“I Want To Change The World, Different Same” the ‘higledi-pigledie version’ [30th July 2020] – a saying by Matt The Unfathomable Artist, dip nib pen using original iron gall ink on A3 [180 gsm] Artist’s paper.
The original blog articles containing my quote-saying in various constructive versions are available to read here:
‘Triple Seismic Waves with Oscillation #1’ [July 2020] by Matt The Unfathomable Artist, dip nib ink pen on A3 180gsm paper.
Electronic oscillation produces pleasing visual effects. This artwork seeks to replicate the idea in drawing form using my free hand technique for the curved lines. I love scientific art. Curves, electronics, seismographs, oscillators, earthquakes, sound waves, along with the beauty of artistic courses.
For this artwork I use a nib that creates a double ink line due to the noticeably distant ‘tines’ of the metallic nib. The flow of ink is important with dip nibs where one is wishing to produce a continuous line across a ‘decent measure of time’ once upon the paper.
The effect of oscillation can been seen vertically in this artwork.
‘Tiger Portrait 1987’ [30th June 1987] by Matt The Unfathomable Artist aged 13, carbon pencil on A4 paper, 5.0cm [w] x 5.4cm [h].
Likely I chose this poem to represent the fearsome reputation of wild tigers, perhaps in semblance of my Dad’s favourite poem ‘The Tyger’ by William Blake.
‘The Cougar 1987’ [June 1987] by Matt The Unfathomable Artist aged 13, carbon pencil on A4 paper in landscape. Full signature is shown on my paper illustration.
‘Wild Cat 1987’ [June 1987] by Matt The Unfathomable Artist aged 13, carbon pencil on A4 paper in landscape. Full signature is shown on my paper illustration.
Art Blog Infinitum Signature [c2014].
The truth is I only stopped using this scrolly signature in my late teens to early 20’s in exchange for the speed of signing my name.
Please note I’ve added two new work in progress photographs of my ‘type‘ pop artwork series of paintings. You can view them towards the end of the article, link here: As Yet Unfinished Pop Artwork Studies in Progress.
You will appreciate I’ve much to complete on these two pop art paintings.
‘type: The Unfathomable Times New Roman’ (work in progress, circa 21st May – 26th June 2020)
For my dearest Readers I thought I would share two artworks in the early stages of progress. Please appreciate the freehand pencil work is purposely faint, awaiting the oil painted letters.
Photograph above is ‘type: The Unfathomable’ in ITC Kristen font. The sketched text shown is with HB carbon pencil. Background oil colours are Aquamarine, Cerulean Blue and Titanium White with a refined linseed oil, mixed together, then applied onto the canvases using one palette knife. The palette knife was kept low to the canvases in a consistent swishing motion for uniformity.
Work in progress photograph immediately below is ‘type: The Unfathomable Artist’ penciled in Times New Roman font with the word Artist placed vertically. It should be noted I intend to produce two further pop art oil paintings on Winsor & Newton 36 inch by 28 inch canvases with the ‘type: The Unfathomable Artist’ text displayed completely horizontally on one line.
‘type: The Unfathomable ITC Kristen’ (work in progress, circa 21st May – 26th June 2020)
The text sizing limited my use of fully horizontal typeface for the 25 lettered characters across 20 inches.
‘type: The Unfathomable’ appears on the ITC Kristen font canvas purely for visual impact. Artist is vertically aligned in the Times New Roman canvas for design experimentation. Whilst viewing Times New Roman I suddenly thought it would be super to surround the word Artist in a neon-like light glow 🙂
(you can view an impressive iron gall ink version of this work by clicking the link)
I consider these two first edition pieces as study works for my future canvases.
The Times New Roman canvas received a secondary palette knife overworking to sophisticate the blue textural background qualities. My ITC Kristen blue canvas is raw in palette knife construction to suit the simplicity of the font itself. Some palette knife lines are partially visible in both canvases.
Concept is to distinguish the two artworks one from the other in the design process. The pencil work will be overlaid in alternated Yellow and Green oil paints beginning at the word ‘The’ with Titanium White grammatical colon [ : ]details.
The word ‘type’ will be completed in Lamp Black using the Times New Roman font you see here in both canvases. Times New Roman in Black is used in the original digital Pop artworks I produced (see footnote of this article for the link).
Photograph below shows my ITC Kristen version of the two, first edition, canvases drying. The Times New Roman blue canvas lay left of ITC Kristen on a workbench also drying in readiness for pencil and oil paintwork.
‘type: The Unfathomable ITC Kristen’ (work in progress, circa 21st May – 26th June 2020)
Pop arty facts for these pieces: the blue latex gloves were useful in mixing the blue hue I desired for the backgrounds. I erased some pencil work from time to time using a pencil rubber directly onto the dried blue canvases. Times New Roman has interesting brushwork at the canvas edge.
I shall certainly experiment with canvas edge brushwork detailing in greater depth with appropriate oil works in the future.
The two oil paintings in progress on this page are based upon my digital Pop Artworks originally pictured in my blog article type: The Unfathomable Artist [click to read].
