Helen Gorrill

Shortlisted for the 2012 Passion for Freedom international artist award, held in Unit 24 Gallery, adjacent to Tate Modern, London

Major solo exhibition in November 2011 at Degree Art's Execution Room in London. The show looked at reversing the female submissiveness advocated by the bible, and highlighting some of the misogyny that is very often overlooked.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Prosthetic leg installation (Untitled: The Midonite Women) was the centrepiece to the show, alongside the Moses Execution Throne, another prosthetic limb installation. Also exhibited Paris (Galerie Hors Champs) and SaLon Contemporary (London)

Shortlisted for the 2012 Passion for Freedom international artist award, held in Unit 24 Gallery, adjacent to Tate Modern, London

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Prosthetic leg installation (Untitled: The Midonite Women) was the centrepiece to the show, alongside the Moses Execution Throne, another prosthetic limb installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Prosthetic leg installation (Untitled: The Midonite Women) was the centrepiece to the show, alongside the Moses Execution ThroneFushe Kosove Sex Cafe Chair, another prosthetic limb installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Prosthetic leg installation (Untitled: The Midonite Women) was the centrepiece to the show, alongside the Moses Execution Throne, another prosthetic limb installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Prosthetic leg installation (Untitled: The Midonite Women) was the centrepiece to the show, alongside the Moses Execution Throne, another prosthetic limb installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

One of a series of work carried out on site at a university hospital's teaching morgue

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Portrait of our outstanding synchronised swimming team created in association with GB Olympic team and exhibition held in London during the Olympics, where all artists worked in collaboration with Team GB to create portraits of our sporting heros.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation, with The Virgin as the centrepiece, alongside Benedict XVI Confession Chamber, interactive textile installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of a series of worked carried out on site at a university hospital's teaching morgue

One of a series of work carried out on site at a university hospital's teaching morgue

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation, with The Virgin as the centrepiece, alongside Benedict XVI Confession Chamber, interactive textile installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Portrait of our outstanding synchronised swimming team created in association with GB Olympic team and exhibition held in London during the Olympics, where all artists worked in collaboration with Team GB to create portraits of our sporting heros.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation, with The Virgin as the centrepiece, alongside Benedict XVI Confession Chamber, interactive textile installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2013 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2013 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2013 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2013 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

Household paint, men's magazines, permanent marker and matt varnish on canvas. This vibrant and exciting new body of work is inspired by Jean-Michel Basquiat's New York urban art, and Marc Chagall's synthesis of cubism, symbolism and fauvism. Initialled on bottom right hand corner, signed and dated on the reverse. Helen Gorrill’s work is held in private collections worldwide and now represented in New York Brooklyn Museum’s Elizabeth A Sackler Center for Feminist Art archive, alongside feminist icons The Guerrilla Girls, Tracey Emin, Annie Sprinkle, Miriam Schapiro, Judy Chicago and Pipilotti Rist. Having already gained national and international press attention for her controversial drawings, this year Gorrill has exhibited in London, Paris and Dubai, and has been shortlisted for 2012 Passion for Freedom, an international award and exhibition that showcases art that makes a difference. One of the stand-out collections is work by Helen Gorrill - The National: United Arab Emirates (Dubai) 2012

Household paint, men's magazines, permanent marker and matt varnish on canvas. This vibrant and exciting new body of work is inspired by Jean-Michel Basquiat's New York urban art, and Marc Chagall's synthesis of cubism, symbolism and fauvism. Initialled on bottom right hand corner, signed and dated on the reverse. Helen Gorrill’s work is held in private collections worldwide and now represented in New York Brooklyn Museum’s Elizabeth A Sackler Center for Feminist Art archive, alongside feminist icons The Guerrilla Girls, Tracey Emin, Annie Sprinkle, Miriam Schapiro, Judy Chicago and Pipilotti Rist. Having already gained national and international press attention for her controversial drawings, this year Gorrill has exhibited in London, Paris and Dubai, and has been shortlisted for 2012 Passion for Freedom, an international award and exhibition that showcases art that makes a difference. One of the stand-out collections is work by Helen Gorrill - The National: United Arab Emirates (Dubai) 2012

My 'Child of Numbers' shortlisted for the 2012 Passion for Freedom international artist award, held in Unit 24 Gallery, adjacent to Tate Modern, London

Gorrill welcomed over a thousand spectators to the preview of her recent solo exhibition Deicide at DegreeArt's Execution Room. Taking a political stand against the portrayal of women in art and religion, Gorrill's work has caused controversy, thought, and extreme inspiration.

