Helen Chadwick is one of London’s most famous artists of the late 20th century. She was born in Croydon and lived and worked in London. She studied at Brighton Polytechnic (1973-6)and Chelsea College of Art (1976-7). Her work is included in the collections of Tate, Victoria & Albert Museum, and the Museum of Modern Art, New York. Chadwick liked to play with controversial material to probe the body and mind, bring disgust and attraction together in her works to bring a surreal experience to the viewer. Early in her career, Chadwick used the female for preventing to get across the ideas she wanted to share. In her first show as a full-fledged artist and not a student Chadwick presented her In the Kitchen (1977) series which was meant to critique all the roles women were expected and stereotyped to do in a domestic household with her and the models wearing different appliances such as a fridge or washing machine as costumes. This series is now considered seminal in feminist art. Chadwick then creates Ego Geometria Sum (1986, here we still see her making use of her body as an art piece as she posed with 10 plywood sculptures with photo prints on them to represent things in her childhood for the 10 stages of life. Chadwick started to experiment with photocopies at the time well to be able to make use of the female form without her losing control of the artistic process when needing someone to take a photo of he she created artworks like One Flesh (1986) building up to The Oval Court( 1984-86) for her Of Mutability series where she placed photocopies of her form, dead animals plants and drapery on what felt like a pool. These 12 figures represent the 12 gates of paradise according to her notes from the process. Chadwick created Carcass where she placed food scraps in a 2-meter tall tank up to the brim with rotting food scraps she collected from her neighbors over the months.  The sculpture plays with the dual relationship between repulsion and fascination, and by elevating usually disregarded “rubbish” to the status of being presented inside a tower and in a gallery. Chadwick continued to pull away from the female form with her work Meat Abstracts (1989) in which she took polaroids of materials such as suede, silk, and wood veneer onto a tabletop, creating a field on which she then arranged medleys of meat and offal. She wanted to use a material that felt both bodily and universal but still presents her ideas.  “I felt compelled to use materials that were still bodily, that were still a kind of self-portrait, but did not rely on the representation of my own body”(Chadwick). Chadwick continued this approach with Loop my Loop, Self Portrait, and Monstrance until she reached one of her final works Nebula(1996) where she stings along photos of embryos across a was looking like beautiful gems. Chadwick, unfortunately, reached an untimely end the year this work was presented but her impact on London and the art world can still be seen today.