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This article traces the considerations of British artist Helen Chadwick (1953–1996) regarding ‘composite images’ and the potential liberation they opened up in the gap between image and form, surface and spectator. These will be discussed as the author follows two apparently contrasting trajectories of her thought; while her considerations of the image, and her own image-making, tend increasingly towards ‘pure surface’, her ambitions for spectatorial positioning and agency increase. In parallel, while the epistemological underpinnings of her thinking become increasingly complex and dynamic, the role of (self)portraiture in her work moves away from the portrayal of her own, and later the recognisably human, body. These trajectories can be mapped (roughly) onto particular projects, beginning with Ego Geometria Sum (1982–1984), developing through Of Mutability (1984–1986) where she first used the photocopier to produce ‘automatic images’ and into her light-based installations, such as Blood Hyphen (1988).

Helen Chadwick’s ‘Composite Images’