Se Garanta Invista Em Martes by Tere Chad

About the work
Date of completion:
2019
Edition type:
Limited edition
Classification:
Print
Medium:
Monoprint over photolithography
Dimensions:
58.8×49.6 cm
Copyright:
Ⓒ María Teresa Chadwick Irarrázaval 2023
License:
All Rights Reserved.

Provenance records
  • 06 Jun 2023 Certification
    A certificate has been issued for the artwork
  • 06 Feb 2023 Verification
    The owner has verified the artwork record data.
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Artist 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 flaneur, 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 forward if we are to face the Anthropocene challenge is to root ourselves back in the Earth. >>
Additional observations:
(Be safe, invest in Mars), commemorates a tragic moment in our world heritage’s history. On the 2nd of September 2018, Rio de Janeiro’s Museu Nacional or National Museum disappeared in ashes. A fire erased thousands of years of history and knowledge in just a couple of hours. This photo lithography with a monoprint overlapped portrays this dramatic moment. In the middle of the flames, you can visualise one of the few surviving pieces: Bendegó Meteorite or Pedra do Bendegó. In unstable times where we face a global pandemic, worldwide economic and political crisis, plus a climate emergency… Is there still hope for our suffering planet? Or shall we start investing in Mars instead?
... 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.