Sunday, 25 July 2021

'Unlockdown' - Close-up Details

The reason that I've not posted anything about 'Unlockdown' (the art collaboration project between myself and the ceramics artist, Sharon Griffin) for a while is that we thought we'd hold some stuff back until we exhibit the main body of the work. Sharon and I have been selected to exhibit the work at a big event in London, which, because of Covid, has now been postponed till early 2022 - unless another lockdown hits, in which case I'm sure that it'll be postponed even further.

'Nail Head', ceramic & metal sculpture, Unlockdown project. Artists, Wayne Chisnall & Sharon Griffin

However, just to show that we're still working on Unlockdown, I thought I'd share a couple of close-up detail photos from two of the more recent pieces - one of them still a work-in-progress.

These pieces might be the last two sculptures that feature a true face, as Sharon and I have reached a point in the project where we feel to need to move away from the figure. This will be more of a departure from the norm for Sharon as her current practice is predominantly figurative. The ceramic elements of the initial sculptures were that of androgynous-looking human busts, which later got cropped down to disembodied heads, and we feel that the next stage is the simplifying the heads into spheres. 

Ceramic & wood sculpture (work-in-progress), Unlockdown project. Artists, Wayne Chisnall & Sharon Griffin

To give a brief reminder of the process behind the project, and how it started off, here's a bit of text from one of my earlier posts about Unlockdown - "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 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." 

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. 

Tuesday, 20 July 2021

Sketchbooks, Barra, And The Smell Of Death

For the last decade or two I've been using sketchbooks that are A5-size, or smaller - mostly because I only tend to use them as notebooks for scribbling down ideas (and thumbnail sketches) for sculptures, and because they're a convenient size for slipping into a back pocket or shoulder bag. 

'Skeletal Wings', 2021, charcoal, ink & acrylic paint sketch on paper, by Wayne Chisnall

But I'd recently been thinking of upsizing to A3-sized sketchbooks so that I can get back into sketching just for the joy of sketching, with the larger pages allowing me more room to be creative. So when I stumbled upon a couple of new A3 hardback sketchbooks at my local second-hand book stall I took it as a sign, and bought them.

Curious-looking weather-worn wooden post in Barra, Outer Hebrides, Scotland

With the first sketch in my new sketchbook I initially wanted to attack the page with a smorgasbord of materials but ultimately reined it in and just used charcoal, ink and acrylic paint. For the subject matter I chose one of the many finds that I brought back from my recent trip to Barra in the Outer Hebrides, Scotland. It's the partial remains of a sea bird - the wings and bits of connecting skeleton.

Kisimul Castle, a medieval castle located on a small island off CastlebayBarra

Last month I spend ten days on this amazing island in the Western Isles - staying with a good friend, Ian Armstrong, at his family's cottage. The landscape was stunning - reminding me a little of Iceland (if on a somewhat smaller scale), and we spent most of our time exploring the beaches. As an artist that utilises a lot of found materials in his sculptures, I'm a big enthusiast of beach combing, and not surprisingly I ended up returning to Shropshire with a rather large quantity of beach finds. A lot of these finds consisted of skulls and other body parts (sheep, birds, sea otters, crustaceans etc - I didn't bring back the dolphin). And considering their various states of decomposition, and the smell inside the car on our 8 hour journey home (after the 5 hour ferry journey), I must say that Ian showed a saint-like tolerance. Once I got home, it took me weeks to properly clean up the specimens (many of which I already have ideas for how they might be used), and some of them, even now, are still a little bit stinky. Although, a few weeks of mummification/desiccation in the baking heat of my conservatory, coupled with a good coating of resin should sort that problem out.

Dolphin carcass, washed up on the shore at Barra, Outer Hebrides, Scotland

Thursday, 8 July 2021

Head Art

Have you ever said something just to be provocative or to play devil's advocate, and some time later questioned whether there might actually be something in what you said?

