Sculpture (MA)

Tere Chad

Chilean artist (b.1990) and creative inventor based in London. Focused in general on sustainability and promoting Latin American art & culture abroad. S he is co-founder of the ‘Latinos Creative Society’ at the University of the Arts London and founder of ‘Alter Us’, an emergent multidisciplinary collective that attempts to find solutions to face the challenges of the Anthropocene. Graduated in July 2018 with a MA Art and Science from Central Saint Martins, University of the Arts London. She is currently graduating from the MA Sculpture at the Royal College of Art, London.  

Tere Chad has had six solo exhibitions, participated in more than 20 collective shows and has done three residencies in four different continents, highlighting:  

     2019, San Diego, United States (Pacific Ancient and Modern Languages Association)  

     2017 - 2019, London, UK (Tate Modern – Tate Exchange, Royal Society, Gordon Museum, Clifford Chance, Exposed Arts Projects)

     2016 - 2018, Santiago, Chile (Museum of Decorative Arts, Fundación Cultural de Providencia)  

     2018, Barcelona, Spain (Convent dels Àngels – Museu d’Art Contemporani de Barcelona)  

     2018, Bucharest, Romania (Autor)  

     2017 - 2018, Chengdu, China (Sichuan University Art Museum) 

     2017, Leeds, UK (Leeds Central Library) 

     2016, Hanga Roa, Easter Island (Aukara Gallery)  

She has recently been shortlisted for the Sustainability First Art Prize. 

Her latest shows include:

     March 2020, ‘(Eco)Logical Sense’ a collective show with the SustainLab Society in the Hockney Gallery at the Royal College of Art

     September - October 2019, ‘Neo Norte 2.0’ at Exposed Arts Projects in London 

     June - September 2019, ‘Alter Us Manifesto Declaration’ in the Old Baths at Hackney, London 

In 2019 she had three publications:  

     October 2019, ‘Latinos Creative Society Manifesto’ at ‘Being Together is not Enough’, with Five Years Cultural Space in Archway, London 

     September 2019, ‘Touch Screen Haptic Disconnection’ in JAWS: Journal Writing by Students from Intellect, London 

     July 2019, ‘The importance of learning ancient lost wax techniques in the digital era’, in ‘Ceroplastics: The Art of Wax Modelling’ book Edited by Roberta Ballestriero, Owen Burke, Francesco María Galassi, L’Erma di Bretschneider, London  

Contact

teresa.chadwick@network.rca.ac.uk

terechad@hotmail.com

www.terechad.com

Instagram @terechad

Facebook Tere Chad

Vimeo Tere Chad

Youtube Tere Chad

Linkedin María Teresa Chadwick Irarrázaval

Behance Tere Chad

Events

«Human inconsistencies have always intrigued me. Nonetheless, I find it fascinating how man is the only being capable of studying his inconsistencies. My multidisciplinary practice is inspired by our everchanging reality. I go through life as a flâneur trying to understand human behaviour and which paradigms rule our society. I tend to expose and contrast past civilisation with current phenomena in a theatrical way. I often feel that we’re always acting in the same play, as fashion and technology might change but human nature will remain the same. Storytelling becomes an essential part of how I construct different narratives where the language could be defined as naïve, dynamic and ironic. I attempt to manifest how technology is presented as a double-edged sword where on the one hand it offers many facilities, but on the other, departs us from our natural instincts. In this spectacular society driven by media sensationalism, we live in an ephemeral disconnected state where we have difficulties to distinguish reality from virtual reality or fake news. Therefore, I strongly believe it is fundamental to reassess haptic sensitivity and our capacity to connect through our tactility. My artworks are very tactile and sometimes involve other artists’ or the viewer’s collaboration, as I envisage that the only path to face the challenges of the Anthropocene is by grounding ourselves back to Earth.»  

