddfod, in England, Scotland, Ireland and the USA.