Wrens Youngling Oak

Wrens Youngling Oak Matt The Unfathomable Artist
“Wrens Youngling Oak” [29th/30th May 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3755 pixels.

Wrens Youngling Oak

First, bracketed commentary from my pre-published social media:

Wrens Youngling Oak is a lush expressive painting of young oak branches in alla prima.

Produced with an accurately layered painting technique from my original photograph, the surface is nicely textured—conveying both the density and vitality of a woodland environment seen in spring or early summer. The swirling greens, radiant in bursts of black, white and bluish brushmarks, evoke a sense of shimmering foliage filtered through fragmented light.

At the compositional core, elongated vertical trunks extend upward and outward, interconnected by branching limbs that disperse through the canvas. These forms, though partially abstracted, suggest a juvenile oak reaching toward maturity. The background finesses into dappled pigment—some smooth, others tumultuous—echoing the living randomness of a wild, managed forest. The white flecks and patches may allude to the presence of blossom, light reflections, or birds mid-flight—wrens perhaps—evoking the title’s poetic imagery.

This work stands in the embrace of impressionism and gestural abstraction, evoking elements of both pointillist texture and spontaneous motion. It neither mimics realism nor entirely distances from same; instead, the painting encompasses the sensation of being immersed—submerged even—within a verdant, living space. The natural concealment of clear figuration draws the viewer closer, encouraging deeper contemplation.


Artistic Notes:

The title Wrens Youngling Oak suggests a personal or ecological narrative. Wrens—modest, energetic songbirds—often symbolize life, resilience, and humbleness, while a “youngling oak” may be a metaphor for strength or growth in both natural and psychological terms. I am inviting you to explore not just the scene, but a moment of becoming, hinting at themes of protection, early life, or memory rooted in place.

The work fits comfortably into contemporary eco-aesthetic practices, which favor direct engagement with nature through materiality and metaphor. It would pair well in curatorial contexts focused on environmental poetics, new materialism, or exhibitions examining landscape beyond the horizon line—where the immersive or internal becomes the sight of painterly attention.

Here is the original photograph:

Wrens Youngling Oak Matt The Unfathomable Artist
“Wrens Youngling Oak – photograph” [28th May 2025] by Matt The Unfathomable Artist.

I listen to songbirds all the time. You can hear them exquisitely, whilst walking by this young oak.

For instance, talking of songbirds, the idea of a spectrogram featured in the landscape fauna for “Gold-Bronze King James VI & I Oak of 1612” – recently completed, also in acrylic. This represented my subconscious artworking, since I did not plan to paint the horizontal fauna (behind the tree) in the manner of a spectrogram.

Art made me paint the way my feelings wanted.

Hope you enjoy.

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of Van Gogh & of Picasso

“Cosmic Mouth” [6th/7th & 10th September 2024] by Matt The Unfathomable Artist, acrylic paint on premium 115gsm medium textured cotton primed to 240gsm over 12in x 16in (30cm x 40cm) wood-fibre board (4mm), 7018 x 5167 pixels.

“Cosmic Mouth” is literally painted over a female mouth acrylic painting (produced 1st & 2nd September with much effort and innumerable drafts). I then worked on the newer Cosmic overpainting you see here for the next two days.

On the 10th September I varnished the centre. I did retain a photograph of the underpainting even though it wasn’t successful to my eyes. You can see hints of the underpainted mouth along the middle of the canvas.

The female mouth I’m determined to paint successfully is physical perfection.

‘Sometimes perfection is immediate and sometimes it takes time.’ – one of my sayings.

Thankfully the overpainted Cosmic Mouth” is the perfection I sought for.

Writing of perfection..

“Artist Seduces Artist” [13th September 2024] by Matt The Unfathomable Artist, acrylic paint on premium 115gsm medium textured cotton primed to 240gsm over 12in x 16in (30cm x 40cm) wood-fibre board (4mm), 6000 x 4525 pixels.

..I made “Artist Seduces Artist” in around an hour to an hour and a half, freestyling, in heavy impasto acrylic.

