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Chadwick’s fascination with suspension and his intuitive approach to working with unconventional materials were fueled by his diverse background as an architectural draftsman, furniture and textile designer, and later, a pilot in the Fleet Air Arm during World War II. According to Poirier, for the artist, “mobiles were an extension of architecture, moving parts of the architecture. He always had a fascination for flying objects, also for his past as a pilot.”
As Chadwick sought to liberate sculpture from mass and traditional support, his works evolved into more animal-like forms, often featuring angular bodies and delicate, spindly legs. Though deeply abstract and imaginative in their hybrid forms, these sculptures retained some references to the natural world. Poirier noted that Chadwick was fascinated by biology, particularly Darwin’s theory of evolution, with illustrations from those scientific texts inspiring his distinct biomorphic language.
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For this reason, the sculptor’s creations often appear more like fossils suspended between present and past, between remoteness and presentness of their forms, evoking humanoid forms figures with anthropomorphic heads and limbs while maintaining their “otherness.” Many of Chadwick’s pieces also resemble insects, particularly referencing the exoskeleton—a concept that fascinated the artist as he explored the idea of a protective shell or carapace encasing the body structure.
These connections to natural forms and geometries became even more pronounced after Chadwick moved to Lypiatt Park, a neo-Gothic castle in the Cotswolds. From the late 1950s onward, he absorbed inspiration directly from the rich flora and fauna surrounding his new studio. Yet even as his biomorphic tendencies became more apparent, his work continued to blend elements of nature with the mechanical, industrial, and even futuristic, reflecting the aesthetic sensibilities of his time.
Chadwick’s work was never tied to a specific narrative or political stance, which is why Poirier avoided categorizing his pieces by “type” in this exhibition. Instead, he wanted to highlight the artist’s abstract approach, allowing the sculptures to transcend direct references. By pairing the works organically and displaying them as if they were occasionally gathering on pedestals, Poirier emphasizes their fluidity. “They’re always highly stylized and maintain only the main lines of the real thing,” he said.
Some of Chadwick’s monumental sculptures are on display at the Monuments Nationaux–Hôtel de Sully. These pieces, which weigh up to 800 kg, are remarkable not only for their scale but also for the artist’s working method—Chadwick often worked alone and created his sculptures without preliminary sketches, relying on an intuitive and automatic process. Poirier likened this method to surrealist automatic writing, noting that his process had “no plan, leaving the materials leading the way.”
At the same time, Chadwick’s work is deeply rooted in the tradition of sculptural pioneers, from Russian Constructivists like Naum Gabo to Henry Moore, and even the existential sculptures of Alberto Giacometti, where bodies are reduced to their minimal forms. “I’ve always seen him as the missing link between Henry Moore, Giacometti and someone like Louise Bourgeois,” Poirier said, emphasizing the broader significance of Chadwick’s practice. “When you look at her spiders, it’s clear that she looked at Chadwick’s work, and she wasn’t the only one.”
When compared to Moore and Giacometti, Chadwick’s works convey a similar sense of precariousness and fragility, reflecting the uncertainties of the postwar era. He minimized the base of his sculptures, creating a sense of imbalance and instability through the use of triangular shapes, a key element of his sculptural language. As Poirier explained, this instability wasn’t merely aesthetic but also a means to evoke movement: “The idea of the scalene triangle, this irregular triangle, is an unstable shape that is on the verge of collapsing, not symmetrical. It is not orthogonal. There is no symmetry. It’s just on the verge of falling or giving birth to another triangle or tetrahedron—these shapes imagined from this simple structure.”
The concept of the scalene triangle was so integral to Chadwick’s work that it inspired the title of the first chapter of his exhibition in Paris. Poirier added that this formal approach likely stems from his architectural background, where he learned to stabilize structures using diagonal lines, creating a dynamic interplay between gravitational forces. This architectural influence is evident in the way Chadwick balanced strength and instability within his sculptures.
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Profoundly enigmatic, Chadwick’s hybrid sculptures seem to foreshadow new possibilities of symbiosis between nature and human creation. His concept of “organic growth” within sculpture offers a visionary anticipation of themes such as interspecies relationships and “alienness,” ideas that have become increasingly popular in today’s artistic and creative realms. As humanity is compelled to reconsider its place on the planet, this sculptor’s work feels more relevant than ever, whether viewed through dystopian or optimistic lenses.
“Hypercycle” will continue with a second chapter in New York focusing on Chadwick’s mature period from 1963 to 1979. The final chapter will be mounted in Asia. Complementing the exhibition series, a monograph set to be published in 2025 will provide a comprehensive overview of Chadwick’s career, offering diverse perspectives on his work and legacy.
“Hypercircle – Chapter 1: Scalene” is on view at Galerie Perrotin in Paris through November 16.
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Elisa Carollo
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