Sunday, 25 July 2010

Orifice Boxes - New Work

I’ve just started working on a new series of sculptures that I’m hoping will be ready in time for a group show that I and fellow RBS sculptor, Alice Cunningham, are looking to organise later this year in Shoreditch, London. The exhibition is to be an all sculpture event; however, I think it might be nice to have some examples of working drawings on display too. Although it’s early days yet and we haven’t decided on how many artists to include in the show, I have already invited a very talented artist, Gary Martin, who has accepted.
Anyway - back to my new series of sculptures. Basically, I was itching to make something so I started trawling through my pile of old sketchbooks looking for any unrealised projects that I could bring to life, when I came across the above sketch. It is a drawing that I made a few years ago that was inspired by my earlier wall-mounted Orifice sculpture but which was describing an idea for a box sculpture on wheels (no surprise there then). The initial idea was for the box to be cobbled together from a mixture of different bits of wood and odds and ends in a Frankenstein’s monster kinda way. From the photos above, you can see the early stages of the new piece (from the orifice carved from a block of wood, to the completed front panel). As is often the case, it was the production of the work that triggered ideas for spin-off pieces or pieces that would work as a series. In this family group each of the sculptures, while being of varying sizes and dimensions, will have a carved orifice or portal and have something at its centre. This first one is to have a nail-encrusted inner box, not too dissimilar to my previous piece, Nail Box.


Andrew Finnie said...

Hey Wayne, these look wonderful. The contrats in texture and shapes are superb. Isn't it in-ane to talk about art?

well it is when I do it :)

Wayne Chisnall said...

Thanks Andrew,
I know what you mean - I love to talk about art but words do seem inadequate when trying to express aspects of what is basically a visual language. It's probably best that us artists just keep our mouths shut.
I love your illustrations by the way - especially since I don't have a clue how you create work like that on a computer.