Helen Gorrill’s work takes many different forms of expression, including collage, textiles, drawing, painting and installation. She is known for her controversial works: in 2009 her degree show, featuring drawings inspired by religious pamphlets that featured dominant women and sexually submissive men, was censored. Guardian writer Henry Porter wrote, "The male figures have been censored but to protect whom? The spam I receive contains more indecency than Ms Gorrill's work. And it is much less interesting because she makes a valid point."
Gorrill’s practice is prolific and diverse, stemming from international artist residencies – and she is one of the few British artists (alongside Tracey Emin) to have her work selected for New York Brooklyn Museum's digital EASCFA archive. ‘Whilst Gorrill is better known for her more controversial works, some of her newer explorations into urbanism and our animal worlds are stand out’.
In paint, Gorrill’s work is large-scale and fluid, ink pigments colliding with each other and giving the illusion of urbanism and spray paint depicting humans and animals, dissecting British prejudices or obsessions. In collage, her work often reappropriates and revives art historical subject matter through paint; and imagery taken from popular culture and Instagram.
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