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‘Nail Box’ is a sculpture greatly indebted to and influenced by the minkisi artefacts of central Africa. Many of these ritualistic objects are carved wooden totems that have had nails and other metal items hammered into them. However, where as the minkisi derive their power from their contents, with ‘Nail Box’ I was trying to create something that’s presence was derived from its adornment of carefully selected nails and rusty metal. By bringing together so many items that had interacted with the elements and their specific environments I hoped to create a piece that would generate a cumulative resonance.
As is the case with many of my sculpture, the found materials used in this pieces’ construction were selected for their ‘resonance’ and collected over several years.
Whilst most of the metal items used in this piece were found in London, anywhere from the streets of Hackney to the inside of the Dome of St. Paul’s Cathedral, much of it was collected from the my travels around Britain and abroad, including Europe, Mexico, Cambodia, Thailand, Tunisia and India.
Considering the obsessive nature behind the way I collect and hoard the materials that I use in my work (you should see my studio – it is full of boxes of rubbish (a.k.a. treasure) – I fear that I am a lost cause), I see these sculptures as totems or magnifications of the ritualistic side of everyday life. Physical embodiments of the personal belief systems we all create around us.
I had brought the constituent parts of the bear down to my mother's house, and was finishing the task of putting on the lights. At a certain point, I realized that where the legs went, I did not need (or want) lights. The easiest way to figure that out was to put the legs on the table, upsidedown.
2½"w x 3"h x 3¾" thick
400 sheets or 800 pages counting front & back
made from kraft brown paper and beige cotton thread (with coptic stitch binding); cover made from fabric, foam board and cardboard; box made from cardboard and kraft brown paper
this was more of an experiment of pushing the limits to ridiculousness, rather than keeping usefulness in mind
Acrylic painting on found cupboard door, of nude, tentacle upper limbed couple (a kinda bizzare Adam and Eve), by London-based artist, Wayne Chisnall.
The cardboard carnage as I tried to work out the shapes for the skulls. These were drawn in Illustrator and then cut out using the Craft-Robo cutting plotter.
Width: 2 inches (5 cm)
Height: 4 inches (10 cm)
Thickness: 7/8 inch (2-1/4 cm)
100 sheets or 200 pages counting front & back
This book is made from 20 lb. blank cream paper and dark blue waxed cotton thread, with coptic stitch binding on the spine. The cover is made from vinyl wallpaper and chipboard. The closure is made from dark blue waxed cotton thread and a blue faceted glass bead. The cotton thread used for the binding was waxed with beeswax.
Orifice Tower started out as a quick thumbnail sketch that I drew whilst waiting for a talk to commence at the Jerwood Space in Bankside. I can't remember now what the talk was about but at that time I was working on some small sculptures that were basically wooden boxes that incorporated carved apertures or orifices. By this stage I'd become aware of the fact that much of my work was getting smaller and smaller so I decided to remedy this by creating elevated versions of these new Orifice Box sculptures. This also tied in with my love of tower structures.
4"w x 6"h x 1⅛" thick
120 sheets or 240 pages counting front & back
(20 sheets were cut from a used columnar book from 1954 - some are written on and some are not; 100 sheets are granite cream paper)
made from granite cream paper, used ledger paper, cotton thread (with double coptic stitch binding) and elastic; cover is made from a recycled gift bag and binder board
the elastic used for this project was originally white, so i soaked it in 1 part true burgundy acrylic paint and 2 parts water for about 3-4 hours... when it was completely dry, i stretched the elastic to get rid of any stiffness; the white cotton thread used for the binding was soaked in 1 part true burgundy acrylic paint and 2 parts water for about 3-4 hours... when it was completely dry, i waxed the thread with beeswax; i did not dye the second piece of cotton thread, but i did wax it with beeswax
also, i printed lines on both sides of the granite cream paper inside the book, but left the ledger paper as is
9"w x 5"h x 4¼"d
made from cardboard and duct tape to hold pencils, pens, markers, stamps & pads, etc., with a box of 24 crayons in the bottom drawer
yeah, i know it's extremely tacky but my 2-year-old loves it
Width: 3 inches (7-3/4 cm)
Height: 3-3/8 inches (8-1/2 cm)
Thickness: 1/4 inch (3/4 cm)
40 sheets
This notepad is made from 32 lb. blank cream paper and black cotton thread with Japanese stab binding at the head. The head and back are made from a recycled scrapbook page and chipboard.
This notepad was donated to Relay for Life of Southside, FL
2¾"w x 4¼"h x ⅜" thick
40 sheets each or 80 pages counting front & back
made from cardboard, parchment paper (granite rose, granite cream and blue marble), waxed linen cord for binding and duct tape (purple, dk green and dk blue)
Best Viewed: LARGE!
I think that this is a shot of the Pencil House and the Bottle House ruins at Bottle Village. Unfortunately, I had over caffeinated myself before we got to BV and it was hard to retain all the details amidst the endless photo possibilities. I checked on the map of the property and it looks like I have the correct locations noted, but it's possible that I am completely wrong. At the far end of this shot, you can kind of see the wishing well that is made out of blue Milk of Magnesia bottles. When Grandma Prisbrey couldn't find enough bottles in the colors she was looking for, she would just paint them to match whatever project she was in the middle of.
