'Loop My Loop' exists as a tableau where golden locks of hair are intertwined with a pig's intestine and photographed as a modern Baroque still life. Here, Chadwick disrupts our expectations; the most ornate image associated with beauty is made repellent through its juxtaposition with something also natural, but out of context, visceral and grotesque. Hair, a fetishised form of femininity as well as a form of 'memento mori', was often incorporated in Victorian jewellery to commemorate a loved one. In this light box, Chadwick links hair with the physical remains of death, a poignant reminder of death and loss.
exposure: leading contemporary photography, Harris
Museum and Art Gallery, Preston, MD, 1998 Surroundings: Helen Chadwick, Hannah Collins,
Willie Doherty, Steven Pippin, Catherine Yass, Tel Aviv Museum of Art, Tel Aviv, Israel, 1997 Stilled Lives:
Helen Chadwick, Portfolio Gallery, Edinburgh, Scotland, 1996 In Memoriam – Helen Chadwick, Galerie Eugen Lendl, Graz, Austria, 1996 Radikale Bilder: 2. Österreichische
Triennale zur Fotografie, Neue
Galerie am Landesmuseum Joanneum, Graz, Austria, 1996 fémininmasculin: Le sexe de l’art, Centre Georges Pompidou, Paris, France, 1995 O2: Helen Chadwick, Hermione Wiltshire, Zone Gallery, Newcastle, UK, 1994 Helen Chadwick: Flesh and Flower, Zelda Cheatle Gallery, London, UK 1994 effluvia Helen Chadwick, Museum Folkwang, Essen, Germany, 1994. This
exhibition travelled to Fundació la Caixa, Barcelona, Spain and Serpentine
Gallery, London, UK. Bad Girls, Institute of Contemporary Arts, London, UK, 1994 Whitechapel Open, Whitechapel Art Gallery, London, UK, 1992
Helen Chadwick: Meat Lamps, The British School, Rome, Italy,
1992 Long live the new flesh: an exhibition of new
art by Helen Chadwick, Andres
Serrano & Thomas Grünfeld, Kettle’s Yard Gallery, Cambridge, UK,
1991 De light: Helen Chadwick, Institute of Contemporary Art, Philadelphia, PA, 1991
O'Dwyer, Helen Chadwick: a critical catalogue raisonné, Leeds 2012
(illustrated in colour, no. 126).
Belfast, Ormeau Baths Gallery, And the One
Doesn’t Stir without the Other, 2003 (illustrated in colour, p. 29).
Pawel Leszkowicz, Helen Chadwick: ikonografia
podmiotowosci, Krakow 2001 (illustrated in colour, no. 27).
Helena Reckitt (ed.), Art and Feminism, New York
2001 (p. 42).
David Hopkins, After Modern Art 1945-2000,
Oxford, 2000 (illustrated in colour, p. 227).
Rosemary Betterton, An Intimate Distance: Women,
Artists and the Body, London 1996 (p. 142).
Jackie Heuman (ed.), From marble to chocolate:
the conservation of modern sculpture: Tate Gallery Conference, 18-20 September
1995, London 1995 (illustrated in colour, p. 156).
Helen Chadwick, 'Helen Chadwick on Frida Kahlo'
in BBC Education (ed.), Artists' Journeys, London 1992 (illustrated in colour,
Andrew Benjamin (ed.), Architecture, Space,
Painting, London 1992 (illustrated in colour, p. 68).