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How painter Titania Helbach brings into view those society overlooks Titania Helbach beside her paintings at the Noël de la Rue event, held at Tramsschapp in Limpertsberg, Luxembourg. Photos: Patrícia Marques        On Christmas Eve, in Luxembourg, more than 400 homeless people or individuals living in extreme poverty  were welcomed around a warm meal, music, gifts and a moment of shared humanity. In an atmosphere that was both festive and deeply moving, certain gazes stood out uniquely. They did not speak, yet they demanded attention. Painted faces. Portraits observing silently. It was in this setting that I met Titania Helbach , a Luxembourg-based artist whose work gives a face—and dignity—to those we too often choose not to see.   Noël de la Rue: more than a Christmas meal The event was organised by Noël de la Rue , a Luxembourg non-profit organisation with a clear mission: to ensure that no one spends Christmas alone in Luxembourg , particularly those living in poverty, isolation or homelessness. Beyond hosting a festive Christmas meal on 25 December, the association distributes gifts and essential items and carries out solidarity initiatives throughout the year — from convivial gatherings to collaborative events — aimed at fostering social inclusion and human connection. It is within this space of encounter and mutual respect that Titania Helbach’s paintings naturally find their place.   Painting what the national slogan does not show The roots of her artistic approach go back to 2017, at the time of a national advertising campaign promoting the image of a dynamic, luxurious and prosperous Luxembourg. Titania was then working in the area around the central station, where this official narrative collided sharply with a very different reality. “The contrast between the proclaimed luxury and the lived reality in these streets struck me. Just a few metres away from the slogans were homeless people, drug users, people living on the edge of society.” From this dissonance emerged the desire to paint what usually remains unseen. At the time, Luxembourg was promoting itself through the national campaign “Luxembourg – Let’s make it happen” , a slogan associated with images of success, comfort and prosperity. In response, Helbach deliberately détournes this official message, transforming it into “Luxembourg – savoir (sur) vivre”   — a play on words that can be read as “knowing how to live”  or “knowing how to survive” . Integrated into her early paintings, the phrase becomes a quiet but pointed question addressed to society itself.   From documentary gaze to human encounter Initially, her approach was almost documentary, capturing scenes, silhouettes, bags and objects that told the story of a life. Over time, however, her focus shifted to personalities and individual characters, emphasizing psychological and emotional burdens visible in faces. “Through conversations, personalities and individual characters became more important than appearance. Material belongings lost importance, while psychological and emotional burdens became central—and those, too, are visible in faces.” Trust develops. The photographs—on which each painting is based—are taken closer. Titania listens, often for extended periods, sharing fragment´s of their lives. “As an artist, I see people living on the streets as highly interesting subjects, both visually and humanly. As a human being, I see them as lost souls who have fallen out of the social system, living in a parallel world.” A world that is not made up solely of misery, she adds, but also of moments of joy and lightness—sometimes fleeting. And above all, a world inhabited by people who deserve to be approached as equals.   Art as an act of recognition Titania has been painting since her youth, with interruptions. After studying art at secondary school, she chose a stable career in public service. Alongside her professional career, Titania Helbach paints in her free time. While painting is not her profession, it has become, over the years, a personal necessity and a source of balance. Since 2018, she has been painting regularly, several times a week. She now considers herself largely self-taught. Her paintings, created from photographs, are printed on mousepads—a deliberately durable medium—that she offers to the people she portrays. “Being represented with dignity is a form of recognition. And that recognition can influence perspectives—both the viewer’s and the person portrayed.”   When art meets social action Almost by chance, Titania became involved with Noël de la Rue. In 2024, while hoping to reconnect with people she had previously painted, she attended one of the association’s events. Those responsible discovered her work and proposed a collaboration. “My paintings are meant to be shown exactly where the people I paint are. They can see them, talk about them, and feel recognised.” A collaboration she intends to continue, convinced that appreciation is often the first step towards a shift in mindset—for both the one who gives it and the one who receives it.   Around 400 people attended the Noël de la Rue event, held at Tramsschapp in Limpertsberg on December 25. The Luxembourg contrast Luxembourg is often presented as one of the wealthiest countries in the world—an image that attracts but also conceals certain realities. “People living in precarity represent a minority. The question is whether we want to mention it. Admitting that not everything is perfect can be frightening. At the same time, this idealised image attracts people who, after disillusionment, sometimes end up on the streets.” Her paintings reject black-and-white narratives. They invite viewers to look differently, to encounter real individuals and move beyond abstraction.   A defining encounter Titania deliberately remains discreet about the personal stories entrusted to her. One recent encounter, however, left a deep impression: that of a man her own age, whom she met outside the Abrigado centre. A victim of a stroke linked to drug use and now living in a facility for people with disabilities, he nevertheless regularly comes into the city. “ He told me it was the only place where he knew people .” He refused to be photographed in front of the centre. Instead, he chose Bonnevoie, cherry trees, and a song to accompany the publication of the finished painting. “On my way home, I asked myself what I would do in his place—without social reference points, without the ability to express all the words in my head.”   Titania´s paintings, created from photographs, are printed on mousepads, that she offers to the people she portrays. Making visible, without pretending to repair Titania knows her work will not change the world. But it creates moments of recognition, respect and shared joy. “Creating art from situations that are not glamorous nourishes me deeply. These faces tell stories. My paintings also have a documentary value.” In a country often associated with prosperity and stability, her art reminds us of a simple truth: some faces remain outside the collective field of vision . Painting them is already a refusal to let them disappear.   January 26 Patrícia Casal Marques Freelance Journalist