Wednesday, 22 December 2010

Sketchbook to America

I’ve finally finished my sketch book for the Art House Co-op Sketchbook Project - and this morning I posted it off to the Brooklyn Art Library, where it will join all other sketchbooks ready for the nine state tour. All the books submitted in time will do a tour of galleries and museums in Brooklyn, Austin, San Francisco, Portland, Atlanta and Chicago - where the public will be able to book them out like regular library books.

Here are a few drawings from the one that I have just sent off. If you would like to see the entire sketchbook I will shortly be posting all of the drawings (all 40 pages) on my other blog - Oodles of Doodles. I’ll aim for one post a day but we’ll see how it goes.

This drawing takes its inspiration from my sculpture, The City.

As you can see - I have a bit of a thing for boxes on wheels...

...and for things bursting or pouring out of boxes.

So far six states, have signed up to play host to the show but it is likely that more states will take part before the exhibition starts in March 2011. After the tour, all sketchbooks will enter into the permanent collection of The Brooklyn Art Library, where they will be bar-coded and available for the public to view. All participating artists on the tour have a webpage in which to show off their work – and here’s mine.

Friday, 17 December 2010

All New Swirly Skull Prints

As promised – here’s my new, 2 colour, ‘Swirly Skulls on Pink’ screen prints. They come in a strictly limited edition of 60 and each print is signed, titled, editioned and dated. The paper dimensions are 70 x 50 cm (larger than the new, single colour, ‘Swirly Skulls’ prints which are 60 x 40 cm – see two posts down). And as with the new, one colour, Swirly Skull prints, these are also available for the super low, commission-free price of £60 each if bought directly from my good self. If you would like one just drop me an email at .


My new Swirly Skulls prints (see the previous post) have just gone on sale at FAD website’s on-line shop. I’ve also taken part in a Q and A session that can be viewed in the Interviews section of the site. And if you can’t be bothered to click on the link to view my ramblings: well, here they are anyway -

1 If you weren’t an artist, what else would you be?
I’d still be a hoarder of junk. Maybe I’d open my own junk shop. I think I’d be good at that.

2 Name 3 of your least favourite artists.
Only a very tiny percentage of the artwork that I see ever gets me all fired up and excited. It’s not that I think the rest is bad – it’s just that the things that inspire me usually come from areas outside of art, or on the fringes of it. So I don’t really have any least favourite artist (unless you count the artists that a really like but not quite as much as the ones who’s work I really love – I suppose that technically they would be my least favourite), just lots who’s work doesn’t do much for me.

3. Anytime, any place – which artist’s body would you most like to inhabit?
It would be great to have some of the opportunities that certain artists have or have had but I’ve always liked being me and living in my own head so I’ll probably just stick if that is OK.

4 What is your favourite ‘ism’?
Buddhism… oh, you meant art movement ‘ism’.
When I was at University I loved art theory and it really helped my practice to a certain degree but art historians seems obsessed with ‘isms’ and movements and any number of ways of dividing art and artists into either this or that camp. Some artwork interests me and some artwork doesn’t. That’s the only two classifications of art that I need.

5 What was the most intelligent thing that someone said or wrote about your work?
Can’t remember – most of the time people say something to me about my work is while we’re at the opening of a show and I’ve normally had a drink or two by that point.

6. And the dumbest?
Again, I can’t remember but what ever it was, it was probably me that said it.

7 Which artists would you most like to rip off, sorry, I mean appropriate as a critique of originality and authorship?
I can’t see much point in deliberately ripping off other people’s work but as a kid I was obsessed with anything macabre (be it literature, TV, film, comics, animation or whatever) and the short films of animators such as the Brothers Quay and Jan Svankmajer have greatly influenced the sort of sculptural work I produce. Like them I try to make something that looks like it inhabits that half world somewhere between here and the realm of dream or fairy tale.
One thing that I do try to emulate, especially in my drawings, is the natural flow of organic forms. I love the functional aesthetics of nature and I have a bit of an obsession with roots, vines, tendrils and tentacles. They frequently appear in my drawings – either as an aspect of nature or as a biomorphic bridge between the geometric world of the man-made and the world of the organic.
Growing up in rural(ish) Shropshire probably had a big influence on my appreciation of natural forms. As a kid I would spend a lot of time exploring woods and field, and always marvelled at the easy with which nature reclaimed areas of man’s intervention. It was amazing growing up in the place that saw the birth of the industrial age, and being able to play amongst the ruins of old mills, kilns and giant bits of rusting machinery.

