“Yellow Gold Rectangular Frame with Pink/Silver” uses paint I literally scraped from (very nearly) the entire surface of another artwork entitled “covert”. The excess wet pinkish paint was quickly added to this A4 paint marked paper on the 5th May for its first draft.

On the 7th May I continued the piece in my garden late afternoon on the table [of my photographic piece “Cherry Blossom Tree with Table & Wooden Bench”].

Copper, gold, silver and (mid) cadmium yellow then added with my favoured palette knife for this sort of abstract/detailing.

I didn’t time either of these two drafts due to the wet pinkish paint and an instinctive moment whilst in the garden. Approximately half an hour each draft.

I love it with emoji heart eyes.

Next we have “Rectangular Robot Face Triptych”:

Quote from my Instagram:

“I worked on all three of these new works in “Rectangular Robot Face Triptych” obsessively and simultaneously last night after midnight early hours of the 10th May. All three works took me a very messy, timed, 1 hour 23 minutes 25 seconds.

The A4 shown top-right was pre-paintmarked with a near-central bright-red farground.

The A3 was only very lightly pre-paintmarked. The top-left A4 was pre-paintmarked in the pinkish paint from “covert” [yet to be published]. Its sister pinkish piece [pre-paintmarked at the same time] became “Yellow Gold Rectangular Frame with Pink/Silver”.

The larger A3 with five broad red palette knife lines honestly took me an easy [approximate] 20 minutes from start to finish [excluding the very minimal prepaint work from days earlier].

In fact the entire yellow-gold background is all within that [approximate] twenty minutes timeframe along with the red paint added. The yellow-gold was instinctively utilised from working on the other two A4 canvases.

This triptych image configuration is pure 100% improvisation the three works were completed. I certainly had no plan to make these as a whole piece. No plan to become a ‘robot face’ whatsoever. I made them all as individual original pieces.

There are deep intellectual layers occurring in these works.

Subconsciously. Emotionally. Artistically.

Even from things I read that evening of Thursday 9th before midnight. Strange phenomena.

The two A4 pieces were particularly difficult for me to make. Therefore one hour twenty-three minutes for all three is quite impressive even for my own speed painting ability.” – 10th May 2024 by Matt The Unfathomable Artist.

Please think about making three artworks in just one hour twenty-three minutes then combining them to produce a uniformal triptych immediately afterwards at three a.m. in the morning! All three are very beautiful.

The triptych image is from a physical composition I made in my garden from 1038hrs, still on the 10th May. This then required sophisticated editing techniques to create the image you see here.

Let’s catch up with my further works to publish from Instagram with “Cavernous Red Blue Abyss”:

Three (*1, *2, *3) works completed on this day. Two abstracts each in one draft including the beautiful “Cavernous Red Blue Abyss” [aside from its lightly premarked paper from days earlier] (this represents *2 of the three works).

With this piece I had an idea to produce a UFO (or UAP – unidentified anomalous phenomenon) similar to my digital artwork entitled “Propulsion” on 13th October 2023. You can make out this shape from within the abstract here in my silver acrylic paint. Please click my link Propulsion to see the earlier blog article with my digital works, “Original”, “Monochrome” and “Infrared” for “Propulsion”.

From there I am happy to let this artwork “Cavernous Red Blue Abyss” become abstract in nature. As the Viewer you decide if you wish the shape/s to be definable.

I made “Cavernous Red Blue Abyss” quite quickly, highly focused on quality production.

Here is the other abstract “Black Rectangle with Blue”:

With “Black Rectangle with Blue” (represents *3) everything is the flurry of painting activity with my palette knife.

I then excitedly decided upon a black rectangle! Once formed I made precise motions for the way this black rectangle looks upon the paper.

Magnifico.

As with most all physically represented artworks seeing is believing in terms of the quality.

nb Please note “Untitled Character #1 in Red on Gold” previously included within this article has been moved to a privately published blog article.