Frankenstein's Log

The Frankenstein part of the work's title comes from the appearance of the join between the upper and lower halves of the sculpture. It reminds me of the creature from Mary Shelley's most famous novel; having been stitched together from different body parts. Although, my sculpture wasn't put together from parts of different trees. I just glued it back together after having accidentally smashed it two when I was trying to break off a section that I didn't want.

'Frankenstein's Log', 2020, sculpture by British artist, Wayne Chisnall

At the time I really should have realised that the weakest point in this hollow log was going to be across the "mouth" section. However, breaking it at that particular point did allow me sufficient enough access to work on creating the gums and inserting the teeth.

Detail from 'Frankenstein's Log', 2020, sculpture by British artist, Wayne Chisnall

When I glued the two halves of the piece back together I thought I'd accentuate join with the addition of handmade, rusty staples; giving it a look reminiscent of Boris Karloff's portrayal of the monster in the 1931, James Whale film version of Frankenstein. I do have a nostalgic fondness for those early black and white horror films.

Detil of staples from 'Frankenstein's Log', 2020, sculpture by British artist, Wayne Chisnall

The upper section of the piece originally had three branches but I rounded them off to create bulbous horns.

Rear view of 'Frankenstein's Log', 2020, sculpture by British artist, Wayne Chisnall

I think that, at some point, I'm gonna have to take a photograph of myself, cradling the piece in my arms, à la David Lynch's Log Lady from TwinPeaks.

Collaboration, Piece 1, Stage 4

I'm now working on the fourth and final stage of the first piece in the art collaboration project between myself and the very talented artist, Sharon Griffin. It's nearing completion but still has a few days to go before it's actually finished. So for now I'll just show you a few work-in-progress photos of the oak framework that I've been construction in and around the three sections of the ceramic bust.

Piece One (work-in-progress) from 2020 collaboration project between artists, Sharon Griffin & Wayne Chisnall

To briefly recap (and lazily insert some text from said, previous blog post) what we are attempting with this project is to produce a series of experimental sculptures whereby Sharon kicks off the creation of each new sculpture by giving me a clay bust of a relatively androgynous-looking figure, made from a plaster cast mould that she made from her original clay bust sculpture. I then alter the clay bust in some way, before handing it back to Sharon, in order for her to perform her alchemy by apply some of her glazes (created from her own recipes, using locally sourced geological ingredients - apparently the variety of geological settings in Shropshire is unmatched within the British Isles or, within such a relatively small area, probably anywhere else in the world), and then fire the piece.  She then hands the piece back to me for next stage, in which I integrate it with other manipulated materials.

Piece One (work-in-progress) from 2020 collaboration project between artists, Sharon Griffin & Wayne Chisnall

I will say that at each stage of the handover, we are observing the correct and responsible levels of social distancing that these times (the time of the COVID 19 pandemic, for anyone reading this afterwards - if there is an afterwards) demand.

Piece One (work-in-progress) from 2020 collaboration project between artists, Sharon Griffin & Wayne Chisnall

Although Sharon works predominantly in clay and I work in... well, pretty much anything I can get my grubby hands on, we have a lot of things in common - a love of nature and the earth, of manipulating materials, we share many similar views, we're both from the same part of Shropshire, both with similarly odd family backgrounds etc. So I'm very excited to see where our collaboration takes us. Although, I already have a few ideas brewing for further pieces in this project.

Piece One (work-in-progress) from 2020 collaboration project between artists, Sharon Griffin & Wayne Chisnall

Even though the starting point for each piece in the collaboration, i.e. a clay bust cast from the same mould, is close to identical, every time Sharon hands it over to me she doesn't know what it's going to look like when I give it her back.  And likewise, before she returns it to me after glazing and firing process (and any other alterations that Sharon might have made, pre-firing), I don't know how it will appear. This is one of the many exciting elements of the collaborative process.

Piece One (work-in-progress) from 2020 collaboration project between artists, Sharon Griffin & Wayne Chisnall

Collaboration, Piece 1, Stage 3

As I mentioned in a previous blog post, I am now working on a collaborative sculpture project with the talented artist, Sharon Griffin.

