Big Up from Hattie Collins

I’d like to say a big thank you to the lovely Miss Hattie Collins (Editor of RWD magazine, Music Editor for i-D Magazine, freelance contributor for The Sunday Times, The Guardian, Q etc and all round music journalist extraordinaire) for giving me and my work a mention in her interview with Arts London News.

Hattie was one of the first people to buy one of my limited edition Spidey Pods screen prints when I brought them out so what can I say – she obviously has good taste!
My Spidey Pods prints, along with my Swirly Skulls prints, are now available at various outlets in Carnaby Street and Leicester Square, London but if you would like one direct from my good self at the commission-free price of £100 then feel free to drop me a line at waynechisnall@yahoo.co.uk
and we’ll work out how best to get one to you.
The prints are all hand pulled, 3 colour, screen prints on acid-free, archival paper. The paper size is 58.6 cm x 54.2 cm (image 38.7 x 39.4 cm). Every print is signed and numbered (maximum edition of 300).

Planetoid Designs

I’ve been spending a lot of time in my studio lately, working on my new Orifice Tower sculpture – which is coming along nicely (although I’m probably being a bit over indulgent with the fine details). However, in between waiting for the glue to set on some of the joints and inner box structures, I’ve been working on a few sketches for a potential new body of work and experimenting with a new material. The material in question is soil (well, it’s new to me as an art material). The designs are based upon an idea I had a few years ago – and are a follow on from the sketch that I made at the time.

The designs all feature buildings or building-like structures perched upon spherical planetoid-like masses that are far too small to properly support them. This tiny drawing shows a small cluster of towers.
The challenge with using soil as an art material is to find a way of stabilising it but fortunately my first experimental mixture of soil, glue and other materials seems to have worked even better than I’d expected - so I’m raring to go with the first piece.

Orifice Tower (Work in Progress)

As much as I love socializing and taking full advantage of London’s amazing nightlife I have some how managed to make a bit more time for my studio practice. And the latest piece that I’m working on is a variation on my recent Orifice Box sculptures. But this time I’ve decided to elevate the work and substitute my signature wheels with a rickety wooden box and scaffold-like framework.

Like my wheeled orifice box structures this one also has a carved elliptical orifice in the front face of the box. This work-in-progress photo shows the top half of the sculpture that will eventually stand at around six foot tall. In the lower right-hand corner of the photo you can see one of my sketchbooks and the working drawing for the new orifice tower.

And here’s a closer view of the drawing – showing a few mid-process alterations.

Being a bit of a night-owl I prefer to work through the early hours. This means that I have the building to myself so can have the radio on pretty much as loud as I like. My friend Lisa gave me an old Roberts radio and the only bearable channels that get a clear reception are Radio 3 and 4, so I tend to mostly listen to classical music while I work.

Anyway – I’ll get to the point. A few nights ago, whilst working on this new piece I happened to be listening to some very fine choral music and it struck me that the orifice section of the work looked a bit like a mouth, singing. So I quickly sketched out this idea for a set of new orifice tower sculptures, each equipped with an internal speaker and collectively playing the same piece of choral music. Hopefully I’ll get to make this new body of work one day but it’s also very likely that it’ll just get relegated to my sketchbook graveyard of creative ideas.