In 'Adore; Abhor' (1994), created two years before the artist’s untimely death, Chadwick covered two wooden panels in the shape of a vagina with animal fur, with the words ‘adore’ and ‘abhor’ cut-out and painted in the centre. With the central pieces of the panels shaved, the words reference conflicting emotions towards women (and ergo, vaginas). The diptych perfectly captures the artist’s lifelong interest in issues surrounding gender, identity and sexuality.
Chadwick: Works from the Estate, Richard Saltoun Gallery, London, UK, 2013 Mad, Bad and Sad: A History of Women and the Mind Doctors from 1800 to the Present Freud Museum, London, UK, 2013 UK Wit + Excess - 9 contemporary British
artists. Contemporary Art Centre of
South Australia, Adelaide, Australia, 1995. This exhibition travelled to Australian Centre for Contemporary
Art, Melbourne, Australia
Museum of Modern Art, New York, NY, 1995. This exhibition travelled to Norrköping
Art Museum, Norrköping, Sweden; Indianapolis Museum of Art, Indianapolis, and Uppsala Museum of Art, Uppsala, Sweden.
Niamh Coghlan and Louisa Green (eds.), Helen Chadwick: Wreaths to Pleasure, London 2014 (illustrated in colour, p. 52).
Leonie O'Dwyer, Helen Chadwick: a critical catalogue raisonné, Leeds 2012 (illustrated in colour, no. 164).
Darren Coffield, Factual Nonsense: The Art and Death of Joshua Compston, London 2011 (p. 114).