Detail of glaze on piece No. 1 (work in progress) in collaboration between artists, Sharon Griffin & Wayne Chisnall

To briefly recap (and lazily insert some text from said, previous blog post) what we have undertaken is to produce a series of experimental sculptures whereby Sharon kicks off the creation of each new sculpture by giving me a clay bust of a relatively androgynous-looking figure, made from a plaster cast mould that she made from her original clay bust sculpture. I then alter the clay bust in some way, before handing it back to Sharon, in order for her to perform her alchemy by apply some of her glazes (created from her own recipes, using locally sourced geological ingredients - apparently the variety of geological settings in Shropshire is unmatched within the British Isles or, within such a relatively small area, probably anywhere else in the world), and then fire the piece. She then hands the piece back to me for next stage, in which I integrate it with other manipulated materials.

Sections of piece No. 1 (work in progress) in sculptural collaboration between UK artists, Sharon Griffin & Wayne Chisnall

Well, now Sharon has handed me back (although, technically she placed the pieces on the floor, retreated to a safe distance and I approached to collect them - what with the current global pandemic, social distancing etiquette still being in play) the sections of piece number 1 from our joint venture, in all their glazed glory. And how fuckin glorious they look.

Lower section of piece No. 1 (work in progress) in collaboration between artists, Sharon Griffin & Wayne Chisnall

I've already started work on the next stage of this pieces' metamorphosis (too pompous?) but for now I want to share some pics that show off the wonderful tones and textures of the glaze.

 

Detail of glaze on piece No. 1 (work in progress) in collaboration between artists, Sharon Griffin & Wayne Chisnall

I should also thank Sharon for taking, and allowing me to share, these photos.

Detail of glaze on piece No. 1 (work in progress) in collaboration between artists, Sharon Griffin & Wayne Chisnall

Detail of glaze on piece No. 1 (work in progress) in collaboration between artists, Sharon Griffin & Wayne Chisnall

Collaboration, Piece 1, Stages 1 & 2

A few weeks ago I was approached by the talented and prolific artist, Sharon Griffin, about collaborating on a sculptural project with her. After hearing her proposal I immediately said yes.  Before we physically started on the project we had one of those lovely, several hours long, joyfully meandering conversations about creativity and the themes that influence our work; themes such as identity, memory, growth, portals, the resonance of found materials, and the self - all the usual good stuff. It'll be interesting to see which elements of our conversation bleed into the work we produce.

First piece in collaborative art project between Sharon Griffin & Wayne Chisnall

Although not exactly an Exquisite Corpse in its truest form, the proposed project does share some of the same elements.  What we are undertaking is to produce a series of experimental sculptures whereby Sharon kicks off the creation of each new sculpture by giving me a clay bust of a relatively androgynous-looking figure, made from a plaster cast mould that she made from her original clay bust sculpture. I then alter the clay bust in some way, before handing it back to Sharon, in order for her to perform her alchemy by applying some of her glazes (created from her own recipes, using locally sourced geological ingredients - apparently the variety of geological settings in Shropshire is unmatched within the British Isles or, within such a relatively small area, probably anywhere else in the world), and then fire the piece.  She then hands the piece back to me for next stage, in which I integrate it with other manipulated materials.

First piece & working drawing in collaborative art project between Sharon Griffin & Wayne Chisnall

Here are some photos of my contribution to the early stage of the project, after Sharon handed over the first two clay busts.

I will say that at each stage of the handover, we are observing the correct and responsible levels of social distancing that these times (the time of the COVID 19 pandemic, for anyone reading this afterwards - if there is an afterwards) demand.

First two pieces in collaborative art project between Sharon Griffin and Wayne Chisnall

Although Sharon works predominantly in clay and I work in... well, pretty much anything I can get my grubby hands on, we have a lot of things in common - a love of nature and the earth, of manipulating materials, we share many similar views, we're both from the same part of Shropshire, both with similarly odd family backgrounds etc. So I'm very excited to see where our collaboration takes us. This is only the second time that I've collaborated with another artist. The other one was with a performance artist, Calum F. Kerr, and our collaborative project lasted 12 years. Calum and I have yet to exhibit the fruit of our collaboration but I'm pretty sure that the collaborative work of Sharon and myself will not have to wait that long to find a viewing public.

Sketch for next stage in collaborative art project between Sharon Griffin & Wayne Chisnall