'Ruin' (1986) is Chadwick’s classic take on the rich tradition of 'momento mori' self-portrait paintings. The photograph shows Chadwick nude and twisted in a classical pose, with one hand placed on a human skull and the other dramatically covering her face, twisted away from the viewer. She sits underneath a video, which displays a screening of her 1986 sculpture 'Carcass', a seven-foot glass tower of rotting vegetables. The work references Victorian 'discovery voyages', journeys taken by Western explorers to collect artefacts and display them in cabinets of curiosities as a symbol of wealth.
Women Look At Women, Richard Saltoun Gallery, London, UK, 2018 Luscious Thrills: Baroque reflections then and now,
Holte, GL Holtegaard, Denmark, 2016
The Conformist, Belmacz Gallery, London,
Works from the Estate,
Richard Saltoun Gallery, London, UK, 2013
Helen Chadwick: A Retrospective,
Liljevalchs Art Gallery, Stockholm, Sweden, 2005
Ten years later – Helen Chadwick,
Galerie Eugen Lendl, Graz, Austria, 2003
Fourth Wall: Turner on the Thames,
National Theatre, London, UK, 1999
Vanitas, Norwich School of Art Gallery, Norwich, UK, 1988
Cameos Helen Chadwick: Installation of Recent Work,
Torch Gallery, Amsterdam, Netherlands, 1988. This exhibition travelled to
Torch Ontrust Gallery, Cologne, Germany.
Heavenly Embrace, Baskerville &
Watson, New York, NY, 1987
Figures, Milton Keynes Exhibition Gallery, Milton Keynes, UK,
1987. This exhibition travelled to Cambridge Darkroom and Darlington, The Arts
Centre, Cambridge, UK.
Helen Chadwick: Of Mutability,
Institute of Contemporary Arts, London, UK, 1986. This exhibition travelled to Ikon
Gallery, Birmingham, UK; Spacex Gallery, Exeter, UK; Third Eye Centre, Glasgow,
Scotland; Harris Museum and Art Gallery, Preston, UK and Kunstverein Freiburg,
Mark Holborn, Enfleshings. Martin Secker & Warburg Ltd, London, 1989. (illustrated p64)
Pawel Leszkowicz, Helen Chadwick: ikonografia podmiotowosci, Krakow 2001 (illustrated, no. 17).
Leonie O'Dwyer, Helen Chadwick: a critical catalogue raisonné, Leeds 2012 (illustrated in colour, no. 87).
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