I remember, many years ago, as part of a group of prospective art students, going to check out universities. At one of the art colleges that we visited, when being interviewed by one of the fine art lecturers, I found myself feeling particularly bloody minded. This was probably because I wasn't that impressed with the attractiveness of the students that I'd seen at the college, and therefore decided that it wasn't the educational establishment I wanted to attend - I was, after all, a very young man at the time, and definitely somewhat superficial. Anyway - during the conversation with the lecturer we somehow got to point where I stated that as long as I made the work in my head it didn't actually need to physically exist (basically, I was being a dick). He then asked me how the work could be assessed if no-one else could see it. To which I replied (still being a dick) that it didn't matter if no-one else could experience it, I made (or didn't make) my art for my own gratification. 

The basic upshot of the conversation was that he offered me a place on the course, there and then. I turned it down (dick!).

Montage of pages from sketchbooks by the artist, Wayne Chisnall

But moving away from the initial youthful bloody mindedness of my side of that conversation, I've recently come to think that there might actually be a grain of truth in there somewhere. I long ago came to terms with the fact that I'll never be able to physically create all the pieces of artwork that I have ideas for - partly because of time constraints, partly because of material or cost constraints, and partly because every piece of art that I make generally triggers ideas for multiple/different version of itself. Because of this I always keep sketchbooks close to hand so that I can jot down ideas - usually a mixture of thumbnail sketches and spidery handwriting, detailing the materials to be used in the sculpture's construction, along with background notes on the thoughts behind the ideas.

And even though I know that the vast majority of these ideas will never see the light of day, as physical objects, I always contented myself with the thought that as long as they existed in a sketchbook, they do existed in some form. But lately I've started to enjoy constructing and developing artwork ideas just in my head (over extended periods of time), and not working them out in sketchbooks first. I know that this can be a risky practice as there have been many times that I've had an idea for a piece but failed to 'realise' it in a sketchbook, and then forgotten it completely. Yet I'm now starting the come round to the idea of this not necessarily being a bad thing. Now that we live in a social media age, where every last thought is shared and all our online activities are algorithmically monitored, maybe some things should remain ephemeral and enjoyed on a purely personal level.

Saturday, 1 May 2021

New Ink-Wash Skull Designs Tote Bags

 A few weeks ago I posted (across various social media) images of 7 of my ink wash drawings - asking people which one I should go with for my next screen-printed, skull design, cotton tote bag range? Last time I produced a range of skull tote bags I used my 'Swirly Skull' design, but I think they've all sold out now, unless there's one or two mixed in with my stock of Davincipuss tote bags. All of these new ink-wash drawings are based upon photographs that I took of the skulls from the Catacombs of Paris. I took the photos a few years ago, when my travelling companion, the art journalist, Holly Howe, and I were in the city - cat and boat-sitting for the talented sculptor, Kate MccGuire.

The 7 proposed design options for new screen printed 'ink-wash skull designs' cotton tote bags by Wayne Chisnall

Across Instagram, Twitter and Facebook, opinion was mostly split between ink wash drawing number 1 and number 7. After too much deliberation I still couldn't choose between the two so I decided to go with both - having one screen printed on the front of the bag and the other on the back (although, which is the front and which is the back is a matter of personal taste).

Front & back of new screen printed 'ink-wash skull designs' cotton tote bags by Wayne Chisnall

Today the bags arrived from the printers and I must say, I'm pleased with the results - especially with the way that they managed to capture the mid tones of the original ink-wash drawings. The printers seem to have used a halftone technique similar to how photographs are reproduced in newspaper print. 

Front of new screen printed 'ink-wash skull designs' cotton tote bags by Wayne Chisnall

If you'd like one of these double-sided-print bags, email me at . They are £15 each (free postage to the UK).

Back of new screen printed 'ink-wash skull designs' cotton tote bags by Wayne Chisnall

My designs are screen printed, in black ink, onto 100% cotton fabric (Bags By Jassz 'Beech' Cotton Long Handle Tote Bags) in natural (the colour), which are 140gsm in weight.

