Most of the time I share the finished pieces, the ideas and the process. Today I want to be honest about the practical side: keeping the studio running takes real resources and I can’t do that on inspiration alone.
I’m an independent artist. I work solid hours, I research, do all my own administration, draft, paint and keep going until the piece is ready. That part is the privilege. The really hard part is that every new work has a cost attached to it.
The gold acrylics, heavier surfaces, panels, varnishes, the technology that keeps the workflow stable, even the cost of keeping this site online so I can keep sharing work with you. It all adds up.
So I’m making a straightforward ask.
How You Can Help
A lot of you have followed my work for a long time. People often ask if there’s a way to support the studio beyond buying an original artwork.
If the work brings you something, if you enjoy the fusion of science, nature and subconscious that I share here, please consider contributing to the Studio Fund.
What Your Support Does
This support keeps the studio moving.
It helps me buy the materials that make the work possible
Covers the running costs of sharing the work publicly
Supports me whilst I’m working on drafts or busily researching pieces
If you can only give the price of a coffee, every donation helps. If you can’t give at all, you’re still welcome here. Reading, sharing, commenting, being present: that support is real too.
To Corporate and Science Readers
If you represent a research body, organisation or business and you see value in supporting research-focused art, I’m happy to receive donations or formal sponsorships to aligned projects. If you want to chat, please reach out directly via email.
“Tiger Lion Sphinx with Human Hair” [25th January to 4th February 2025, four distinct drafts] by Matt The Unfathomable Artist, acrylic painting with human hair and gesso substrate on A4 250gsm mixed media paper, 5000 x 3506 pixels.
The Tiger-Lion Sphinx: A Sovereignty of Gold, Hair and Bronze
This work nearly didn’t exist.
On 3rd February, I stood before a substrate asserting more energy than form: discordant, insistent, requiring a clearer structure.
Certain elements were already carrying weightiness: the textural-energy, the intricate gravity of mass, and the rectangle waiting to be realigned. The task was not to “save” the work, rather one of shaping its authority.
The Substrate as Evidence
The surface behaves as a living archive. Human hair, integrated with gesso and pressed beneath deep green acrylic impasto, forms a raised terrain that directs the composition from within. The wild creature’s face does not sit on the canvas; it architecturally supports the material, shaped by the biological fibres beneath. The human element becomes structural rather than symbolic: absorbed, and returned to a form that exceeds the human altogether.
Not a crisis of confidence — more of acknowledgment.
Displacing the Human
The classical Sphinx, a human head on a lion’s body, centres human primacy. This work reorders that hierarchy. The human is removed, replaced by the dual sovereignty of Tiger and Lion.
The image gestures toward myth, then holds in modern ecological realism. Childhood iconography sits in its lineage, yet the present era brings a focused realisation: habitats contract, corridors fracture, populations disperse. These animals are no longer allegorical symbols. They stand as living measures enduring pressure, navigating worlds that continue to narrow through fragmentation, depleted resource and prey, with conflict at the margins.
By displacing the human face, the Sphinx returns to the wild: a hybrid of hybrids, a living alien, carrying the contemporary weight of existential survival.
Realigning the Rectangle
The final stages were an act of enforcement in embellishment. “Realigning the rectangle” is compositional discipline: clarifying the outer gated boundaries, fixing the geometry and asserting the relationship between frame and symbolism.
A metallic hierarchy stabilises the form:
Gold acrylic grounds the base, establishes ancient authority.
Bronze carries the highlights, holding age, endurance and uncompromising presence.
The green impasto over the hair substrate centres as living ‘Earth’ – functioning as the connective biology rather than decoration.
Iconographic DNA
The dashes and dots operate as visual DNA. They form a coded field: a numerical pattern over-embedded into the surface. They are designed for symbolic resonance, instructions that remain active even when uninterpreted.
Compositional Gate
The final resolution is one of material thought.
Tiger Lion stripes remain intact in their raw state, while the rectangle functions as a rectified frame: a boundary that highlights the sovereign logic of the creature within. Nothing is softened or diluted. The portrait is permitted its full weight and the form arrives at its intended position.