8 Do you care what your art costs? State your reasons!
Yes, to a certain extent. It’s very expensive and time consuming being an artist and the price of your work should reflect not only this but also the life time of practise and artistic development that went into getting you to the point you are at now. However, saying that, I don’t know of many artists that don’t make art for the love of it – so even if no-one was willing to buy my work, I’d still be making it.

9 What are the three big ideas that you would like your work to express?
I don’t know if my work expresses big ideas. My work tends to come out of a jumble of personal obsessions, observations, foibles, interests and minor anxieties. There are lots of re-occurring themes or motifs that surface in my work though. There is the roots or vines thing, as previously mentioned, but there’s also my love of boxes and containment. My tower and box sculptures (all on wheels) came about through anxieties about frequently moving from place to place and the logistical issue of transporting possessions. This probably all stems from my earlier experiences as a child when I had to move home a lot (often at a minute’s notice and in the dead of night) and only being able to take what ever we were able to carry. So the boxes and the tower pieces (where as much stuff is crammed into as small a space as possible) are partly a comment on our need for material possessions with the wheels providing a comical reminder of how this dependence on ‘stuff’ limits our mobility.
But there are lots of other ideas and issues that weave in and out of my work. One of these is memory and its mutable nature. I’ve always been fascinated by the fallibility of memory and how the stories of our own lives, that we tell ourselves, can subtly change over years – like a very long game of Chinese whispers. This is more strongly evident in my pieces that incorporate or recreate childhood artefacts and toys. When I made my life size model kit sculpture, And When I’m a Man (I’ll Think as a Man), I sprayed in a lurid green colour that was closest to my memory of some cheap plastic soldiers that I had as a child – recognising that the memory of the colour was probably inaccurate and an exaggeration of the original colour.
The majority of my sculptural work involves the reworking and assemblage of found objects/materials. And I like to use materials that I feel have a certain ‘resonance’ – a resonance that that is built up by interaction with people or the environment.

10 Are you a political artist?
Not so as you’d notice.

11 How do you start the process of making work?
It varies from piece to piece. With my 2D work I sometimes just get an image that comes to me and I try and render it as accurately as possibly – with varying degrees of success. Although recently I’ve been doing a lot of automatic drawing, where I just sit down and force myself to draw as fast as possible. This I try and do without thinking what the drawing will turn into. Again, this works with varying degrees of success but lots of interesting ideas come out of it and I find it to be a very good way of getting the creative juices (I really don’t like the phrase ‘creative juices’ but it probably best describes what I’m talking about) flowing.
As for my sculptural work – they almost always start with lots of preliminary sketches and working drawings. The first stages of drawing tend to be concerned with building a rough image of how I want the piece to eventually look. The next stage of drawings might be concerned with the logistics of construction and problem solving, although this also tends to be ongoing during the construction process, as I encounter unforeseen problems or issues. But as I said, it varies from piece to piece so these steps change and don’t always apply.

12 What next?
After the initial sketching stage I find the materials that I need and work them into the required shapes – then the building process begins as I join the various components together. Here I’m obviously talking more about my box and tower type constructions. Some other sculptures might be formed in a more organic way. The thing I love about sculpture is that it’s a very process based activity – one where the process or the materials themselves can often inform the next stage of the sculpture’s development. This can turn the finished sculpture into a very different beast than originally intended – or give birth to the ideas for a whole family of related but different sculptures.
It constantly keeps you questioning what you are doing (in a similar way to drawing) whilst also allowing you to loose yourself in the work. That sounds quite contradictory – maybe it’s a Zen kinda thing.
I think that the thing I love most about sculpture is that, for me at least, it feels more truthful. There’s something about making sculpture that allows you to lean deeper into your subconscious and come back out again with a few more nuggets of understanding – but I might be wrong.