Tote bag dimensions are 380mm wide x 410mm deep.

The top of the bag to the apex of the handle measures 380mm.

Friday, 26 March 2021

'Conscious Isolation' Presentation on YouTube

I'd like to thank the talented artist, Susie Olczak, and the rest of the Conscious Isolation team, for inviting me to take part in a series of live-streamed artists' presentations, organised in collaboration with the University of East London

My talk can now be found on the Conscious Isolation YouTube channel. Unless it's now been edited, I suggest fast-forwarding the first 55 seconds, as it's mostly dead air - or is that very telling of how impatient I've now become with everything online?

In the talk I give a 40 minute overview of some of the key elements of my art career; focusing mainly on my sculptural work and touching on some of the main themes and motifs that run throughout it. The following 20 minutes of the hour-long video is a Q&A session, with Susie Olczak asking me the questions that were messaged in by the online audience.

The presentation starts off with a brief mention of my 'accidental' early career as an illustrator, then quickly moves on to me finding my feet as a sculptor.

In the presentation I cover the emergence of some of the elements that go on to recur in my work; elements such as the box, the tower, the orifice etc. I also talk about my interest in rusty nails and other found materials, and the influences of animators such as The Brothers Quay, as well as the influence of the totemic Minkisi carvings from the Congo.

Half way through the talk I do introduce some of my two dimensional work. Mostly of these are paintings; one of them being the commission of cover artwork for The Scaramanga Six's 'Chronica' album. Even though I briefly mention studying printmaking at Bournville College, before I went on to study sculpture at the University of Northampton, the only print featured in the video is my 'Spidey Pods' screen print (printed up for me by the talented artist/printmaker, Tony Lee). And that's only really in the video to show that it was based upon one of my earlier paintings.

I also go on to discuss various commissions, solo exhibitions, workshops, collaborations, and ongoing projects. Towards the end of the presentation I talk about how, as a child, I'd wanted to be involved somehow in film production. With this in mind, in the video, I share a few slides of instances where my work has appeared in feature films - some where my sculptures have been used and one instance where I created some prop artwork. I even manage to shoehorn in the script that I part-wrote with John Malkovich (through a Sony script writing project), which was then turned into the animated short film, 'Snow Angel'.

Lastly I'd like thank all the viewers who took the time to tune in to the live-streaming of the presentation, and for all the great comments and questions that they posted. I only wish I'd thought to share the live-streaming link a little more than two hours in advance. 

Wayne Chisnall - Consious Isolation - YouTube  

Wednesday, 3 February 2021

Rusty Nail Art

There are several themes or motifs that run through much of my artwork, so I thought that I'd choose one of them, that of the rusty nail, and share with you a few of the pieces that utilise it.

Nail Heart (2011), Nailless heart (2012) & Mutant Nail Heart (2012) by British artist, Wayne Chisnall

As I mentioned in my recent Instagram video, my first piece to incorporate an element of rusty nails was a sculpture (one of a series of four tower pieces that I made in 1999) called 'The City'. The City was more architectural than its three sister pieces, and mostly made up of small cabinets and boxes constructed from and containing found materials. In this case the nails only adorned an isolated area of the sculpture. With later pieces, the rusty nails took on more of a starring role. 

Still from a stop-motion film by film makers, The Brothers Quay, alongside 'The City' (1999) sculpture by artist, Wayne Chisnall

I spent four years collecting the rusty nails (there's also rusty screws and other metal objects in there, but it's mostly nails) that went into creating my most prominently nail encrusted sculpture, 'Nail Box'. Rather than just buy nails and rust then myself, I decided to only use nails that I found (or which people found for me) either here in the UK or from my travels around the World. Some of the nails were gathered from historical sites - including one that I found high up inside the dome of Saint Paul's Cathedral, London, when I was working there on an art handling job. 

