Monster Chetwynd talks art, inspirations, and why she loves being a monster

I find using a ‘trading name’ or a ‘nom de plume’ useful as it separates my work life from my private life. I am aware that in other cultures it is already established that a person has different names at different moments of their career. For example, I have read this was the case for Hokusai, the famous Japanese artist, who during his lifetime had various names and then at the end of his life, the final name was set.

The specific name I have used each time is a personal choice to remind me of a way to behave or to enable a freedom of space and mindset. It is perhaps odd to speak in this way, but I find a name change can give you a new territory. It feels as if you are entirely gaining, and access to this new scope is very cost-effective, it is free.

The name Monster is empowering as it is not culturally bound, it is ageless, genderless, limitless, and it defies being contained. I love that it touches on the fear of the unfamiliar. I also enjoy the reclaiming of the name Monster to include warmth and humanity. There are many lovable monsters.

I was nicknamed Monster by friends as I am tenacious and energetic, imaginative and decisive, I am quick to act and have dogged follow through. I guess I am pretty monstrous!

I should also possibly point out that I have never moved away from my family name, my surname. The juxtaposition of the first name changing alongside the retained surname is an interesting game to play.

I am inspired by culture on all levels, high and low. I would say there is no commonality between the aspects of life I am inspired by. It is the mercurial and the diverse multiplicity that is interesting. I am constantly surprised, in the same way that mushrooms are a product of the connections below the earth; the investigative sinus of growth that explores and maps the ground below the final product of the mushroom. I am amazed and delighted by the culture that humans produce. I want to contribute too. I make a response to the intricate discourse that exists.

No, I mostly work alone and if I bridge to other people, it is through a process of many meetings and communication, through sketches, handmade models and technical drawings. I would be open to working with anyone. I have some friends who work with me, and I can ask them to travel to a place I can’t get to because of other important commitments, and these friends – who are a part of my performance troupe – will help communicate and work alongside a team to help me to guide what we are making. It is not rocket science. It is community crafting and a sense of fun. In my opinion, people are able to understand art even if they are not art-trained and I would be willing to work with anyone if I am given the support to communicate well.

I enjoy Dolly Parton and Mae West as examples of growing old disgracefully, or however you wish to phrase a libertine spirit of exuberance. I like to be playful with boundaries of respectability. I never wish to intimidate, I am hoping to be a morale boost!

I was enamoured with this lantern bug when I was a child living in Hong Kong. The idea is to allow a romantic uplifting moment through performance that encourages us to celebrate and enjoy our place in ecology, as animals. We are still animals if we enjoy the ballet and the installation. We can remember we are gorgeous creatures capable of mating dances and decorative feathers just as much as the next creature. There is no reason why we can’t live in full appreciation of our natural environment. I have been enjoying reading the book Wildcreatures of Hong Kong by Robert I. Ferguson.

Want to find out more about Monster Chetwynd? Check out our quick-fire Fast Fives interview with the artist below:

View this post on Instagram

A post shared by Time Out Hong Kong (@timeouthk)