13 If Moma and the Tate and the Pompidou wanted to acquire one of your works each, which would you want them to have?
I’d let MOMA have And When I’m a Man (I’ll Think as a Man) because it’s my biggest sculpture to date and I’d like it to be seen by a wider audience. It’s also too big for me to store in my studio. I’d let the Tate have The City. Again because I’d like it to be seen by a wider audience but also because it’s my favourite piece so I’d like to be able to visit it whenever I liked. As for the Pompidou – maybe they could have Magnet or Fetish.

14 Complete the following sentence “Blessed art the artists, for they shall make their own worlds.”

15 Complete the following sentence “Blessed are the curators, for they shall arrange the worlds as they see fit.”

16 Complete the following sentence “Blessed are the art critics, for they shall explain these strange worlds.”

17. What is your favourite cheese?
I don’t have a favourite but (fat-free and synthetic cheese aside) I haven’t yet found a cheese that I don’t like – the stronger and smellier the better.

18. What’s next for you?
I’m currently working on a new series of orifice box sculptures. What sets this series apart from my previous box sculptures is a carved orifice set into the front of each piece. However, they are temporarily on hold at the moment as I attempt to fill a new sketchbook before Christmas, so that I can send it off to the Art House Co-Op Sketchbook Project which will be touring around the US early next year.
I will also be exhibiting a couple of sculptures from the 13th January at the new show at Scream in Mayfair.

Monday, 13 December 2010

New Screen Prints - Swirly Skulls

Christmas is just around the corner and you still can’t think what to get Great Aunty Flow. Well fear not – I have just the solution. How about one of my brand new Swirly Skull prints? Guaranteed to cheer up any stuffy old living room and compliment the bewilderingly pervasive ceramic cat collection.

If the image looks strangely familiar then you might remember the postcard-sized single skull versions that I made and handed out free to the folks queuing for last year’s RCA Secret show. I have been promising to bring out this larger, 9 skull version for over a year now but due to a prolonged bought of slackness, I’ve only just got round to it – just in time for Christmas. What a coincidence!

These new hand-pulled, screen prints are in a limited edition of 50 - a much smaller edition than my Spidey Pods prints (scroll down the page for details), and each print is signed, titled, dated and editioned. I’m currently in the process of cropping the prints down from the 70 x 50 cm paper, on which they were printed, to 60 x 45 cm as this size works best with the image. However, I may keep a couple back, un-cropped, just in case anyone would like to frame them in a larger frame with a wide mount. I know that Ikea do a nice 70 x 50 cm plain black or white wood frame, with a mount, for about £20 but I’ve not tried a print in one of these frames yet so can’t comment on how they look.

As they’ve only just been printed, they don’t yet appear for sale in any galleries, shops or other sites. And as is the case with my Spidey Pods prints, I am offering these prints on my blog first, at a commission-free price. They are £60 each (30-50% less than in shops and galleries). So if you fancy buying one just drop me a line at and we can work out how to get one to you.

However, if you like your screen prints with a bit more colour then hang on till the end of the week when I will be bringing out a two colour, limited edition (probably in an edition of 45 to 50 prints) version. This set will also feature the 9 black Swirly Skulls but printed on a dripping block of baby pink. As the block of pink colour extends beyond the boarder of the skulls, the image holds it own on a larger sheet of paper so will be printed on 70 x 50 cm sheets.

So, as they said on something probably quite corny – ‘Watch this space’.