'Nail Box' (2007), sculpture by artist, Wayne Chisnall

Aside from the rusty nails and antique metal casters, the box structure for 'Nail Box' is made of a plywood core, clad in old wooden backing boards from paintings from the Victoria and Albert museum, in London. The sculpture was created during the 15 years that I worked at the V&A, and I'm pleased to say that I still have a massive hoard of interesting found materials, mostly salvaged from the museum's skip.

Three views of 'Frankenstein's Orifice Box' (2011), by artist, Wayne Chisnall

The latest artwork that I've worked on, which utilises the rusty screws and nails, is a collaborative piece between myself and the artist, Sharon Griffin, as part of our ongoing 'Unlockdown' project. For this work however, the nails are inserted into fired clay, and not into wood, the structural material that I usually employ when working with nails.

'Nail Head' (work-in-process from 2020) sculpture by artists, Wayne Chisnall & Sharon Griffin

As I briefly mention in the video, my initial inspiration for the use of rusty nails, screws, and other found objects in my work (and also to create 'The City' itself) was triggered by my love of the stop-motion animated films of people like The Brothers Quay and Jan Svankmajer. However, when I moved to London back in 1999, in was living just round the corner from what is one of my favourite museums - the Horniman. And it was here that I discovered another form of nail-pierced object; the nikisi. Minkisi (the most commonly used plural for 'nikisi', from what I gather), predominantly stem from the Kongo region, and are usually carved wooden totemic figures, believed to be inhabited by spirits. The word, nikisi, can also refer to the spirit itself. Many minkisi are covered in nails, but this addition isn't decorative. These wooden carvings are not considered artworks. They are intended as spiritual working objects and the hammering of nails into them is a way of activating their power.

A 'nikisi' from the collection of the Horniman Museum, South London

For me, the power or energy (albeit probably imagined) of my nail sculptures comes not from their inner contents but from the collective resonance of each individual nail's personal history - built up, over time, through their interactions with the elements and things around them. 

Thursday, 21 January 2021

Ink Drawings - Nudes

In an earlier post I mentioned how it had recently go into doing ink wash drawings, using a traditional Chinese calligraphy brush and an old dip pen made from bamboo. I chose to do them on quite small (A5-size) sheets of watercolour paper. This meant that, due to the thickness of the brush and the nib of the dip pen, I wasn't able to be overly detailed with the drawings or spend too much time on them. 

Nude, 2020, ink wash drawing, by artist, Wayne Chisnall

One of the curious things that I discovered about working on sets of relatively quickly executed drawings is that I was less precious about them during the creation process - dismissing each one as nothing special, as soon it was finished, and then immediately starting on the next one. 

Nude, 2020, ink wash drawing, by artist, Wayne Chisnall

However, upon returning to them a day or so later, I found that some of them had qualities that I had not initially noticed. There were details here and there that interested me; details or marks that I probably would not have consciously made if I was drawing in a more aware or deliberate manner. I suppose muscle memory plays a large part in painting and drawing.

Nude, 2020, ink wash drawing, by artist, Wayne Chisnall

A lot of the recent ink wash drawings that I've been making are based upon some of the hundreds of photographs that I took of skulls from the Catacombs of Paris, when I visited there a few years ago. I'm sure that I'll post a few photos of them in upcoming blog posts but for now here are some of the drawings that I've done of nudes. As you can see, some of them have more of a cartoonish element to them than others.

Nude, 2020, ink wash drawing, by artist, Wayne Chisnall

As I've been doing a lot of these ink wash drawings lately, rather than inundate this blog with too many images of them, maybe I'll return to posting on my Oodles of Doodles blog - the one I set up (whilst drunk - hence the choice of domain name) some years ago, specifically for displaying my drawings and rough sketches. 