I’ve decided to include further works in progress for these two pop artworks here on this page. Two latest art sessions detailing Lamp Black paint work on ‘type’ along with additional palette work for the background of the Times New Roman canvas shown immediately below:
‘type: The Unfathomable Times New Roman’ (work in progress, circa 21st May – 26th June 2020)
Times New Roman font canvas, with Lamp Black added to ‘type’ immediately above.
‘type: The Unfathomable ITC Kristen’ (work in progress, circa 21st May – 26th June 2020)
ITC Kristen font canvas, with Lamp Black added to ‘type’ immediately above.
‘Ancient Oak circa 1612 – Height & Breadth’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Ancient Oak circa 1612 – Sun Rays’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Ancient Oak circa 1612 – Canopy’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Ancient Oak circa 1612 – Trunk’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Local Nature Reserve – Third Field Views #1’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Local Nature Reserve – Third Field Views #2’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Local Nature Reserve – Third Field Views #3’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Local Nature Reserve – Third Field Views #4’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Local Nature Reserve – Third Field Views #5’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Local Nature Reserve – Oak Trunk View #1’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
‘Local Nature Reserve – Oak Trunk View #2’ – Photography [19th May 2020] by Matt The Unfathomable Artist.
Very best, Matt The Unfathomable Artist.
‘Triple Vertical Horizontal Seismic Waves #1’ [11th May 2020] by Matt The Unfathomable Artist, Blue/Black Iron Gall Ink on specially treated A4 Artist’s Gouache Paper 160 gsm.
Those familiar with my work will appreciate my interest in seismic wave and sound wave depictions. Myself producing numerous free-hand sketches, as shown above, similar in style to how seismographs record ground motions such as earthquakes.
Having lightly sanded the nib of my dip pen, I subsequently sketched ‘Triple Vertical Horizontal Seismic Waves #1‘ and happily signed this artwork. Satisfied with its quality and feeling. I didn’t expect to produce a delightfully enjoyable piece whilst practicing handwriting using my new nib dip pen.
Autoschediastic artworks are as jubilant as carefully planned creations whenever successful. Van Gogh analysed levels of quality ascending to masterpieces in his own work. I’m certainly of the opinion that all his artworks are masterpieces through his ingenuity, obsessive practice and artistic genius.
My artwork, shown above in a digitally edited photograph, was wet with ink as I wasted no time taking this image! Afterwards, whilst writing this article I realize the wonderment of this piece. I’m not immodestly discussing whether it’s a success or not.
No, rather, I’m viewing my sketch as a curiously spontaneous artwork by reason of my lacking fresh quality art paper. You see I hastily ran upstairs to use the reverse side of some old practice sketches made on quality paper. Then immediately, old sketch pad in hand, I returned downstairs to quickly enjoy my smoother sandpapered nib! Scribbling on plain paper, before producing this completely impromptu seismic waves artwork.
The reverse side of this artwork above is less favourable of quality in my own view of how I judge my works. The pen work on the reverse, unpublished side, is good – it just didn’t connect with me technically.
Some earlier unpublished sketches I’ve already signed, some not. Quite laughably without any pre-thought whatsoever ‘I’ve now gone and signed‘ this earlier sketch, albeit upon its newly defined triplet.
I find this genuinely hilarious.
Of course, I’m not the first paint artist or illustrator to do the same thing. I just think it’s the first time I’ve personally utilized earlier sketch work held on the reverse side for a new signed artwork. To be perfectly honest I kind of like the economical use of good quality paper, and that’s the whole nib point.
Except it’s not, because I sanded the nib to a ‘seismic’ curve.
Anyway, do you like my triple vertical horizontal seismic waves artwork?
‘Kinin Valley’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.
‘Nebulaic Cyclones with Wormhole Striations’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.
At the lower mid section of the image we observe heavy sloping, a natural quarry descending downwards towards us. An alien species has perhaps eaten into the landscape in worm-like striations, burrowing strange etches into this now lifeless moon.
‘The Helix Whorls’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.
A time traveller probably visited last Wednesday, one million three hundred thousand years ago, at a time when sturdy shell covered creatures roamed this moon’s macro-phasic atmosphere.
‘Robur Canyon’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.
‘Inescapable Monster Moon’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.
Imagination is Art.
“Straw, Olive and the Azure” [23rd April 2020, digital photograph] by Matt The Unfathomable Artist.
Over several years my primary concern has been with humanitarian, societal, social, economic, renewable energy resources, commercial sustainability, wildlife, natural habitat and world conservation issues.
These neatly arranged trees are, currently, a sound barrier to an adjacent transportational highway. Nature blocking man-made activity. Suffering quietly without a voice. Drying to its sinew the veins of our gracious planet Earth.
Happily, the grass is cultivated for hay stacks.
Through summer of 2019, in the UK, I saw a remarkable increase in butterflies and other insects across this very field. Having noticed a startling lack from past summer seasons.
“They always say time changes things, but you actually have to change them yourself.” – Andy Warhol quote.
“Olive and the Azure” [19th May 2020] digital photograph by Matt The Unfathomable Artist.
Steam trains; cotton, silk or linen canvas built biplanes; cruiseliners; skyscrapers and tractors pulling the plough.
