1914 - 2003
During the 1950s Chadwick became intensely interested in the potential of bronze as a medium, pioneering new techniques for welding and construction. Rejecting the smooth, hand carved forms of Barbara Hepworth and Henry Moore, Chadwick instead sought a rawer approach, based on the chance effects of the industrial process.
As his career progressed into the 1960s, Chadwick began to display his work more frequently in the open air, necessitating a heavier use of material and as such a more monumental feel to his work.
'Folded Winged Figure' is a variation on Chadwick’s winged figures, a recurring subject of his from the mid-1950s. Whilst frequently these figures come in pairs, here the figure appears alone, speaking directly of human isolation and existential malaise. All marks of the individual have been removed from the figure, to create an image that is neither human nor animal, neither male nor female. By folding the wings behind the figure’s back, Chadwick emphasised the abstract qualities of his work and its inherent ambiguities. The work is a perfect depiction of Chadwick’s desire for art to be “the manifestation of some vital force coming from the dark, caught by the imagination and translated by the artist’s ability and skill”.
Private Collection, England
Private Collection, Toronto
Recent Acquisitions, Ewan Philips Gallery, London, Autumn 1969
Dennis Farr and Lynn and Eva Chadwick, 'Lynn Chadwick, Sculptor: With a Complete Illustrated Catalogue 1947 - 1988', Clarendon Press, Oxford, 1992, reproduced page 228, catalogue #561