Tuesday, 7 December 2010

Sketchbook Project USA

I know that I usually work well to tight deadlines but I think that I should have paid a bit more attention to when the handing in date for the Art House Co-op Sketchbook Project was, when I signed up for it all those months ago. I knew that it was some time in 2011 but after having a quick check on-line I realised that the completed sketchbooks have to arrive back at the Brooklyn Art Library in the US (ready for their six state, museum and gallery tour - Brooklyn, Austin, San Francisco, Portland, Atlanta and Chicago) by the 15th of January. Taking into account the amount of time it will take to post them from the UK to the US and the fact that I just started my first sketch last night, I’m foreseeing a few very late nights ahead of me this festive season. Lovely!
So here’s what I’ve done so far. A few down – bloody loads to go!

This is a sketch of a component sculpture I made from an old, smashed doll’s head and selection of crabs legs – glued together.

Not sure what was going on in my head when I did this one - just felt the urge to draw tubes and pipes. I like tubes and pipes - what's wrong with that?

Again - not sure what I was thinking when I did this one. It seems to be a slightly depressed, clock-work thing.

I did this one this morning, in the cold light of day - a very bloody cold day (us Brits love to moan about the weather by the way). I thought that I had better start steering myself back towards the theme that I had chosen, and decided to create something that looked like it could be a scavenger. I call him Snozgoul.

And finally... this one. I haven't a clue... you tell me!

Participating artists were invited the chose from a wide selection of themes before starting their sketchbooks. I chose ‘I’m a Scavenger’. Considering my love of rubbish and approach to selecting materials (when sculpting), I think it’s quite apt.
So far six states, have signed up to play host to the show but it is likely that more states will take part before the exhibition starts in March 2011. After the tour, all sketchbooks will enter into the permanent collection of The Brooklyn Art Library, where they will be bar-coded and available for the public to view. All participating artists on the tour have a webpage in which to show off their work – and here’s mine.

Friday, 26 November 2010

Xmas Art Fair and Lucky Skip - Sat 27th Nov (2-6 pm)

If anyone’s at a loose end this weekend please feel free to come along to the Cecil Court Christmas Fair (Saturday 27th November, 2-6 pm), a short walk from Leicester Square tube station, London. The fair sees the launch of Tenderproduct’s new print space - a basement area featuring a brand new collection of books, limited edition artist prints and original artist drawings and sculptures.

Although my new Swirly Skull prints aren’t yet ready (hopefully they’ll be available in time for Christmas), my Spidey Pods prints will be for sale at the launch. However, if you would like to buy a print from me at the ‘direct from the artist price’ feel free to get in touch at They are 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 (being from a maximum edition of 300). And if you would like to get your hands on one, my ‘commission-free’ price is £100 (around 33% off the usual gallery and shop price), unframed.
To find out about the inspiration behind the print check out the original Spidey Pods sketch on my Oodles of Doodles blog.

Tenderproduct’s print space launch also coincides with Garudio Studiage’s Lucky Skip. A hand made artist skip full of wrapped goodies direct from Garudio Studuiage and tenderproduct: WHAT ARE YOU GOING TO GET FOR JUST ONE POUND? An excellent way to kick of the Festive season, Garudio Studiage’s Lucky Skip will provide Cecil Court visitors with an afternoon of delight and surprises.
The Salvation Army Brass band will add to the Court’s festive mood by playing some Christmas Carols. Tenderproduct will be serving sweets and hot drinks to keep you warm as you take your lucky dip in the skip.

 As well as myself, other artists participating in the Tenderproduct launch include: Janne Malmros, Junko Otake, James Irwin, Irene Pérez Hernández, Dan Arnold, Reena Makwana, Joseph Whitney, Katy Binks, Lizzie Cannon, Rachel Gannon, Tomasz Goli, Hannah Waldron, Akiko Ban, Glyn Walton, Nicko Straniero, Jacob Love, Mimi Leung, Sally Spinks, Lisa Slominski, Jeremy Wood, JL Murtaugh, Nicholas Phillips and Luzelle van der Westhuizen.