Straw holds multiple meanings to me. Usually I think of the ancient harvesting process for thrashing grain.
A steel sword, droves of horses, hay bales, pyramidic structures, straw bricks and agriculture.
I think of the gentle breeze too.
Olive springs the colour green to mind, juicy olive fruits, healthful oils and good cultivated produce. I envisage fields of olives in symmetrical rows, Azure skies basking in a bright yellowy ripened Sun.
What do you think surrounded in nature?
Please note the difference between the two photographs ‘Straw, Olive and the Azure’ / ‘Olive and the Azure’ shown above over a short distance of time. The field has ripened with green foliage.
“Gazes Are Nebulae”
“Please.
Is not love equally fair?
Does it not take captive the Soul and urge onward thy Mind?
With tongue its gazes are nebulae,
Thy aperture is thee aurora south swirling north of thine domes,
Heart is a Sidewinder, Alexandria, racing meet over fallow sands.
Cup is cameled dirt, gnatted clean,
Dogged muck, faith-fulled bread.”
“Gazes Are Nebulae” – poem by Matt The Unfathomable Artist, copyright ©16th March 2020
Image copyright Matt The Unfathomable Artist, March 2020.
‘Entanglements of Time & Tide [No.1]’ by Sonia Merha Chawla.
Living artworks, historical scientific material, video, and new commissions in print follow intensive residencies in Scotland and mark artist’s debut solo exhibition in the United Kingdom.
The worlds of art, science and technology are set to collide at Edinburgh Printmakers this April.
Celebrated Indian artist and researcher Sonia Mehra Chawla presents Entanglements of Time and Tide, a new exhibition exploring entanglements of ecology industry, culture, politics and
aesthetics.
‘Entanglements of Time & Tide [No.5]’ by Sonia Merha Chawla.
The result is an all encompassing exhibition featuring new commissions in print, video, living artworks of micro-biological organisms and representations of historical scientific material.
Part of the Edinburgh International Science Festival and part of Year of Coasts and Waters 2020 programme, Entanglements of Time and Tide explores how we can make our future more liveable.
Reflecting on the human impact on our environment and in particular effects on microorganisms by capital-intensive heavy industry and anthropogenic activities, the exhibition is in two parts.
‘Entanglements of Time & Tide [No.6]’ by Sonia Merha Chawla.
Speaking ahead of the exhibition opening Sonia Mehra Chawla said:
“Polluted, overfished, abused and threatened by extractive forces, the largest living space on Earth is rapidly declining. Human-induced environmental change threatens multi-species endurance, livability and continuity. We are all interconnected by shared ecologies and entanglements with our other than human kin makes life probable. Can humans and other species continue to inhabit the earth together in collaboration?
‘Entanglements of Time & Tide [No.4]’ by Sonia Merha Chawla.
Running parallel to Entanglements of Time and Tide in Gallery 2 is Speculative Bubbles: Jess Ramm, a new show from Glasgow based printmaker Jessica Ramm.
With the aid of a children’s chemistry set and a selection of household chemicals, Ramm presents a series of prints, that evidence everyday magic, produced on a residency at Edinburgh Printmakers in 2019.
Ramm’s chemical and physical experiments propose alternative ways of navigating humanity’s symbiotic relationship with the material environment while paying particular attention to the extravagance of human aspiration.
Listings Information
Entanglements of Time & Tide: Sonia Mehra Chawla
Edinburgh Printmakers, Gallery 1, Castle Mills, 1 Dundee Street, Edinburgh EH3 9FP
+44 (0) 131 557 2479
Tuesday – Sunday 10am – 5pm
04 April to 05 July 2020 (Science festival 4th – 19th April)
http://www.edinburghprintmakers.co.uk/
Speculative Bubbles: Jess Ramm
Gallery 2, Castle Mills
Tuesday – Sunday 10am – 5pm
04 April to 11 July 2020 (Science festival 4th – 19th April)
http://www.edinburghprintmakers.co.uk/
+++++++++++++++++++++++++++++++++++++++++++++++++
Sonia Merha Chawla
Sonia Mehra Chawla is an artist based in New Delhi, India. She received her BFA in 2001 and MFA in 2004–2005 from Delhi University’s College of Art, New Delhi. Chawla has an interdisciplinary practice as an artist, photographer and researcher. Her artistic practice explores notions of selfhood, nature, ecology, sustainability, and conservation.
Mehra Chawla’s practice is process oriented and research based, with a focus on specific locations and micro histories. Through her artistic projects, she examines how local places contribute to global changes, what drives those changes, how these contributions change over time, how and where scale matters, what are the interactions between macro-structures and micro-agencies, and how efforts at mitigation and adaptation can be locally initiated and adopted.
Through her practice, Mehra Chawla explores, dissects, re-examines and re-envisions spaces that exist at the intersections of art and science, social and natural realms, self and the other, focusing on the important dimensions of human engagement with and within nature, ranging from the built-environment to the ‘wilderness’, and human and non-human narratives and interrelations in the Anthropocene. The artist lives and works in New Delhi, India.
The Unfathomable Artist 