The regal Maquette IV Jubilee III exudes an aura of eminence - the armless monolithic figures stride forward, their bronze cloaks interpreting the nature of the wind, or the majesty of a bird taking flight, rendered static with all tensions suspended in space. As his wife, Eva Chadwick, explains: “Chadwick has always been intrigued by movement, either actual or implied, in his sculpture… his cloaked walking women with windswept hair of the 1980s explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures" (Dennis Farr and Eva Chadwick, Lynn Chadwick Sculptor, Farnham 2014, p. 15). At once primitive and futuristic, Maquette IV Jubilee III possesses an attitude of rebirth – a new figurative form for a new post-war age. Pierre Cabanne, writing for a Paris exhibition, described Chadwick’s figures as plaster filled skeletors “tearing themselves free from the primordial slime, taking form and flexing their new muscles, walking [forward] for the first time”(Pierre Cabanne cited in: Edward Lucie-Smith, Lynn Chadwick Out of The Shadows: Unseen Sculpture of the 1960s, London 2009, p.43).
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