Monster Chetwynd
Artist
Monster Chetwynd is a British artist known for re-workings of iconic moments from cultural history. After studying for a degree in anthropology at University College London, Chetwynd trained as a painter at UCL's Slade School of Fine Art and the Royal College of Art. Born Alalia Chetwynd, she changed her name to Spartacus in 2006 to allude to her strong personality, then to Marvin Gaye by 2013 as a reminder to protect all the good in her life. In 2018 she changed her name once again to Monster.
Her sculptures and installations act as a starting point and props for her subsequent performances. The artworks then acquire a new purpose and an afterlife. Chetwynd is influenced by popular performing traditions as well as the avant-garde and mixes classics with pop culture. Her references come from Dante, Marx and Dickens as well as from Star Wars and The Addams Family. Chetwynd was nominated for the Turner Prize in 2012 and her work has been exhibited at the Saatchi Gallery and Tate Modern among others.
Monster Chetwynd is a British artist known for re-workings of iconic moments from cultural history. After studying for a degree in anthropology at University College London, Chetwynd trained as a painter at UCL's Slade School of Fine Art and the Royal College of Art. Born Alalia Chetwynd, she changed her name to Spartacus in 2006 to allude to her strong personality, then to Marvin Gaye by 2013 as a reminder to protect all the good in her life. In 2018 she changed her name once again to Monster.
Her sculptures and installations act as a starting point and props for her subsequent performances. The artworks then acquire a new purpose and an afterlife. Chetwynd is influenced by popular performing traditions as well as the avant-garde and mixes classics with pop culture. Her references come from Dante, Marx and Dickens as well as from Star Wars and The Addams Family. Chetwynd was nominated for the Turner Prize in 2012 and her work has been exhibited at the Saatchi Gallery and Tate Modern among others.
