Tere Chad

Biography: Artist and creative inventor based in London. Through her mixed media practice, she exposes how touch screen technologies detaches us from our tactile instincts and empowers the society of the spectacle. She attempts to invite to find a healthy balance between reassessing haptic sensitivity and approaching new technologies. Co-Founder of Latinos Creative Society from the University of the Arts London. This Society arises by the need of demystifying the pejorative that might exist against Latin Americans, and in opposition presents Latin Americans as the new creative direction of innovation. She has done 4 solo exhibitions and participated in more than 15 collectives shows in 4 different continents, highlighting: Hanga Roa – Easter Island, Santiago – Chile (Museo de Artes Decorativas), London – UK (Tate Modern – Tate Exchange, Royal Society, Gordon Museum), Leeds – UK (Central Library), Barcelona & Almeria – Spain, Bucharest – Romania, Massachusetts – USA, Chengdu – China (Sichuan University Art Museum). Currently graduated from MA Art and Science at Central Saint Martins, University of the Arts London; has been offered a place at MA Sculpture at the Royal College of Arts, London. Human inconsistencies have always intrigued her. Nonetheless, she finds fascinating how man is the only being capable of studying his inconsistencies. Hence technology is presented as a double-edged sword where on the one hand offers many facilities, but on the other, detaches us from our natural instincts. Her research has been focussed in touch screen technology impacts on mental health, embodiment, and social behaviour, as well as its repercussion on the empowerment of the Society of the Spectacle. Through a sociological and anthropological approach, contrasting past civilisations with the contemporary scenario, she creates mixed-media artworks. Lately has been applying ethnographic techniques in a flâneur act in London’s Metro. Challenging traditional conceptions by transforming a ‘scientific research’ into pieces of arts with performative potential. Her artworks appear as a naïve critic to the emptiness of joyfulness of our consumerist society. Through materiality she both tries to reassess handcrafts and also push the boundaries among binary conceptions: research and material, crafts and technology, humanity and virtual intelligence. Pursuing to find the balance between reassessing haptic sensitivity and approaching new technologies. Therefore attempting to give transversal messages that impact over society and offer poetic solutions to face the Anthropocene.