Saturday, 20 November 2010

RCA No-longer Secret 2010

Well, the RCA Secret is over for another year so now I can reveal which were my six postcard-sized artworks.

Number 411 (Jellyscuttle). Quite a few people worked this one out because it’s a copy of one of my quick-fire drawings.

This tentacle orifice box pencil sketch which was bought by Mr Adam Stone (one of the many dedicated front line RCA enthusiasts who braved the cold weather and camped out for the opening) was number 701 in the show.

Like the previous drawing, this orifice box sketch (number 2002) was probably quite easy to work out as being one of mine, especially if you’ve look at my new series of sculptures.

Number 2441 is a follow up piece to last year’s Love Is card – and features one of the same creatures. A friend told me that they thought the Love Is drawing seemed cynical so I thought I’d up the ante a little with this one.

I entered these last two biro drawings under my nickname, Chig (I thought it needed an outing). They proved to be the hardest ones for people to work out as being mine. This one, number 2210, is of a crow (my favourite bird) with human-like hands instead of feet. Actually there seemed to be a few crow pictures in the show this year. I've just found out that my Werecrow card is now in the possession of Sandy Lyell, up in Edinburgh - thanks for the lovely email Sandy.

I drew this winged torpedo one, number 605, after I got back from viewing an exhibition by a Russia artist in Shoreditch. In the show the artist (whose name I shamefully can’t remember) had made a model submarine that travelled up and down a massive water-filled Perspex tube that ran the length of the gallery.

Tuesday, 16 November 2010

New Member of the Family

Here’s my latest Orifice Box sculpture. The pictures are courtesy of fellow RCA Secret contributor and photographer, Phil Sofer.

This one took quite a long time to construct as I wanted to cobble it together from multiple bits and pieces – to give it a bit of a Frankenstein’s Monster look. As with most of my box structures, I’m interested in the play between the organic and the geometric. Hopefully this can be seen in the interaction between the carved orifice and the angular interlocking wooden sections.

I’ve only just got round to putting the wheels on it – which is the part that I really look forward to as it gives a piece a sense of completion. However, this one isn’t totally finished yet. I’m working on a smaller cubic box (with an exploded front and back so that you can see straight through it) on stilts, that will sit inside this the sculpture. I’ve already completed the main structure of the inner box (which has now inspired me to make a series of them as sculptural pieces in their own right. This is one of the problems with sculpture – each piece can inspire multiple spin-offs) but before it is ready to install I intend to cover it in a thick coat of rusty nails, similar to my Nail Box sculpture.

This is me conducting rigorous structural integrity tests (don’t try this at home kids).

Saturday, 13 November 2010

RCA Secret Artists Party

Yesterday saw the public opening of RCA Secret 2010, the Royal College of Art’s annual exhibition of thousands of original postcard-sized artworks – the sale of which go to help the college’s students. Every year, as a thank you to all the artists who contribute, the RCA throws an opening party. Here are a few photos from that party.

This fantastic character, Peter, has been exhibiting at RCA Secret since it began.

Ooh - I can see one of my cards here.

WANTED - New Studio Space

I’ve not been having a great deal of luck lately on the studio front. After just a few months in my new space in Whitechapel I find out that the building is to be redeveloped and we all have to be out by the end of December.
So if anyone out there knows of any suitable East London (Shoreditch, Bethnal Green, Hackney, Whitechapel etc) space that I can use as a studio please get in touch. Anything over 130 square feet would be perfect. Here’s my email address – . Cheers.

Wednesday, 10 November 2010

RCA Secret Time Again

Well it’s that time of year again – the RCA Secret 2010 show is almost upon us. This year I have entered four pieces as Wayne Chisnall and two pieces as Chig (the name that most friends have known me by since I was ten or eleven). To give you a clue as to which ones in the exhibition are mine, I can tell you that four are pencil drawings and two are black biro drawings. What do you mean ‘those are crap clues’? OK then – here’s a big clue. Two of them relate to the latest set of sculptures that I’ve been working on (see earlier posts). And here’s an even bigger clue – one of the drawings relates to last year’s ‘Love Is’ card.