What results is a compositional gate: a rectified frame displaying a specific creature-logic within. The rectangle is resolved. The hierarchy is established. What remains is a presence: an iconic hybrid of hybrids that reads as portrait, wildlife and civilisation, in its effect upon the environment.
“Golden Whale with a Voice” [21st to 27th September 2024] by Matt The Unfathomable Artist, acrylic paint on 250gsm A4 mixed media art paper, 6960 x 4896 pixels.
The Visual Narrative
In this piece, colour is not just decoration; it is sound.
When the background shifted to this luminous yellow, the entire painting began to sing. Super-complicated, intricate layers build up a history across the surface, a little like sediment gathering quietly on the ocean floor.
You might notice the distinctive textural qualities – complex, organic patterns. The exact method involves a surprising household material; the full process is recorded in my archive for subscribed Patreon‘s.
On the 27th of September, in the final stages of the work, I added the mouth. That single decision completed the image, turning a marine form into a character with something to say.
A Character for the Big Screen?
There is a clear personality here. This is not a formal study of wildlife.. <laughs>; it feels like the first frame of a story.
Golden Whale has that rare, charismatic quality – a presence that seems ready for close-ups and long shots alike. One can imagine him swimming through a feature-length family animation, guiding an adventure with heart, humour and depth. He looks like a star patiently waiting just offstage for wondrous storytellers to call “Action”.
The Unfathomable Connection, Conservation:
Although the palette is bright and jubilant, the inspiration comes from a true oceanic story about conservation and plastic pollution.
We often talk about “giving a voice” to the voiceless. Through layered paint and the glow of gold, this whale found his voice. The image feels joyful, yet it gently asks us to listen to what the sea is trying to say – about care, responsibility and the futures we are shaping.
Process & Drafts
This was one of the most demanding paintings I have created. It moved through multiple drafts and a major shift in colour thinking before arriving at this final golden state. Earlier versions explored different backgrounds, including challenging metallic tones, before the yellow finally unlocked the character’s full presence.
For Patreon patrons and serious collectors who wish to see the unseen layers – the early silver drafts, the secret texturing technique and the long search to find the soul of the piece – I have shared exclusive step-by-step drafts on Patreon.
“Oak Eyes [3×2 Collage]” [28th/29th November 2025] by Matt The Unfathomable Artist, digital artwork, 9000 x 8170 pixels.
I made an entire first draft for “Oak Eyes [3×2 Collage]” within one hour.
The Resonant Land
Does the landscape hold consciousness?
In “Oak Eyes” I have stripped away the expected greens and browns of the English countryside to reveal a heightened chromatic vibrancy, an amalgamation of ideas brought into focus.
This digital piece grew from two realities: the standing, living history of an English Oak and the exposed inner secrets of a large felled branch. By fusing these states through digital collage, I created a synthesis of the living and the repurposed.
Icy blues and blazoned horizon settle into a steady awareness, repeated into a 3×2 grid that beautifully echoes both film frames and pop art history. My subconscious naturally draws upon interconnected themes, like an artisanal builder selecting the finest materials.
For me, the work asks the viewer to sense a quiet guardianship, a calm defiance against habitat destruction.
Process & The Architecture of Sight
The image began with the immensely pleasurable action of photography in the field on my nature walk of 25th November. Six unique compositions, three of which have already produced artistic output.
Let’s give you wonderful visuals to picture the scene of my nature walk here, shall we:
King James VI & I Oak of 1612 on 25th November 2025.
This tree and nature reserve with all its wildlife has fascinated me as otters to the sculptor.
Cross-section of its fallen branch on 25th November 2025.
Image includes my size 13 UK field boots. Fit for British weather, so they are.
In the meantime, let’s return to the digital artwork of our blog article, “Oak Eyes [3×2 Collage]”..
