Oodles of Doodles: September 2018

Tuesday, 25 September 2018

Half Price Print Sale (for next 30 days)

I accidentally posted this post to this blog (I had originally meant to post it to my other blog, WAYNE CHISNALL'S ARTWORK, not realising that I'd logged onto my OODLES OF DOODLES blog instead) but now that it's posted I might as well leave it up. So here goes -

It's been a few years since I last had one of my print sales and I've decided it's about time I had another. So for the next thirty days I'm offering a selection of my prints at half their regular price. If you'd like one at a 50% discounted price drop me an email at WAYNECHISNALL@YAHOO.CO.UK

Here are the four prints that are included in the sale -

IF THEY WERE BUNNIES (£75 instead of £150)

I created the original image for 'If They Were Bunnies' by first selecting a newspaper image of British police officers attacking demonstrators. I then painted out the protestors - replacing them with my own cartoon rabbits. I'm pleased with the contrast between the crisp graphic line work of the bunnies and the just about perceptible halftone modulations of the newspaper image.

Printed using cutting edge Epson® HDX Ultrachrome archival pigments inks, as opposed to ordinary dye-base inks, which are more prone to fading over prolonged exposure to UV light, and printed on Hahnemuhle Bright White 310 gsm; an acid-free, premium heavy-weight archival paper. The image is 45.5 x 33 cm, and the paper size is 50.5 x 39.3 cm. Each print is signed and editioned (being from a limited edition of 100). The prints are also embossed with an authentication stamp in the lower left corners of the border.

SPIDEY PODS (£100 instead of £200)

The Spidey Pods piece came about through the merging of a few different ideas or interests. Part of it was to do with my interest in nostalgia, childhood perceptions of adulthood and childhood heroes (hence the elements of the 70s style Spiderman costume). The work was also influenced by an interest in forms that reoccur within larger forms. Just prior to making the preparatory drawing for the Spidey Pods piece I had been peeling back the skin of a segment of orange and marvelling at the mass of smaller pod-like segments that it was made up of.

It was whilst sketching out the initial drawing that I also remembered a scene from the original 'Invasion of the Body Snatchers', in which the main character from the movie finds himself in the back of a truck, on top of a pile of giant pods. So again, there is this reworking of nostalgic elements, as films have been another important influence throughout my life (especially during my childhood).

Limited edition, hand-printed, silk-screen prints on acid-free, archival high grade paper. Signed and numbered. Edition of 300 (although less than 100 have so far been printed and it's unlikely that any more will be printed).

Dimensions: 58 x 53 cm.

MORPHED COMPONENTS (£80 instead of £160)

The 'Morphed Components' prints are based upon one of my pencil drawings, in which I morphed together elements of different found objects and materials that I'd been collecting for use in my sculptures. Unlike my recent quick-fire drawings this one harks back to the draughtsmanship style I used when I first started out as a technical illustrator for one of the big Japanese companies back in the 80s. I found it interesting using the same precise and clinical rendering that I used back then, on something that is personal to what I do now. Some people have said that they find the drawing a bit disturbing but I find it quite relaxing to stare at (the original hangs on the wall at the foot of my bed).

In order to give the prints a subtle pencily (that's not a real word is it?) quality the screen prints were hand-pulled using an ink made with graphite powder. As with all my other screen prints, these are also printed on archival quality paper and each one is signed and editioned. The paper dimensions are 54 x 52 cm and the print run is an edition of 60 plus five artist's proofs

Title: Morphed Components

Dimensions: 54 x 52 cm (approx)

Medium: silk-screen prints (hand printed) on acid-free paper

Colours: 1 (graphite powder ink)

Edition: 60

SWIRLY SKULLS ON PINK (£70 instead of £140)

For those of you who love skulls but with a shade of femininity, here’s my two colour, ‘Swirly Skulls on Pink’ screen print. They come in a strictly limited edition of 50 and each print is signed, titled, editioned, dated, and printed on archival paper. The paper dimensions are 70 x 50 cm (larger than my single colour, ‘Swirly Skulls’ prints which are 60 x 45 cm).

If you are interested in any of the prints (temporarily at half price) just drop me an email at waynechisnall@yahoo.co.uk

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.