3 Nudes, 2020, ink wash drawings, by artist, Wayne Chisnall

Monday, 18 January 2021

Rediscovered Uni. Screen Print Giveaways

One of the things that I love about the infuriating situation of not being able to find what you're looking for is that you often end up finding something different - something that you'd forgotten all about. So the other day, when I was searching through my art store (formerly the small bedroom), trying in vain to find some original comic book artwork that I'd bought, I was surprised to find this set of small hand-pulled screen prints. 

As you can see in this little video I shot, they are based upon some sketches of working drawings for a sculpture that I was working on, and are something that I made as free giveaways at my end of my degree show, as an art student in 1999. I do remember making a big stack of them - most of which disappeared during the opening night of the show. I also remember chatting to a guy that night (which is pretty amazing considering how long ago that was, and how incredibly drunk I got that night) about how he'd picked up something similar that Tracey Eminn had done for the show at the end of her degree show. Rather than taking just one of these prints I made, he asked if he could take one of each. I wonder if he's still got them. If so, his and mine are probably the only complete sets out there.

Sunday, 17 January 2021

'Magnet' Off To 'The Black Gold Museum', Riyadh

Pretty soon 'Magnet', my toy tower sculpture, will be leaving my studio and heading off to its new home at The Black Gold Museum in Riyadh, Saudi Arabia (due to open in 2022), where it will enter the museum's permanent collection.

Interior of the Black Gold Museum in Riyadh, Saudi Arabia (due to open in 2022)

It'll be odd not having Magnet around anymore as it's one of the earliest sculptures I made (way back in 1999) and has been a colourful presence around the place for over two decades - especially since most of my later sculptures tend to lean towards the brown end of the colour spectrum. Two compensate for its absence I think that maybe the next piece in my giant face mask wall sculptures series will be made using plastic toys.


Toy tower sculpture, 'Magnet', 1999, by artist Wayne Chisnall

'Magnet' is part of a series of four wheeled tower sculptures (the others being The City, Book Tower and Fetish); each relating to a different aspect of our relationship with material possessions, and how our psychological attachment to large quantities of physical objects limit our freedom and mobility.  

Exterior of the Black Gold Museum in Riyadh, Saudi Arabia (due to open in 2022)

Originally titled 'Toy Tower', it was renamed 'Magnet' after its first showing when it became evident that its powers of attraction seemed to work on children and adults in equal measure. On the first day of Magnet’s first exhibition the person invigilating told me that he had looked over to where my sculpture should have been, only to find that it had disappeared. Apparently four little boys had managed to sneak the piece out into the street before being chased off by the invigilator, who wheeled the sculpture back into the gallery.

Sunday, 3 January 2021

'Paris Catacombs' Skull Drawing

This ink wash sketch of a skull is based upon one of the hundreds of photographs that I took of the skulls in the Catacombs below the streets of Paris, when I visited the city a few years ago with my patient travelling companion, the art journalist and art magazine editor, Holly Howe (when we were houseboat and cat-sitting for the talented artist, Kate MccGuire). I say patient because, after an hour or so of us wondering around the catacombs, Holly, knowing how fascinated I am by skulls, said 'I'm gonna pop back put to street level, but you take as long as you want down here - I'll see you when you're finished'. Needless to say, she didn't see me again for another three hours.

But, considering that there are estimated to be the remains of 6-7 million bodies down there, I don't think that you can blame me for taking so long - I had a lot of respects to pay.


From what I gather, in 1786, the city (because of the overflowing nature of its cemeteries) condemned all existing parish cemeteries within the city limits and started emptying them. All the bones were then transported (mostly at night, in covered wagons, so as not to provoke protests from the general population) and staked, 5 stories underground, in Paris' ancient stone quarries.

Thursday, 31 December 2020

Goodbye David Medalla (1942-2020)

 As if 2020 hadn't already been full of enough turmoil, I was saddened to hear of the death of my friend, the artist, David Medalla, who died in Manila on Monday. He was a joyous and mischievous soul, whose stories about his colourful life will stay with me always.


