Oodles of Doodles: February 2011

Sunday, 27 February 2011

Art House Co-op Sketchbook Project (Page 24)

This is the 24th page of my forty page contribution to the Art House Co-op Sketchbook Project.

Like the drawings on page 22 and 23 this one is also a quick doodle of an idea for a piece that would be a cross between my wall-mounted Orifice sculpture and my series of Orifice Boxes. Although for some strange reason this one has legs. I’m not sure where that oddity came from – maybe I was thinking back to something that I came across in an old Neil Gaiman book or comic where a dilapidated shack out in the swamps used to move around on giant chicken legs.

Friday, 18 February 2011

Art House Co-op Sketchbook Project (Page 23)

This is page 23 of my forty page contribution to the Art House Co-op Sketchbook Project.

Like the drawing on page 22 this one is also a quick doodle of an idea for a piece that would be a cross between my wall-mounted Orifice sculpture my series of Orifice Boxes.

Sunday, 6 February 2011

Art House Co-op Sketchbook Project (Page 22)

This is page 22 of my forty page contribution to the Art House Co-op Sketchbook Project.

It's a quick doodle of an idea for a piece that would be a cross between my wall-mounted Orifice sculpture and the new series of Orifice Box sculptures that I've just started.

Thursday, 3 February 2011

Art House Co-op Sketchbook Project (Page 21)

This is page twenty one of my forty page contribution to the Art House Co-op Sketchbook Project.

This isn’t actually an original sketch, but a print of an original drawing that I made in an old German text book (check out the fantastic gothic style typeface). It marks the halfway point of the sketchbook.

Biog

Based in London since 1999, Chisnall now divides his time and art practice between London and his new, larger studio in Shropshire. Coming from an illustration, painting and print-making background he is now as well known for his sculptures and drawings.

In 2005 he was awarded a bursary and membership from the Royal British Society of Sculptors.

As well as his work appearing in UK and international exhibitions, magazines, on record covers, and on TV (including BBC 2's 'The Culture Show', Channel 4 News, London Live, and Channel 4's 'Four Rooms'), his sculptures have appeared in the feature film, 'Scratch', directed by Jakob Rørvik. In 2013 he was commissioned to produce a series of paintings for the horror film 'Bliaze of Gory'.

The artist's work is featured regularly in on-line articles and interviews, including two separate articles in The Huffington Post.

Chisnall has organised and run art/sculpture workshops for schools and businesses since 1998, including ones for ING Bank's London headquarters via the Royal British Society of Sculptors.

John Malkovich chose Chisnall's script, 'Doppelganger', as the winning entry in the 2008 Sony VAIO Scriptwriting competition. This script, along with Malkovich's was then turned into the short animated film, ‘Snow Angel’.

“ … I’m going to go with the “Doppelganger” script. It’s clever, inventive, and somehow both surprising and inevitable. Very neatly done all in all.” John Malkovich (4th Jan. 2008).

As well as working on his own projects the artist accepts commissions. His clients include Mary Fox Linton, Andy Martin Architects, Converse, Dawood and Tanner, Domus, Ctrl.Alt.Shift, private collectors, and the Ping Pong restaurant chain.

Artist's Statement

Much of my practice involves the reworking of found objects; objects that I feel have a certain ‘resonance’. By using materials already loaded with meaning and associations I am able to play with people’s expectations and create narratives that lurch between the humorous and the uncanny.

Memory, or its fallibility, is central to my work; as is evident in pieces that incorporate or recreate childhood artefacts. An important aspect of my life-size model kit sculpture, ‘And When I'm a Man, I’ll Think as a Man’, is its colour, which was chosen to match my memory of that of a childhood toy – realizing that the memory would have mutated; exaggerating its original luridness. In an age of fake news and phenomena such as the ‘Mandela Effect’ I’m eager to explore the creative possibilities of misremembering and of outright fabrication.

As well as the obvious sexual interpretation of the orifice element that's emerged in many of my recent works, my main interest in the device, lies in it being the portal between the internal and the external.

Other reoccurring motifs in my work are the box and tower; pertaining to themes of containment, the urge to possess, and mobility.

Although not a film maker myself, my work has been influenced by my early passion for film and animation. This is evident in my archaic-looking tower sculpture, ‘The City,’ which echoes the same fairy tale or dream-like quality that is characteristic of the short films of animators such as the Brothers Quay and Jan Švankmajer.

“Chisnall’s towering wooden piece is made up of tiny display cases and cabinets made from found materials like skulls, insects and fossils, a kind of modern cabinet of curiosities. Or a nightmarish vision inspired by Jorge Luis Borges. He explains that much like the inhabitants of a big city, each compartmentalised environment plays out its own narrative, seemingly oblivious to that of its neighbour”. Julia Kollewe (journalist – The Guardian & The Independent), 2009.

“Wayne Chisnall creates art that references such things as structure, time and Modernism as they pass through a very contemporary mindset that focuses on humor, transience, functionality and futility. There is also the presence of popular culture in his thinking, as he addresses the differences between reality and perception, and how that affects the needs, wants and even the formation of the human psyche.” D. Dominick Lambardi, 'Repurposing With a Passion', The Huffington Post, 14th July 2014.