.. the first input source for my 3×2 Collage is the 1612 Oak in landscape, ancient and gnarled, holding its ground against the weather. Regularly enjoying the oft marshy, water-retaining field I’ve affectionately called King James Meadow (of VI & I fame).
The second input source is the cross-section topology of the manmade cut, fallen branch log, seen above in my photograph. Concentric rings record centuries of growth lines.
This hefty log itself standing exactly where I placed it some years ago, to prop up the wood-and-wire mesh fence; a fence since removed, perhaps for maintenance or to open up the two adjacent fields.
Through digital manipulation, I overlaid the cut timber onto the canopy of the standing tree. The dark central rings duplicated into twin “Eyes” to look out from within the grain. These bring life to the newly formed digital oak work – a human-like quality, a distinguished character.
Colour grading carries the imagination away from literal description. The central canopy shifts into an electric, icy cyan visage while the horizon is ultra-vivid in deep crimson. That reddish horizontal band feels like the passionate heartbeat of the earth. The high blues carry the cold breath of air over ground that seems frost-touched.
It takes the creativity of a painter and the technical precision of digital practice to turn two separate photographs into a multi-layered artistic work.
Visual Reading of “Oak Eyes”
The 3×2 grid transforms a single tree into a coherent, repeating assemblage.
Hollowed Hair: Above the horizon, two forearmed branches reach forward. The ‘Aristolochia gigantea‘s hollowed hair‘ is actually constructed from the upper-right cut infundibulum-like form within the fallen log!
Crimson Orange-Red Eyes: Despite the fiery looking colour of the oak’s eyes, the manner is pleasant and appealing. A warm, inviting nature for a certainty.
Icy Cyan Landscape: The flora and chest area of the trunk provide a sense of coolness — a perfect chromatic foil to the crimson eyes and blazoned horizon.
The Unfathomable Connection
“Oak Eyes” sits within a line of works where I coax an interconnection between the inanimate and human personality.
The work invites the viewer to regard the oak as more warmth than cold — a subtle inversion of colour theory and emotional reading. Eyes also serve as a symbolic oversight: the oak having stood for centuries, holding seasons, weather and human timeframes within its aged circles.
There is a protective quality here too — the sense that the land is watching us through the eyes of the tree, desiring everyone to appreciate its ruddy warmth and attractive gaze.
Assigning human vision brings character. The 1612 Oak is not empty or lifeless; it’s a living organism with a magnanimous, centuries-old storyto tell.
“Equation M Electro Cell” [5th to 8th October 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 3000 x 2199 pixels
Connecting the Circuits
With Equation M Electro Cell, I wanted to return to the hardware – the physicality of things, rather than how computers operate.
When I look at the finished painting, this feels like a heat-hazed circuit board, a motherboard still holding warmth from the last surge of power. Immediately I recalled my dad’s interest in electronics. I’ve written before about the “type: The Unfathomable… Artist – Electronic Version”. Equation M Electro Cell sits in that lineage of technical references.
My dad worked with soldering irons, resistors and capacitors. I work with pigments, surface and the subconscious. The instruments are different, yet the impulse is recognisable: to make a connection, to get something to come alive, to coax an interconnection between the inanimate and human.
Process
To give the central form its particular presence, the painting needed to be built carefully. I began by painting the surrounding ground in that deep near-black and allowing it to dry completely. The surface became a kind of stable void for the central characterisation to materialise.
Only then, the following day, did I lay in the central block of colour, working the wet paint precisely. This is the intricate part. While the paint was still malleable, I used sandpaper edge to drag, scrape, and meticulously draw through the layers. The method hints at Gerhard Richter’s drag techniques, although here the abrasive surface of the paper takes the place of a squeegee.
The sandpaper pulls the golds, ochres, electric blues and violets sideways across the image. It micro-reduces the physical texture whilst increasing the visual depth, carving out bands and striations that feel close to etched copper tracks on a printed circuit board.
Upon producing the chance ‘double M waveform equation’ at the top right of the colour block, I decided this is the entire piece itself. Further interventions with the sandpaper were measured visually—finite, and inch-by-inch considered in specific colour block areas.