Artists, David Medalla & Wayne Chisnall, at London Biennale event 2004

My favourite, of the many stories that he told me, was of how Imelda Marcos once ordered his execution after he caused a scene at a political event in the Philippines - when he spat in the face of Ronald Regan (the then Governor of California - before he became President of the US) as a protest at something Regan had done. That's the short story - the full story involves David amusingly, and narrowly, avoiding his would be, machine gun-firing, executioners. Fortunately he survived that one and went on to have many more colourful adventures.

Artists, David Medalla & Adam Nankervis, at London Biennale event, Crystal palace, London 2004

David's oeuvre is broad but he is probably best known for his 'Cloud Canyon' pieces - sculptures dating from the 1960s; works that he labelled 'auto-creative-art'.


David Medalla, being interviewed with of one of his 'Cloud Canyon' sculptures, London 2005

David's death prompted me to look through some of the photos that I'd taken of him, and of the rest of the art collective (a group called the London Biennale, and set up by David and his friend, the artist/curator, Adam Nankervis) that I was part of. These photos from 2004-2005, when I was more active in the group, definitely helped me to smile at this sad time.

Artist, David Medalla (1942-2020), at a London Biennale event, 2004


Thursday, 22 October 2020

Accidental Inktober & November Releases

I seem to have accidentally stumbled into Inktober - the relatively new tradition in which artists set themselves the challenge of producing an ink drawing a day for the whole month of October. Though strictly speaking I'm not doing this. For one, I didn't start making my ink drawings till passed the mid-way point of October, and secondly, I'm not making one drawing a day. So far I've only spent two and a half evenings working on them but in that time I have managed to produce over 30 drawings.

Selection of A5-size ink drawings on paper, 2020, by Wayne Chisnall, for Unlockdown project

It's been so long since I properly worked in ink (if I ever did at all) and I must confess that working on these drawings has been loads of fun and, for me, a mini voyage of discovery. I've final got to try out a couple of drawing implements that I've had sat in a drawer for years - never used. One of them is a calligraphy brush that a friend bright me back from China and the other is a bamboo ink pen (even the nib is make if bamboo) which turned out to be a joy to draw with.

A5-size ink drawing on paper, 2020, by Wayne Chisnall, for Unlockdown project

To backtrack slightly, a few days ago I started on a series of A5-sized ink wash drawings. The series is tied into the Unlockdown project - an art collaboration between myself and the artist, Sharon Griffin. As I may have previously mentioned, Sharon and I were planning a Kickstarter campaign for January 2021. The aim of the campaign was to fund the production of, and the touring of the sculptural work that we will be creating for Unlockdown.


Porcelain busts, 2020, by Sharon Griffin & Wayne Chisnall, for Unlockdown project

As such, we thought that we're going to need to offer some juicy rewards for the campaign. Our thoughts on this, so far, include a raffle to win a roughly 17 inch tall ceramic sculpture, ceramic badges, tote bags, possibly a book, a some lovely 4 inch tall porcelain busts/figures. And this is where the ink drawings come in - all of these original ink drawings are based upon the small series of porcelain figures that we've produced so far.


A5-size ink drawing on paper, 2020, by Wayne Chisnall, for Unlockdown project

We initially intended for the crowd funding campaign to start in January and for the money raised from it to be put towards the first major leg of Unlockdown's tour - a somewhat costly but prestigious London event, for which Sharon and I have been selected to exhibit. However, we have just this minute discovered that the event has now been postponed, due to the current pandemic situation, and put back till 2022.


A5-size ink drawing on paper, 2020, by Wayne Chisnall, for Unlockdown project

Regardless of this, Sharon and I had already been considering having a test run, ahead of the crowd funding campaign, and releasing a limited number of ink drawings and porcelain figures at regular intervals throughout November 2020. So I don't see why this cannot still go ahead. If you'd like to be kept in the loop over the release dates, and with Unlockdown news in general, please feel free to go to our website (, where you can also sign up for our newsletter.