This new work is inspired by Jean-Michel Basquiat's art of New York, and Marc Chagall's synthesis of cubish, symbolism and fauvism. With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2013 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2013 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation, with The Virgin as the centrepiece, alongside Benedict XVI Confession Chamber, interactive textile installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Prosthetic leg installation (Untitled: The Midonite Women) was the centrepiece to the show, alongside the Moses Execution Throne, another prosthetic limb installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Prosthetic leg installation (Untitled: The Midonite Women) was the centrepiece to the show, alongside the Moses Execution Throne, another prosthetic limb installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Prosthetic leg installation (Untitled: The Midonite Women) was the centrepiece to the show, alongside the Moses Execution Throne, another prosthetic limb installation. Also exhibited Paris (Galerie Hors Champs) and SaLon Contemporary (London)

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. First exhibited at SaLon Contemporary, Notting Hill

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

Transcription of Michelangelo Merisi da Caravaggio's St John the Baptist beheaded, 1606

One of a series of work carried out on site at a university hospital's teaching morgue

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of a series of worked carried out on site at a university hospital's teaching morgue

One of a series of work carried out on site at a university hospital's teaching morgue

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Portrait of our outstanding synchronised swimming team created in association with GB Olympic team and exhibition held in London during the Olympics, where all artists worked in collaboration with Team GB to create portraits of our sporting heros.

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation. Benedict XVI Confession Chamber was the centrepiece to the show, an interactive textile installation that was supported by major artworld figures and now archived EASCFA artabase Brooklyn Museum.

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

My thanks go to the following for entrusting me with their confessions and for agreeing to have these sealed and exhibited within my Benedict XVI Confession Chamber. To have been entrusted with the secrets and innermost thoughts of such an outstanding body of people has been a very humbling experience and has made this project the most precious I have ever embarked upon. Only a few confessors have respectfully asked to remain anonymous, whilst the rest are acknowledged and named here:- Anon (internationally acclaimed artist, British/female) Anon (national newspaper arts journalist and critic) Anon (previous Turner prize nominee, female) Alexis Hunter Alicia Ross Allyson Mitchell Amelia Gregory Ana Finel Honigman Angela Kingston Annie Sprinkle Bethany Murray Bob & Roberta Smith Bracha Ettinger Carolyn Weltman Catherine Opie Charles Moffat Cherie Federico Chila Burman Clare Price Del la Grace Volcano Frances Spalding Gareth Longstaff Gillian Nicol Hayden Kays Henry Porter Hilary Hazard Jaclyn Santos Jeff Bienvenido Pena Jennie Bringaker Jenny Edbrooke Jess Larson Jess McCabe Jim Fitzpatrick Julie Verhoeven Kate Gilmore Kate Marshall Khaled Hafez Kristin Aune Langlands & Bell Laura Hamilton Melanie Manchot Miriam Elia Nancy Davidson Paul Kindersley Peggy Ahwesh Phil Sayers Ruth Gledhill Sara Rahbar Sarah Lederman Sarah Maple Steven Music Sue Prichard Susannah Rodee Susie Vickery Terry Sanderson The Guerrilla Girls Tigz Rice Tim Woodward Ximena Garrido-Lecca

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

Helen Gorrill's major solo show Dei-Cide took place in London's Executiion Room Gallery, DegreeArt, November 2011. Ink paintings, and installation.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

One of the paintings from Helen Gorrill's major solo show Dei-Cide, that took place in London's Executiion Room Gallery, DegreeArt, November 2011.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2013 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2013 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2013 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2013 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2012 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2012 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2013 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2013 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

With the rediscovery of collage and research into early feminist artists such as Hannah Hoch, my work has taken a new turn: How can we celebrate the female form without objectifying it? How much has really changed since Hoch's work of the 1920s? Not dissimilar to Hoch's inspiration, the reality for many women in recessional 2013 includes entrapment in low-paying jobs and subjection to male-dominated hierarchies. Whilst the poses of my females are taken directly from art history and set up as though for the male gaze, a closer look at my 2013 collages raises a question-mark over the issue of equality, revealing the posed women as fractured and torn, reconstructed from the broken imagery of the dream of the perfect housewife in 1950s magazines, juxtaposed with the objectified content of contemporary 'lads mags'. These collages were based on an international residency, and since returning I have carefully sourced antique and vintage wallpapers for the work, along with researching colour and historical paint palattes.

Household paint, men's magazines, permanent marker and matt varnish on canvas. This vibrant and exciting new body of work is inspired by Jean-Michel Basquiat's New York urban art, and Marc Chagall's synthesis of cubism, symbolism and fauvism. Initialled on bottom right hand corner, signed and dated on the reverse. Helen Gorrill’s work is held in private collections worldwide and now represented in New York Brooklyn Museum’s Elizabeth A Sackler Center for Feminist Art archive, alongside feminist icons The Guerrilla Girls, Tracey Emin, Annie Sprinkle, Miriam Schapiro, Judy Chicago and Pipilotti Rist. Having already gained national and international press attention for her controversial drawings, this year Gorrill has exhibited in London, Paris and Dubai, and has been shortlisted for 2012 Passion for Freedom, an international award and exhibition that showcases art that makes a difference. One of the stand-out collections is work by Helen Gorrill - The National: United Arab Emirates (Dubai) 2012