Ellen Chadwick, who tragically passed away at just 42 in 1996, was an artist whose name perhaps isn’t as familiar as it should be. They say she had a profound impact, with notable figures like Marina Warner acknowledging her as a striking force in contemporary art. Yet, she often finds herself sidelined in discussions of British art history. Notably, she was one of the first women nominated for the Turner Award in 1987 and inspired a new generation of artists, including Sarah Lucas, Tracy Emin, and Damian Hirst.
Famous for her “piss flowers,” her white bronze sculpture is a response to the act of urination, as she and her husband created negative spaces in the snow. Over time, this grew into a deeper commentary on the provocations of British art. Her exploration of themes like sex and death unfolded through diverse mediums, including photography and live performances.
Now, over two decades later, her work is getting a fresh spotlight with a major exhibition at Hepworth Wakefield. As we move towards dismantling gender binaries, Laura Smith, the curator, aims to connect Chadwick’s legacy with a new generation that resonates with her themes.
Smith explains, “She sought to challenge social conventions, including gender norms. She wasn’t shy about making art that was both sexy and humorous.”
The exhibition begins with a striking cocoa fountain, embodying Chadwick’s influence on themes of desire and protest. This fountain, filled with 800 kg of chocolate, creates an eye-catching spectacle as it flows from a liquid center. Smith describes it as “fun and rough,” comparing its bubbling action to a swamp—perhaps a bit crude, yet undeniably engaging.
Chadwick was also devoted to craftsmanship. Images from her 1977 MA show often capture a distinctive period in feminist art, featuring performers in white sculpture costumes. Yet, the intricacies of her pieces—like wearable beds or latex suits—actually show her dedication to detail, as noted by Errin Hussey, who supervises another exhibition in Leeds.
For her initial standout piece, “ego geometrical sum,” she innovatively embedded photographs within wooden surfaces, using emulsions. “The Oval Court,” which ultimately influenced her Turner nomination, showcased dreamy blue and white collages intertwining images of her body with various natural elements.
A piece titled “Carcass,” exhibited first at the ICA in 1986, features a glass tower that held decomposing animals and kitchen waste. The gases produced during decomposition caused the glass to crack, leading to a visceral experience as the gallery attempted to manage the aftermath. In Hepworth, it has been reimagined to include a gas valve, allowing viewers to interact with the piece more directly.
In her later works, Chadwick faced criticism from fellow feminists for her portrayal of nudity and chose to explore internal themes instead. These pieces reflect a shift, questioning rigid notions of identity and desire. Smith notes, “Her perspective defies strict categorizations.”
Noteworthy Works: 5 Pieces by Helen Chadwick
Virus Landscape, 1988-89
Created after turning away from her physicality, this piece overlays a photo of the Pembrokeshire coast with images of cells from various bodily sources.
In the Kitchen, 1977
Chadwick’s early work focused on feminist themes of identity. Performers donned white sculpture costumes while engaging in tongue-in-cheek dialogues overlaying a daytime radio soundtrack aimed at housewives.
Piss Flowers, 1991-92
Her native flower sculptures, debuting at the 1994 Serpentine Gallery, evolved from her earlier chocolate fountain concepts.
Oval Court, 1984-86
This installation combines collage and larger-than-life images of her body, plants, and fauna, all resonating with a sense of life and death.
Loop My Loop, 1991
This work captivates with its intertwining of personal and bodily themes, as Chadwick uses her past relationships and physical sensations to create a complex narrative.
The Helen Chadwick: The Joy of Life exhibition runs at Hepworth Wakefield until October 27th. A book by the same name is published by Thames & Hudson (£30). Additionally, an exhibition titled Helen Chadwick: Artist, Researcher, Archivist will open in Leeds Art Gallery on November 4th.