To anyone that doesn’t know about The Royal College of Art’s annual RCA Secret postcard show, here’s the info (lifted direct from their website – cos I’m too slack to type it out myself) –

RCA Secret is a unique annual exhibition and sale of original postcard-sized art, made by professional artists, designers and illustrators, plus current postgraduate students at the Royal College of Art.

The postcards are displayed anonymously and are signed on the reverse, so that the artist remains a secret until after the cards are purchased and their signature is revealed on the back.

Over 1,000 artists have donated work to RCA Secret this year, including Tracey Emin, Grayson Perry, Yoko Ono, Jake Chapman, Olafur Eliasson, Yinka Shonibare, Sir Peter Blake, John Baldessari, fashion designers Manolo Blahnik, Mary Quant and Sir Paul Smith, animator Nick Park, photographer David Bailey, film maker Mike Leigh and designers Ron Arad and James Dyson, as well as up-and-coming students and graduates from the Royal College of Art.

The exhibition opens on Friday 12 November, then from Sunday 14 November until Friday 19 November, 11am-6pm, with a late opening on Thursday 18 November until 9pm. Please note we are CLOSED on Saturday 13 November due to Government security restrictions for the Festival of Remembrance. Free Admission. The postcards will also be available for viewing on this website from Friday 12 November.

The cards are sold to the public at a one-day sale on Saturday 20 November, from 8am-6pm. Each postcard costs £45 and a maximum of four cards may be purchased per person. Postcards will only be available to purchase in person at the sale. It is recommended that you prepare a list of cards in advance, as the exhibition will not be open for viewing on the day of the sale.
You must have a Collector's Number to purchase a card. Click here to register.

There is a raffle for a chance to win a place in the first fifty people at the front of the sale queue. Raffle tickets will be on sale at the exhibition (with a maximum of 10 tickets per person) until an hour before closing on each day.

Royal College of Art, Kensington Gore, London SW7 2EU
Tube: South Kensington/High Street Kensington
Buses: 9, 10, 52, 452

Wednesday, 3 November 2010

Gone Postal

I must admit that I have been a bit slack lately when it comes to playing my part in the postal art project, Collaborations, that was recently set up by the Finland-based photographer and artist, Adam Monaghan. Although I completed the first two of the four pieces straight after receiving them many months ago – I have only just now got round to completing the second two and posting them all off to the next artist on the list. Now I just have to get round to starting the next four that have arrived.

 This is the third piece in the set – BEFORE I added to it.

This is the third piece in the set – AFTER my addition (note the naughty tentacle).

This is the fourth piece in the set – BEFORE I added to it.

This is the fourth piece in the set – AFTER my addition. I’m not quite sure where the long armed egg thing came from – I think it was getting late and I was getting tired.

The basic premise of the project is that Adam sends out sets of four 18 x 18 cm paintings/collages (that he has started) to various artists around the world. These artists then add to the works and post them onto another artist in the group, who does likewise. Once an artist feels the work is complete they return to Adam. Eventually, when all the works have been returned, we’ll have a small show somewhere and exhibit the end results. The artists currently taking part in the project are Tony Deleon in New York, Dale Devereux Barker in Ipswich, Katie Waller in Brighton, Larry Crittenden in Texas, Irene Runayker in Eastbourne, Carmen Dominguez in California, Kunigunda Dineikaite in Lithuania, Saara Konttinen in Helsinki, Peter Scribetta in New York, Adam Monaghan in Finland and myself here in London.

Thursday, 14 October 2010

Last Night's Melt Private View

Thanks to everyone who managed to make it to last night’s opening party of the first ever Melt Art Fair at the Art Pavilion. The turn out was fantastic and it was great to catch up with a few old friends and chat to some of the other artists.

