MARÍA TERESA CHADWICK IRARRÁZAVAL
@terechad
Chilean Artist
Creative Inventor
Sculptress
BIO
Chilean artist (b.1990) with a general focus on sustainability and promoting Latin American art and culture abroad. Tere Chad graduated in 2020 with an MA in Sculpture from the Royal College of Art, London, having previously graduated in 2018 with an MA in Art and Science from Central Saint Martins, University of the Arts London. To date she has held seven solo exhibitions, completed seven residencies, participated in more than 50 collective exhibitions and has curated over 20 shows on four different continents. Part of her series ‘Calling Back’ was recently acquired by the Nelimarkka-Foundation, Finland (2021). In 2020 she was granted a Global Talent Visa for Exceptional Promise to enable her to continue developing her practice in the UK, and in 2021 she was accepted as a member of the Royal Society of Sculptors. Her latest projects include: ‘Woven Hug,’ Flowerfield Arts Centre, Portstewart, Northern Ireland, funded by Arts Council England (2023); ‘Are We Sinking?’ selected by way of an open call to the Royal Society of Sculptors for members to exhibit at Thirsk Hall Sculpture Garden, North Yorkshire (2023); ‘Zurciendo Vacíos’ (Mending Voids) a collaborative work with Cordelia Rizzo, the Cultural Lab LABNL Lab Cultural Ciudadano, Cultural Centre Centro Cultural Plaza Fátima, University CRGS UDEM, Monterrey, Nuevo León, Mexico (2023); ‘Platinum Jubilee Collection’, Civic Gallery, Kensington Town Hall, London (2022); a commission for ‘The Coro’, Ulverston, Cumbria (2022); ‘Neo Norte 3.0’ (New North), Myymälä2 Gallery, Helsinki (2021); ‘Phantom_step’, Projectraum Kurt-Kurt, Berlin (2021); ‘Primeiras Vezes’, Na Esquina, Lisbon (2020).
STATEMENT
<< Human inconsistencies have always intrigued me. It fascinates me how man is the only sentient 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 civilisations with current phenomena in a theatrical way. I often feel that we are all acting in the same play as, however much fashion and technology may change, human nature always remains 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, on the one hand offering considerable ease and convenience but, on the other, alienating us from our natural instincts. In this spectacular society, driven by media sensationalism, we live in an ephemeral, disconnected state where we have difficulty distinguishing reality from virtual reality or fake news. I strongly believe, therefore, that it is of fundamental importance to reassess our haptic sensitivity and capacity to connect through our sense of touch. My artwork is very tactile, involving at times the collaboration of other artists or the viewer, as I envisage that the only path to face the Anthropocene challenge is by to root ourselves back in the Earth. >>
HIGHLIGHTS
Neo Norte 4.0, presented at Villa Giulia, Palermo, Segesta Archaeological Park, Sicily, Italy, 2023
Museo Sociale Danissini, Sicily, acquired the painting “La Casa di Andrea” (The House of Andrea) and participatory textile artwork “Rammendare Vuoti” (Mending Voids) made in collaboration with Rossella Puccio and UDI Palermo (“Unione Donne Italiana” – Italian Women’s Union), 2023
Royal Society of Sculptors Summer Show,’ Dora House - Royal Society of Sculptors, London, UK, 2023
Royal Society of Sculptors award to exhibit ‘Are We Sinking?’ and ‘Jump into the Void’ at Thirsk Hall Sculpture Garden, North Yorkshire, UK, 2023
Arts Council England National Lottery Project Grant for Woven Hug 2.0 to be presented at Flowerfield Arts Centre, Norther Ireland, as part of the Linen Biennale, 2023
‘Our Lady of Charity’, Paladar Restaurant, London, UK, 2022