'The Spectacle of the Shadows'

The Covid-19 pandemic forced the artist to adapt her practice. With no access to the studios, how was she going to create sculptures? In surreal circumstances, where we are being bombarded with WhatsApp messages of ‘new gurus’ advising us how to survive the virus. Media sensationalism is governed by the spectacle. Inspired by Alexander Calder’s ‘Circus’ she decided to write the script of ‘The Spectacle of the Shadows’, a 14-minute video of a post-utopian scenario, where humanity has been extinguished and is facing the ‘judgement of God’ through St. Peter. Thinking about the materials she had at home and using as reference Kara Walker’s silhouettes, she handcrafted marionettes from recycled cardboards used by local laundries to fold shirts. These marionettes represent politicians and other figures who have been protagonists during this crisis, in silhouette. Influenced by Arthur Robinson’s German expressionist silent film ‘Warning Shadows’ (1923), she created this short film where she uses real audio footage of diverse politicians mixed with St. Peter’s interview. Paul Hindle composed the ‘Symphony of Shadows’ as soundtrack for the video piece, aiming for a creepy but sweet, sticky but rhythmic, spectacular but soft, hypnotic but dreamlike atmosphere. This short film is not only a naïve and satirical portrait of the current pandemic, but also a criticism of our humanness. The artist has selected this video piece as her emblematic piece, as she would like it to stay in the Royal College of Art 2020 platform, as a witness of the current crisis, allowing future generations to judge if we have taken the best decisions.

Medium:

Video

Size:

14 minutes
Composer of soundtrack music: 'Symphony of Shadows'
animation
circus
corona virus
covid-19
film
marionette
politics
puppet
satire
shadow
spectacle
theatre

Title & Cemetery

Crowd & Doors of Heaven

A Chinese Man, Bat & Saint Peter

Scientist, Erlenmeyer Flask, Luc Montagnier & Sun Weidong

Donald Trump & Andrés Manuel López Obrador

Miguel Andrés Barbosa & Jair Bolsonaro

Australian Women Fighting, Toilet Paper & Boris Johnson

Australian Journalists & Greta Thunberg

Pope Francis & Bill Gates

Vladimir Putin, Julian Reichelt & Tedros Adhanom Ghebreyesus

Queen Elizabeth II, Corona Virus & London's Tube

Planet Gaia & Samples

‘The Spectacle of the Shadows’ is a short film that responds to the current pandemic. With no access to professional studios and social distancing rules in place, the actors have been handcrafted with recycled cardboard used by local laundries to fold shirts. The artist used the carboards that come with the shirts after collecting them from the laundry together with barbecue bamboo skewers, masking tape, paper fastener, nylon string and thin wire to give life to the shadow marionettes. To reduce the excess of movement of some marionettes, she stuck coins onto their backs to add weight.
The script was written using footage collected during the lockdown from March to May 2020, London. The voices of the other characters were recorded through WhatsApp messages or using simple recording programmes from a normal computer. The soundtrack music ‘Symphony of Shadows’ was composed by Paul Hindle.
In this section you’ll be able to appreciate the marionettes who acted in ‘The Spectacle of the Shadows’, unveiling the work in progress behind this short film. This piece proves that you don’t need a fancy studio to create a strong message able to reach out to a wider audience.

Medium:

Recycled cardboard marionettes
Launch Project

‘The Art of War’ — A circus character sitting on ‘The Art of War’, a Chinese book written by Sun Tzu in the 5th century BC. He is floating in a fragile chair during a moment of media sensationalism, humanitarian and economic global crisis, a moment we have not seen since World War II. This book is about warfare and military tactics that have inspired military warfare and corporate business, both in the East and West, for centuries. In a moment where the crisis is not only sanitary and economical, but also political, the dwarf sits as if waiting for what will happen to him. Dimensions: Height 130cm x Width 100cm x Length 160cm Medium: Ceramic, acrylics and steel

‘The Art of War’ 2

‘The Art of War’ 3

‘Consumerism Escapism' — A harlequin is escaping from found objects, a shoe, a glove and a socket. Daily life materials that not long ago were made to last a lifetime, but that now are just seen as disposable elements. Dimensions: Height 150cm x Diameter 70cm Medium: Ceramic, acrylics, turned wood, steel, cement and found objects

‘Consumerism Escapism' 2

‘Consumerism Escapism' 3

‘Jump into the Void’ — It showcases how we feel when everything seems to be going wrong and we just feel like jumping into the void (especially after such a long time of lockdown). Dimensions: Diameter 75cm approx. Medium: Ceramics, acrylics and steel

‘Jump into the Void’ 2

‘Jump into the Void’ 3

‘Poker Face’ — Presents the duality between what people present of themselves externally and what they hide inside. The dissociation between representation and reality. Dimensions: Width 23cm x Height 30cm x Depth 40cm Medium: Glazed ceramic

‘Poker Face’ 2

‘Poker Face’ 3

Series of work related to media sensationalism, the spectacle and circus.