Whenever I note a valuable artistic representation in a piece, I do everything to preserve the uniqueness – purposed or chance.
The Equation
The result is a kind of ‘flat textural’ field. Looking distinct from a classical era painting and more like something printed, pressed or photographic film plate– as if a motion recording in an analogue system had been frozen, glitched and made visible.
I called the work “Equation M Electro Cell” to explain a self-contained apparatus for energy transference. A cell of stored charge, or a fragment of data, suspended in the mainframe. For me, this has the same quiet magic as looking into an old radio and seeing the valves glowing: a mix of warmth and nostalgia with music harmonising softly in the background.
Did I ever tell you about my dad’s valve amp radiograms?
“emi mi” [29th May / 1st June 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3716 pixels.
The Silent Sentinel
Art reflects a shared conscience and understanding.
In “emi mi” I switch from flowing gesture to firm geometry, using the cool poise of mid-century science fiction as atmosphere rather than subject.
While “The Day the Earth Stood Still” centres on Klaatu—the messenger—my focus is destructive force: Gort, the mute power that enforces the warning. This piece does not depict or reproduce any character or image from that film; the reference is conceptual.
The Abstraction of the Enforcer
An irregular silver monolith commands the field. This is not formal portraiture, rather a distillation: visor, eye, shield. I rarely embrace strict forms, yet to convey a cosmic arbiter the organic yields to rigid structure. The silver plane intrudes with order, dominating the canvas.
Oversight of Human Entropy
Though the style nods to mid-century sci-fi and modern abstraction, the story is present tense. Klaatu arrives to assess; Gort stands ready to act. Here, the silver mass is a celestial oversight of man-made harm. Surrounding bands—oxidised copper, burning gold, bruised violet—signal extraction, scorched habitats, pollution and the dull red of conflict. Hard demarcations: cold corrective logic set against heated disorder.
The Weight of the Ultimatum
Silence is the threat. This presence sees not argument or contention; it measures. Metallic impasto reflects actions. The painting is a study in accountability: by reducing the “enforcer” to a single dominant shape, it asks whether a civilisation can survive its own inventions—or face the consequence of the silent sentinel.
Who or what is the silent sentinel to you?
Is it purpose, chance or cause and effect?
Title Note:
‘emi mi’ fuses EMI (electromagnetic interference) and MI (machine intelligence) with linguistic echo of the self. Succinctly referencing “Mi” iconography as a superscript while the lower-right “M” signature is dually stylised as the human presence to whom the geometric form inclines for direction.
Artist produced and directed AI generation with Adobe Firefly.
Music licensed from Pixabay.
Provenance: From the artist’s Estate
Curatorial:
Father of Sci-Fi operates in the tradition of poetic film documentary.
Envisaging overheated mechanical instruments as a warning against unchecked manmade systems that built them; the film’s central imagery—gauges and thermometers—provide a fine argument for climate discussion in denial.
By placing H. G. Wells as the background inspiration, I’m drawing upon a vivid history of industrial biography to implore systemic commercial change.
Science-fiction is treated as a logic to prime societies into accepting large-scale industrial change. Avoiding the often reported dystopia of future civilisations. That same logic can be used to prepare humane futures rather than excuse extractive ones.
The film’s ecological thesis is a beautiful blunt instrument in itself.
War and resource harms are not only a human tragedy; they are an accelerant of ecocide. Ruining soil, water and air in the moment, locking regions into disaster zones through spiritual or monetary corruption. The poem names this as anti-cyclic use of Earth’s resources: a refusal to close loops, to repair flows, to respect sustainable limits.
Formally, the piece is a crafted sense of emotive visuals. Battlefield grounds read like scorched plates and ravaged lands. Ancient Egyptian symbology suggests melted ore and coinage, tying metallurgy to monetary currency and to the direct pricing of economic damages.
The narrative language is highly tactile—heat, force, mass—ethics coupled to matter.