There is a fantastic 28 minute documentary about Grandma Prisbrey here:
Grandma Prisbrey's Bottle Village
Simi Valley, California
14 February 2010
Width: 2-1/2 inches (6-1/2 cm)
Height: 2-1/2 inches (6-1/2 cm)
Thickness: 1-1/2 inch (3-3/4 cm)
200 sheets or 400 pages counting front & back
This book is made from 24 lb. blank dark red paper, 20 lb. blank white paper and white waxed cotton thread, with coptic stitch binding on the spine. The cover is made from a recycled gift bag and chipboard. The closure is made from white waxed cotton thread and a red faceted glass bead. The cotton thread used for the binding was waxed with beeswax.
Pushkin had African ancestry. As he phrased it in a note to Emperor Nicholas II of Russia in 1831, ‘no Russian man of letters except me can count a Negro [negr] among his ancestors’. Pushkin’s great-grandfather was a Black African, captured by slave traders in the region of present-day Cameroon, and sold in 1704 at the age of seven or eight to Russia’s Tsar Peter I, known as Peter the Great.
Was inspired by this post/tutorial to have a go at making my own puzzleball
dailyskein.wordpress.com/2008/05/29/cuddly-balls/
Material came from an old duvet found in a charity shop.
It turned out way bigger than I was expecting - and it was really hard to sew the triangles together because I'd stuffed them so hard... But I am v pleased with the result.
5¾"w x 8¾"h x 1⅜" thick (rebound)
160 sheets or 320 pages counting front & back
(20 sheets are kraft brown - 10 on the inside of each cover; 140 sheets are white copier paper)
made from white copier paper, kraft brown paper and white waxed linen thread (with coptic stitch binding); cover made from black kraft paper and chipboard
i made this book for my husband to sketch in (it originally looked like this)... the original project included him using the book to see how it would wear, with regular use, over time... after a couple weeks it was obvious that the thread was not going to make it very long... it was way too thin and, since it wasn't waxed, it started to become ragged very quickly... i wanted to wait until the thread actually broke to see how long it would have gone, but i also didn't want the book to get damaged... so this time around i used a heavier (and waxed) thread and gave the book newer, stronger covers (even though the cardboard covers were wearing well)... it's definitely an upgrade, but only time will tell whether or not it's enough...
1st binding - January 17, 2009
Based in London, New York, Los Angeles and Chicago, The Mill collaborate on award-winning (you can't help but notice the prominently displayed Oscar and two BAFTA awards as you walked into their London base) moving image, design and digital projects for the advertising, film, TV, games and music industry. They also put the two massive front windows of their London building to good use as a display areas for contemporary artwork.
So I was rather pleased when they invited me to exhibit my work in their London space (40-41 Great Marlborough Street, at the top of Carnaby Street, and a few doors along from the Liberty Store) for the whole of June and July 2013.
For the show I installed four works; in the deeper window, Orifice Tower, Pharos Cyclops #1 and 2, and in the shallow window, Planetoid 210. Although all three pieces (for the sake of argument I'll call 'Pharos Cyclops #1 and 2' one piece for now) share certain commonalities, they are also examples of different lines of enquiry that I have pursued. For this installation I wanted to give an insight into the divergent aspect of my practice; to show how various works can trigger ideas for newer and slightly different pieces, which in turn lead to further, and thus less related, works. To highlight this aspect of the development of my work I displayed the two Cyclops pieces on bright green deckchairs, the colour of which is a reference to one of my earliest sculptures, And When I'm a Man (I'll Think as a Man). Being bright green and made of fibreglass, plastic and resin, this earlier work offers a stark contrast to the directs of much of my current work.
This image is taken from my 2013 solo show, Found Memories, at the Nancy Victor gallery in Fitzrovia, London.
To find out what I'm currently up to, artwise, check out my blog - waynechisnall.blogspot.co.uk/
When I saw this charming bus on eBay, I snapped it up immediatedly. This wonderful city bus from Zimbabwe is made entirely by hand from wood, tin, plastic, wire, and other found materials. It was then colorfully painted with great imagination. I have seen John Deere tractors from Zimbabwe made in similar fashion; the use of mixed media such as this seems to be typical of Zimbabwean folk toys.
This image is taken from my 2013 solo show, Found Memories, at the Nancy Victor gallery in Fitzrovia, London.
To find out what I'm currently up to, artwise, check out my blog - waynechisnall.blogspot.co.uk/
This image is taken from my 2013 solo show, Found Memories, at the Nancy Victor gallery in Fitzrovia, London.
To find out what I'm currently up to, artwise, check out my blog - waynechisnall.blogspot.co.uk/
This image is taken from my 2013 solo show, Found Memories, at the Nancy Victor gallery in Fitzrovia, London.
To find out what I'm currently up to, artwise, check out my blog - waynechisnall.blogspot.co.uk/