This abstract screenprint is representative of Chadwick's "Viral Landscapes" which consist of blown up images of cells from her body containing viruses, superimposed on photographs of rocky landscapes. It is striking for its minimalism and yet it contains a sense of sophistication and hidden meaning, provoking the viewer's imagination for possible interpretations It is dominated by yellow colours and irregular shapes, whose organic quality reflects Chadwick's inspiration from her own body: typical of her later artwork, this piece could represent enlarged cells. The meaning of the title is uncertain: "Anatoli" suggests a link to Turkish art, though the exact meaning is left up to the viewer.
The centre of the work is a cell-like shape, with a raised edge: the shape at the bottom of the work suggests a "mountain range" with a raised edge,painted in creams and browns. The background is a pale green laced swirls of colour, with a thicker consistency that resemble soil upon water, which gives a sense of motion to the right side of the picture.
This piece was one of a set of six prints that were part of in a limited edition of two hundred and fifty artworks created by contemporary artists that were commissioned by the King Edward VII Hospital Fund in 1989 specially for NHS hospitals and health authorities. It is representative of Chadwick's later style, when she began to move away from overt self representation, and produced a series of Viral Landscapes. These consisted of super-sized images of cells from her body, which contained viruses, superimposed on photographs of rocky landscapes, as demonstrated in this piece.
Helen Chadwick (1953-1993) was an English sculptor, photographer and installation artist, and a seminal artist of the eighties and one of the first women to be shortlisted for the Turner prize in 1987. She studied at Brighton Polytechnic and the Chelsea Schol of Art in London, and she lectured at the Royal College of Art, Chelsea School of Art and the London Institute. Chadwick's innovative and provocative use of a rich variety of materials, such as flesh, flowers, chocolate and fur, was hugely influential on a younger generation of British artists. Her strongly associative and visceral images were intended to question gender representation and the nature of desire.
"Anatoli" in the Arts Council Collection
Chadwick's Obituary in the Independent
With thanks to The Tate for information about the artist.