For museums, Father of Sci-Fiinvites cross-departmental interpretation. Residing comfortably beside media art, environmental issues and design. Art speaking to public-facing programmes on climate literacy, post-conflict recovery and wise economical transition. The work’s request is modest and exacting: learn to read the warning gauges we already have, shift policy, industry and culture to fully enable political administration to appreciate avoidable risks.
“An instrument panel for conscience—counting the costs of economic ecocide”.
“My Hands” [4th to 10th April 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) 2mm primed wood board, 7138 x 5000 pixels.
From social media:
“I photographed my hands in the composition you see in the painting at 1454hrs 4th April. By 1525hrs I made the hands first draft consisting of the paint drawing outline and newly filled bronze.
I worked a mars black and egg yolk ground prior to this. Highlighting raw artwork to hint at an aged wooden panel origin.
Each day I meticulously added further sculptural details to attribute elements specifically inspired by da Vinci.
“My Hands” is made in twelve drafts with finite adjustments to finissimo.”
The Iterative Object — “My Hands”
This analysis sets out the work’s core understanding.
Palette & Surface Substrate
A deliberate study in contrast and textural hierarchy:
Ground: Egg tempera. An archival, near-classical substrate that provides a stable, absorbent foundation.
Field: Mars Black. Delivering maximum chromatic counterpoint and visual field bringing the central relief into legibility. The black-umber defines the sculptural presence of the hands.
Positive Form: Bronze and gold acrylics laid in heavy impasto. The texture appears as code. Ridges and channels register the act of making, turning the hands into sculptural form.
Process: The 12-Draft Iteration
The piece is a meticulous, thought-expressive gesture.
Twelve discrete drafts to the final form. A programme of finite, meticulous adjustments. Each draft refining the silhouette, texture, and balancing the gold-bronze relief against the dimensional void.
Composition & Visual Reading
The central form — “My Hands” — reads as a singular sign, almost a sigil.
The joined hands create a stable platform. Gesture suggests warmth, empathy. An aperture between the thumbs form a focal point — a deliberate contemplation within the metallic formation.
Lifelike gold-bronze construction, architectural drawing, sculpture, layers of artistic formulation.
Can you envisage this work as a Bronze sculptural piece?
“aš imin” [21st August to 5th September 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wood panel, 3000 x 2251 pixels.
My composition “aš imin“ is a deep analysis into universal patterns of life and connection. The central form suggests a branching structure—simultaneously reminiscent of ancient coral, fossils, vascular systems, dendritic neurons or fauna—while deliberately avoiding direct classification. This ambiguity is crucial, allowing the form to function as a multifunctional symbol of growth.
A heavily textured composition of gold and bronze is framed by sand and white pigment. Beneath this is an earlier red–gold ground—essential to the final dialectic. The stratigraphy produces a studied tension: an archaeology of the surface. The form reads as an excavated artifact, granting graphic immediacy and visual resolve.
While my working title “Archaeological Tree” gave meaning, the interpretive process following its completion revealed a more definitive understanding to me, embodied in the final title, “aš imin“, through my use of ancient linguistics.
The work’s ultimate artistic identity emerges for research, intellectual conversation and viewing pleasure.
“the god”
“the god” [30th June to 10th July 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3735 pixels.
In my work “the god” my intention is to explore the archetypal nature of power and divinity. The piece is built upon a fundamental contrast between the sacred and the primal. I rendered the central figure in heavily textured gold to signify its timeless, iconic status, while the gestural ambiguous form resists simplistic definition.
A being simultaneously monumental and vulnerable, divine and earth-bound.
The surrounding field of expressively textured black is not a passive ground, rather this is an active inference through the body—the source of invention and mystery from which the figure emerges. My technique here is founded in 19th Century brushworking styles; the raw impasto of both the gold and black surfaces is meant to convey a sense of primal energy and ancientness.
This is a deity, a force weathered by millennia.
In its afterlife, the figure resonates with modern mythologies—interlinked with cinematic icons whose alien brilliance and public acclaim embody the uniqueness the work seeks to crystallize.
