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In-Between Spaces '

Corrie Thomson maps out the evolution of Daisy Chetwin’s practice, as she moves between the disciplines of art, design and architecture. Accumulating knowledge in these interweaving realms, she begins to more intimately hone in on spatial investigations. 

Artist: Daisy Chetwin

Editor: Corrie Thomson

Chetwin was invited to attend the Graduate residency programme at Hospitalfield House in Arbroath. The remarkably grand, historical house, as a residency location, was the complete antithesis to the neutral, white cube studio spaces that artists are so used to working in. The interiors of the house and the building fabric gave impetus to play and to experiment with spatial cues. Chetwin developed a series of enormous, energetically produced drawings on lining paper, which hung from the wooden beams of the arched ceilings in the studio room. The sweeps of paint applied with large brushes are indicative of the movement that was involved and the height and length that was covered, highlighting an indirectly performative aspect of Chetwin’s practice with the potential to be expanded upon.

The time Chetwin spent at the Hospitalfield Graduate residency was, perhaps unknowingly at the time, an important precursor to future projects and to her practice as a whole. She was shortly invited back for a second residency early in 2018 to develop and produce work for two new installations she was commissioned to make by Hospitalfield for the Spring Season Open Weekend, SPLIT/DIVIDE.


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From the Outside disrupted the space within the grand architecture of the study room. Taking cues directly from the orientation of the room, enormous photographic studio paper weaved through the space. The way the light travelled through the room changed and reflections in the mirror altered the way you read the space. Viewers would move through trepidatiously as if they were back stage on a set. While we are aware that the materials used are flimsy and delicate, they are still evocative of substantial architectural and spatial alterations. There is an uncanny satisfaction in being hoodwinked by yourself; getting lost in the imagination, lost in the installation, and completely submitting to it.

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