Medium:

Mixed media

Photomontage

Sketch

Vultures front

Vultures back

This is an unfinished piece, as she had to leave her studio at the Royal College of Art due to Covid-19 and she could only take the vultures home. ‘Are we sinking?’ showcases three vultures staring at an origami paper boat sinking in a pond. It makes reference to the current world collapse in a theatrical way. The birds will not save humanity like in the biblical story ‘Noah’s Ark’, but in a world where institutions and religion appear to have lost their value/credibility, the vultures are just waiting to see humanity sink. Somehow, it resembles Giacometti’s tree in Samuel Becket’s theatre play ‘Waiting for Godot’, as the tree only exists in images, because it was destroyed during the Paris 1968 riots. She was able to finish the vultures during the lockdown, but the boat remains unfinished in her studio. There cannot be better times to be working on a sinking boat. The piece was intended to be presented during the Valley of Vision exhibition this summer in Shoreham, but the show has been suspended.

Medium:

Paper and wire coated with fiberglass and waterproof jesmonite

Size:

Boat: Width 250cm x Height 85cm x Depth 120cm / Vultures: Width 35 – 45cm x Height 70 – 85cm Depth 20 – 30cm

‘The ReEnlightenment’

Video of work in progress

‘The ReEnlightenment’ 2

‘The ReEnlightenment’ Interior

‘The ReEnlightenment’ Detail

Musical Propeller made with recycled bottles, Brunel Museum, ‘A World in Vertigo’, February 2019

Video of Musical Propeller made with recycled bottles that could be added on the top of ‘The ReEnlightenment’

Risk & Assessment plans of Final Degree Show Proposal before Covid-19

This was the initial piece Tere Chad was going to re-create for her degree show. She was going to construct it just in front of the Albert Memorial. This piece has been recently shortlisted for the ‘Sustainability First Art Prize’. ‘The Re-Enlightenment’ is not only an aesthetic sculpture, in opposition to conceptual individualistic arts, it requires collaboration and the involvement of a community in its construction process. It is a monument that makes a recycling statement and invites to rethink whether the rational ideas of the Enlightenment really brought us the wealth we wanted. It attempts to give a new light for our society, even seeming alive as the bottles make a nice echo when the wind blows. It is a piece that speaks about the urge of not forgetting our ability of sensing the world through our hands, and not forgetting that our planet is alive. It has the shape of a shell, bio-mimicking the hermit crab’s recyclable houses. Hermit crabs use shells as houses and as they grow, they change to a bigger shell and leave their previous house for a younger hermit crab. It was inspired by Michael Reynold’s ‘Earthships’. The initial sample was constructed during a residency in Spain: ‘Joya Air’.

Medium:

Recycled bottles, stones, wood log and beeswax

Size:

Height 160cm x Diameter 120cm

'Meet the Artist: Tere Chad'

Tere Chad will offer three ‘Meet the Artist’ events, where the general public will be able to join through a zoom link to meet her by video call. This session will work as an informal drop in session where she will be answering questions about her practice, telling us more about the work in progress and her future plans. Feel free to come along, there is no need to book in advance!

The events will be held:
Tuesday 21/7/2020 20 – 21hrs (Time Zone UK)
Saturday 25/7/2020 15 – 16hrs (Time Zone UK)
Wednesday 29/7/2020 17 – 18hrs (Time Zone UK)

Please get in touch (teresa.chadwick@network.rca.ac.uk) if you have any further queries about how to access the event.

Medium:

Live Event
Social
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