Love, too, is a force that endures beyond death.
Both “aš imin” and “the god” are foundational works within the Estate of Matt The Unfathomable Artist.
A direct engagement with the symbols that underline human consciousness, created to be a powerful, resonant statement to speak across cultural and temporal boundaries.
These pieces are therefore symbolic portraits of past and modern life, a system—a direct visual language underlying human consciousness; across cultures and epochs.
“NAWT” [17th/18th June 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3803 pixels.
“NAWT”
I view this piece as childlike, a baby suckling his mother.
Five compositional areas organised by raised gold ridges that act as structural boundaries and energy channels.
Left: A stacked, totemic block in reds and olives, pocketed with yellow cells. The perimeter gold line is noticeable, enclosing smaller islands and voids; interior ridges create sub-chambers.
Centre: A vertical plume of warm reds with ripple textures. Gold points punctuate the column, giving a sense of heat or rising material.
Right: A cool turquoise plane meeting a dark indigo/violet corner speckled with gold edging. The m signature contrasts the chroma and scale.
Palette & Surface Warm spectrum (red, ochre, olive) opposed by cool spectrum (turquoise, indigo). Heavy impasto gold forms the highest relief; underlying layers show brush striation and dragged texture that directs the eye vertically and diagonally.
Direction
A diagonal ridge travels from lower centre to the turquoise plane, functioning as a natural partition: it carries the centre visually.
Vertical waves in the red plume interlink to seismic waves works during the Iron Gall Ink flurry period.
Canvas Separation
Perimeter Gold Ridge: Seal forms from the background, preventing colour wash and establishing the object/ground hierarchy.
Left Internal: Multiple small gold lines divide the left block into micro-cells (pockets/voids), creating a chambered topology.
Central–Right Boundary: The raised, slanted gold ridge that delineates the warm centre from the cool right; is both barrier and channel.
Indigo Corner: Ragged gold edge where indigo meets the warm fields; the edge retains discrete gold as floating nodes.
Turquoise Plane: A near-flat field bounded by slight ridges, acting as a pressure release zone.
Compositional Understanding
Rule of thirds tendency: Left mass ≈ one third, central plume ≈ one third, right release ≈ one third.
Figure–ground: The indigo corner behaves as negative space whilst activated by gold; the left behaves as positive mass.
Behaviours
Gold medium used as structural relief and optical highlight.
Visible drag marks suggest slow, deliberate pulls; ripple patterns imply wet-on-wet movement control.
Edge fidelity of ridges indicates masking-free, hand-guided boundaries.
With “NAWT” I didn’t use masking, I rarely ever do. The last time I utilised canvas masking (whatsoever really or at least to any significant degree) is in Two Swans Together sometime ago in 2013. Goodness, the work I made for myself in Conker Lots for my refusal to canvas mask. Conkers affixed first, then highly careful painting, no masking.
Emoji hearts eyes mode activated from a distance.
Visual Meaning Containment vs. expansion; heat to cool; pressure building then venting. The eye experiences compression in the left and cooling/space in the right. The distinct canvas spacing makes this legible by preventing chromatic dissection and choreographing the viewer’s path.
Quadruple intellect angles sought, times ten to the power of one hundred.
Signature Placement Lower right m within the turquoise field—chosen to sit in the calmest zone, preserving legibility while completing the warm–cool dialogue.
No originating concept or preconceived theme(in the actual painting), just painting to enjoy the process. The title is the first word arriving to mind. A painter freestyling, having fun! Although originally I intended this composition:
Original composition for a new painting (NAWT).
Is this a concept or preconceived theme?
No. This is a composition. My painting from the outset was devoid of concept or theme since the original composition ideas didn’t translate into the painting.
I created same (a concept) upon painting, through the working act of subconscious play.
Whereas .. “DANGER: Men at Work with Missiles” had a concept.. symbology, signs, iconography. From here I produced the theme, which became missiles. The ‘signs’ interlinked as a visual concept:
“DANGER: Men at Work with Missiles” [21st to 24th June 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3725 pixels.
