William
Mokrynski

   |    8/8

St. Martin's Cathedral, Bratislava, 2011

Plaça de Santa Maria, Barcelona, 2009

New Oxford Street & Shaftesbury Avenue, London, 2011

Ulitsa Vosstaniya / Nevskiy Prospekt, St. Petersburg, 2010

De Roode Leeuw, Gouda, 2009

Church of our Lady, Brugge, 2009

Ronde Lutherse Kerk, Amsterdam, 2010

Szabad sajtó út / Váci utica, Budapest, 2009

Rue de l'Industrie, Geneva, 2011

Colegio La Salle, Sant Pere més Alt, Barcelona, 2009

Ulitsa Konstantina Zaslonova / Ulitsa Voronezhskaya, St. Petersburg, 2010

Synagogue Košice, Košice, 2009

Fö utca / Jégverem utca, Budapest, 2009

Resslova / Dittrichova, Prague, 2011

DLT (Dom Leningradskoi Torgovly), St. Petersburg, 2010

Rijksmuseum (east side), Amsterdam

Nuruosmaniye Mosque, Istanbul, 2010

North West Corner, Oxford Circus, London, 2010

Procuratoria Della Basilica Di San Marco, Venice, 2009

Albert Bridge, London, 2011

Pergamon Museum, Berlin, 2009

Primate's Palace, Bratislava, 2011

Werderscher Markt / Schinkelplatz, Berlin, 2011

Petit Pont / Quai du Marché Neuf, Paris, 2009

Oriel Chambers, Liverpool, 2010

Cellebroedersstraat, Antwerp, 2009

Prinsengracht / Leidsegracht, Amsterdam, 2010

Nylon Chrysalis

Scaffold structures and building nettings can be found in many cities. Their presence a universal symbol of the city in transformation; cities that are never complete, always in a state of flux. These utilitarian structures of tubes, planks, and coverings, shift when the sun has set and the construction sites become vacated. The scaffolds and nets attach, and envelop host buildings much like an insect’s woven pod. Bathed in the sodium and florescent glow of the surrounding city, scaffold chrysalises take on new form and become their own sculptural being. Like a butterfly’s chrysalis, these quiet structures hide a metamorphosis within.

Photography paralyzes the temporal existence of these structural entities. The photograph is both a document of the mundane, and a preserved artifact of overlooked beauty. The flat, stock lighting of the urban nighttime setting collapses geographic proximity. These are not views of a city, but views of the city. Together, this collection forms a new topography.

The city of Thekla, from Italo Calvino’s novel Invisible Cities, composed entirely of cranes and scaffold exists only in imaginary form, but can be found in scattered pockets within all of our cities.


Chromogenic prints, 50 x 60cm edition 8 / 120 x 144cm edition 4.

EYEMAZING Magazine issue 04-2010, feature article about Nylon Chrysalis.
3.6MB PDF

Work from Nylon Chrysalis is available from EYEMAZING Editions.