Nyssa Walster

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Contact

If you would like to get in touch about my artwork please email me at:

nyssa.walster@gmail.com

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About Me

Nyssa Walster: I am an artist that supports group art workshops and produces artwork for sale, please contact me if you would like to commission a piece. Currently I am using mixed media to make Contemporary Sculpture, Co-hosting art workshops on sculpture, painting, printing, and casting.

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Artists and Influences

Space Collective
Billie Ireland
Karla Black
Julie Mehretu
Fiona Rae - Tate Collection
Callum Innes - Frith Street Gallery
Callum Innes - Ingleby Gallery
Edina Tokodi
Anna Garforth

Video Links

Liquid Magnet Sculpture
Chris Dobrowolski
Andy Goldsworthy, Working with Time
Weather Harp
Monkey Drummer - Chris Cunningham + Aphex Twin
Superbien - Envision: Step into the Sensory Box
FLUX
Benalo's Sonic Sculptures played by Ucture

Archive

April (1)
September (1)
August (1)
December (1)
October (1)
October (1)

Evolution of a Problem

Glorifying Glitch

What would it be like if waste was valuable, if the world was turned on its head and the poor were rich?

If value, like happiness is just a point of view, anything can be valuable so long as the audience believes it is so. With this in mind, I have produced artworks that alter the status of discarded objects. The process I have developed clears the object of colour and identity that distracts the viewer from the beautifully intricate details that lace the surface. I then patiently reveal the marks on the object with pen, producing a lace-like structure that gives the object value through the time spent drawing on it.

The random web of marks has no definite form or shape, allowing the audience the freedom to create their own pictures in a process known as Pareidolia. This process allows us to identify images such as faces from minimal details or in random patterns such as clouds.

Objects that I apply my pen to are found discarded on the street or in skips, they are debris from our throw away modern world. I believe each object has a history contained in the marks on its surface; this story is so small and insignificant that, unless it is highlighted, it would be forgotten. Historical objects have great value and by giving these discarded objects a history, I hope to increase their value in this extent.

The repetitive action in the process of tracing around the outlines of muck and marks is meditative, I find it interesting that this process yields a random outcome and unique surfaces every time. Each object therefore has an individual personality and a life of its own.

Allowing the audience to handle the object is a way of giving these pieces a new life. This form of displaying means the viewer can add to the marks on the surface through excessive handling, adding to the objects history. A tactile method of displaying also helps the object to stick in the mind of the audience, which once again gives the object importance.

I invite you to Glorify Glitch.

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