Unfortunately I’m not going to be in London this weekend so I can’t be here to mingle during the fair’s busiest two days. But the show carries on till 5pm Sunday, so if you are in London over the next few days and looking to check out the various art fairs then feel free to come along to Melt. It’s a great show, with some fantastic work, in an unusual and beautiful space, right in the middle of Mile End Park (a short walk from Mile End tube station).

I like this image. It looks like two characters that have found a common bond in hairiness.

Melt Art Fair, Mile End Art Pavilion, Clinton Road (off Grove Road), Mile End Park, London E3 4QY

Tuesday, 12 October 2010

Melt Art Fair - Opening Party (Wed 6pm - 8:30 pm)

Here are some photos from Monday’s installation of the Melt Art Fair at the Art Pavilion in Mile End Park. The venue has to be one of the most amazing exhibition spaces in London. As well as being an architecturally stunning building (half buried under a man-made hill), it is almost magical how the light reflects from the adjacent pool and plays across the ceiling and walls of the gallery interior.
Along with 40 artists from the UK and abroad, I will be exhibiting a couple of my sculptures, Fetish and Nail Box. Melt is an independent venture, organised by, as an alternative to the established London art fairs, Frieze and Zoo.

Although Melt officially opened today, we will be having opening party/private view tomorrow (Wednesday) from 6pm – 8:30pm (although the gallery will be open from 11am to view the artwork) so please feel free to come along and join us for a drink and a chance to meet the artist involved.

The opening times are from 11am – 6pm, Tuesday 12th to Sunday 17th October (closing at 5pm on Sunday) and the private view/drinks reception will be Wednesday 13th October (6pm – 8:30pm)
Melt Art Fair, Mile End Pavilion, Clinton Road (off Grove Road), Mile End Park, London E3 4QY

Thursday, 7 October 2010

Melt Art Fair

It’s art fair season again in London and from the 12th till the 17th I will be exhibiting two of my sculptural pieces, Fetish and Nail Box, in the Melt Art Fair at Mile End Pavilion. Even though the show opens on the 12th, the private view/opening party will be on Wednesday 13th from 6 pm – 8:30 pm. So if you are in the area do come along and join us for a drink and a chat.

Melt Art Fair, Mile End Art Pavilion, Clinton Road (off Grove Road), Mile End Park, London E3 4QY. 12-17 October 2010. Private view: Wednesday 13 October (6 pm - 8:30 pm).

Saturday, 25 September 2010

Last Night's friday Late View

Last night’s game of Two’s a Pair at the Victoria and Albert Museum’s ‘Friday Late View’ went well. Everyone who took part seemed to have a good time and happily walked away with a piece of original artwork at the end of it.

Wednesday, 22 September 2010

V&A 'Friday Late View' - Free Art

If anyone’s at a loose end this Friday then why not come and join me at the Victoria and Albert Museum in South Kensington, London for the ‘Friday Late View’ (Two’s a Pair).
And if you fancy walking away with a free piece of artwork then come along and put your name down to play the Two’s a Pair, Memory Game. But get there early as they plan to allocate tickets to who ever wants to play and it’s a first come, first served deal. In this game of memory, plays will have to turn over and try and match two identical cards from a selection of over a hundred giant cards – all designed by “leading international artists” (not my words, I promise). And if you manage to match up a pair then you get to take home one of the cards home with you - for free, gratis, nothing, nowt…
When I was asked to produce a pair of cards for the event I decided to reproduce my Gimp doodle from my late night quick-fire drawings project/bed time ritual.

Saturday, 18 September 2010

Open Studio - Today and Tomorrow

It was great to see so many new and familiar faces at today's open studio event. The turn out was fantastic and there seemed to be a never ending procession of people popping through my door - although that could have had something to do with the fact that my studio was next to the free food (which was delicious by the way) and drink table. If anyone would like to come along tomorrow and join us for a chat and brunch, the doors will be open from Sunday 19th, 12 noon – 6 p.m. Here’s a map of the area.

At: La Ruche, 20 Buckle Street, Whitechapel, London, E1 8EH
Tube: Aldgate East