Chadwick’s first sitting figures were conceived in 1951. The 1950’s saw a shift in Chadwick’s technique as he moved from linear, iron composite sculptures and mobiles into more solid works cast in bronze, which continued into his later practice. Training as a welder, initial figurative works are recognised as crude, anthropomorphic forms, bonded together with hard geometric planes and sharp, exoskeleton-like structures. This dramatic move away from classical sculpture was shared with post war artists including Reg Butler, Kenneth Armitage, Elisabeth Frink and Geoffrey Clarke. Coined the ‘Geometry of Fear’ by Herbert Read at the 1952 Venice Biennale, these haunting forms were heavily inspired by the violence and visceral impressions of the Second World War. Chadwick’s Watcher figures of the 1960s further demonstrates the impact that the conflict had on the artist, as pillar-like figures (this time reduced to simplified squares and triangles) observe their surroundings with an intimidating presence like soldiers on guard.

From the 1970s, Chadwick chose to create works that appeared more human and natural in appearance. In contrast to the Watcher sculptures, these new figures investigated the concept of simply existing within a given space, while the forms began to adopt smoother edges and less threatening facades. This figurative experimentation continued throughout the remainder of Chadwick’s career, depicting both individual and grouped figures in a variety of poses, including several seated figures. Geometry and balance of form remained a significant aspect of Chadwick’s work, employing a triangle motif to identify his female figures and a square for the male. Seated Woman, 1986 is wholly emblematic of Chadwick’s later approach to figurative sculpture. The miniature figure sits peacefully on a small bench, seemingly unaffected by her surroundings as if in a meditative state. Chadwick often paired his figures together, exploring the tension and feeling of companionship between both man and woman. Seated Woman however, sits independently. Here, she is simultaneously lonely and self-assured, as one questions whether she waits patiently for her male counterpart to join her.