A sign-language visual painting: bold perimeter gold ridges define a two-part emblem that reads as industrial icon + ordnance bracket. Internal strokes (red/orange, turquoise, ochre, black) ride a white ground, all set against a matt green field.
Thirty seconds to comply. Sounds fair.
The palette and edging are engineered to feel like a warning placard lifted into relief.
From Study to Painting (alterations)
One of six study drawings made quickly on lined Notepad paper.
Study drawing (notepad, lined): angular A-like left mass + jigsaw-like leg; arm-bar stretching upwards (highest pencil shape), stylised facial totem nested in the body; linear hatching; a circular peg-coil (the original head with its adjacent arm); missile at this point is the intended triangular head looking up towards ‘m‘!
A3 painting: the facial totem becomes a mosaic of micro-strokes; the arm-bar is retained as a rightward cantilever (or left), softened by curved infill; all outer lines become raised gold fields; hatching converts to channels of colour; the lined-paper constraint dissolves into a continuous awesomely beautiful green plane.
Net effect: the sketch’s diagrammatic figure becomes a sign-object—legible from distance, intricately textured up close.
Hardwork is in the details.
Practice unseen. A life unfathomable.
Different.. communicated for you, by me. Honestly. I love.. places (compute the analogy, derive the connection, distance the meaning).
Use of Canvas Space
Scale shift: notepad lines → A3 board. The jump in size allows thicker ridges and deep impasto, turning flat signage into tactile relief.
Field control: the gold perimeter acts as containment; interior gold seams partition silver ground into cells, preventing chromatic dispersion. Soldering iron is a fusible metal alloy.. interlink NAWT, in wordplay. Please tell me you like my eccentric brain.
Background: uninterrupted green creates a civic-utility register (worksite, military range, municipal warning).
Visual Reading
Left mass: triangular engine/gantry—work zone, man-human-power, structure, a literal symbolic missile.
Arm-bar: launcher lever —missile semantics without literal depiction.
Internal script: curved strokes function as a traffic of signals—command streams, siren paths(?), evacuation arrows(?).. symbology as yet understood.
Black vectors: fault lines(?) / blast trajectories(?).
Turquoise and orange: emergency contrast pairs (sea/sky vs. heat/hazard).
Gold ridges: authority, hardware, state apparatus; also separation-field technology. Perhaps.
Symbology & Signs
This work visualises the Estate’s sign lexicon: simplified shapes that communicate under stress. The artwork pairs with “Ye Mud, Ye Mud” (hummingbird + sign). The hummingbird = life, agility, energy; the missile sign = threat, projection, interruption. Together they outline a grammar: warning vs renewal. The common element is the sign-board frame—public language.
War News & Civilian Anxiety
Headlines about strikes and air defenses have migrated into daily cognition as icon flashes. The brain processes shapes: triangles, bars, chevrons. This painting uses that compression. Acknowledging the worksite metaphor—“men at work”—dissecting work with missile labour: logistics, manufacture, targeting, interception. The result is an ambient alert: the feeling of operating under siren logic while still trying to build.
Micro-signature & Detail
Includes a rare micro “m” (embedded within the paint architecture), consistent with discreet practice. Relief height slightly varies across the perimeter; interior gold seams are intentionally irregular to keep the sign hand-made.
‘m’ detail within “DANGER: Men at Work with Missiles”
![Golden Whale with a Voice [21st to 27th September 2024] by Matt The Unfathomable Artist, acrylic](https://theunfathomableartist.co.uk/wp-content/uploads/2025/12/golden-whale-with-a-voice-150-jpg-20240927_125619.jpg)
![“Oak Eyes [3x2 Collage]” [28th November 2025] by Matt The Unfathomable Artist, digital artwork](https://theunfathomableartist.co.uk/wp-content/uploads/2025/11/oak-eyes-3x2-300dpi-jpg-28112025.jpg)
The Unfathomable Artist 