Monday, 5 October 2020

'Unlockdown' Website Now Live

As mentioned in previous blog post, I'm now involved with an artist, Sharon Griffin, in an art collaboration project called Unlockdown. Sharon and I (well, Sharon actually) have set up a website and an Instagram page for the project.


It's still early days in the project, as we only started on it a few months ago, but there are already quite a few photos available on both sites, as well as information on what we've been up to so far. Both sites will be updated regularly, and if you check in on either of them, you'll be able to see how the project progresses, and evolves.


Artist, Sharon Griffin, viewing the first sculptural piece from the 'Unlockdown' art project.

Sharon is currently managing both sites, so they are very much in her voice for now. One of the great things about collaborating is having that other voice to bounce ideas off. When we're throwing suggestions back and forth, they subtly alter on each rebound (knocking the rough edges off), until we have something that we're both happy with - and resulting in an idea of which neither of us is quite sure who came up with.

Work-in-progress, clay, 2020, 'Unlockdown' art project/collaboration

In the next few days there will be an excited announcement or two about a key development in Unlockdown. Unfortunately our hands are tied right now, and we're having to keep everything secret squirrel. But, as they say, 'watch this space' (or the website, or the Instagram page).

Sunday, 4 October 2020

'Your Art Matters' Talk For 'United Artspace'

I'd like to thank Michelle Lloyd, the founder of United ArtSpace, for inviting Sharon Griffin and myself to chat about our art collaboration, Unlockdown, and about our lives as artists in general. 

The talk was streamed live as part of Unites ArtSpace's 'Your Art Matters' programme, and it was great be able to interact with some of the platform's thousands of artist members, and answer questions in real time. I can't guarantee that any of my responses were particularly enlightening or that helpful but I did find the whole experience to be a lot of fun.

Monday, 14 September 2020

Two Small Paintings

As I've mentioned in previous posts, I find it creatively refreshing to flit between different artistic mediums every so often. So whilst I was waiting for the resin to dry on the latest sculpture that I'm working on, I thought I'd have a break and do a couple of small oil paintings.


'Bow Tie Man Crying', 2020, small oil painting by Wayne Chisnall

As you can see, they're quite different. The first one is more of a quick, cartoonish oil sketch, that I did to get myself back into the flow of painting again.

The second one, which I've titled 'The Monster' is painted over an earlier painting - one that had turned out unsuccessful because, at the time, I'd probably been too tired or lacked enough enthusiasm to put any real effort into it. I call it 'The Monster' because I've recently re-read Mary Shelley's 'Frankenstein', and whilst painting it I was trying to envisage a version of the monster that didn't resemble the iconic one that Boris Karloff played in James Whale's 1931 classic horror movie, 'Frankenstein'.


'The Monster', 2020, small oil painting by Wayne Chisnall

On the whole I don't have a favourite colour, but when it comes to oil painting, I do love a bit of red.

Saturday, 12 September 2020

'Unlockdown' at University Centre, Telford

The first piece from the 'Unlockdown' art collaboration project between myself and ceramics artist, Sharon Griffin, is now on display at the UniversityCentre, on the 3rd floor of Telford Town Centre's Southwater One building. 


Sculpture from 'Unlockdown' art collaboration, exhibited at University Centre, Telford

Sharon and I plan to create a body of work that we can exhibit/tour around the country. We've already had our sculptural work accepted for a prestigious exhibition that will be taking place next year - details of which we should be able to reveal next month.

Sharon Griffin with sculpture from 'Unlockdown' art collaboration

As Sharon and myself are both Shropshire-born artists, who use a lot of locally sourced materials in our work, we thought that we'd have our series of Unlockdown exhibitions kick off in Shropshire. The University Centre is the first venue but we're already looking at other spaces in the area in which to exhibit.