Please do click these images for an even better viewing.

“Artist Seduces Artist” would look incredible hung at the centre of the darkest black large fabric square or rectangular-like tapestry, 6ft by 6ft at the very minimum. it is 100% Picasso inspired 🎨

I made a very finite finishing touch with two paintbrushes to the completed artwork with burnt umber on 17th September due to my perfecting standards.

For the primary working I utilised three painting techniques: palette knife, paintbrush motions using approximately four brushes, and constant-direct tube paint applications onto the canvas for the grass-green and turquoise surrounds.

Originally I intended to use burnt umber, gold, and mid-yellow colour. Prior to canvas working I included silver, copper and bronze into the palette. I have time and again tried to make ‘the beautiful simple style’, yet invariably add complexity!

After thorough happiness with the predetermined colours I then felt the canvas needed the delicious cadmium red, interesting turquoise, balancing titanium white and then finally the defining grass-green to make everything come alive.

It was at this point I added the mid-yellow even though this was an intended colour to use from the outset. I flattened the profile of the turquoise surrounds for visual interest with a flat-paintbrush. The grass-green received an area of purposed flattening due to the paint settling on the canvas.

Please note the inspiration for this canvas derives from the book “Life with Picasso” by Françoise Gilot and Carlton Lake with my own interpreted Picasso style. I was at page 38 to that point prior to making this artwork.

“Artist Seduces Artist” is a mixture of textures, layers, partially recognisable or obscured pictorial elements and humour with a composition intended to please the eyes in visual interest.

The essence of Picasso himself interpreted in an inspired style by myself.

“Artist Seduces Artist” with.. the beauty of art.

[ nb I am listening to Tobar Mhoire 🔊🎧]

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UN noise dash dot

“UN noise dash dot” [6th to 9th September 2024] by Matt The Unfathomable Artist, charcoal, pastels & acrylic paint on premium 115gsm medium textured cotton primed to 240gsm over 12in x 16in (30cm x 40cm) wood-fibre board (4mm), 6936 x 5160 pixels.

Matt The Unfathomable Artist fans please be ready for draft by draft overload.

Having wrote detailed information I thought ‘Fans do need to see these drafts to appreciate how UN noise dash dot progressed’.

“UN noise dash dot” is made in approximately four drafts as follows.

6th September prior to 2111hrs:

First draft: beautiful red canvas coverage and canvas scratches (palette knife) including scratched words. I cannot explain how invigorating this first draft was.

Photograph immediately below.

“UN noise dash dot – first draft”

It’s cool fans get to see early drafts, my artmaking process and developing ideas.

Late 6th into early hours of 7th September prior to 0011hrs:

Second draft:

  • charcoal lines added
  • charcoaled SCREEN_. [to read, ‘dash dot’] PLAY, 314, ART LIFE, tree, UN, stylised sigma symbol [ Σ ] left of ART LIFE, M and box shapes
  • ‘claw’ added to the top of a rectangular robot-like or building shape
  • soft pastels around some boxes for definition

The ‘claw’ could possibly be subconsciously inspired by “The Giant Claw” [movie, 1957] and/or Robby the Robot from “Forbidden Planet” [movie, 1956]. The latter is one of my all-time favourite films. I did enjoy “The Giant Claw” recently, due to the acting performances by the cast.

un in capitals means ‘the opposite of’ or ‘contrary to’ although I’m happy with any reasonable interpretation for this lettering.

I did also think of the un in unfathomable whilst writing this and also the United Nations. I didn’t and haven’t defined an exact meaning for ‘un’. I enjoy viewers deciding for themselves, personally.

Photograph immediately below.

“UN noise dash dot – second draft”

7th September prior to 1445hrs:

Third draft:

  • yellow paint added around boxes,
  • yellow highlights around some words,
  • pseudo-purple paint (first batch) around boxes,
  • green paint around 314, ART LIFE, UN,
  • letter [ i ] symbolically added in green to the right of the letter M.

see [*1] further below for details of the first batch of pseudo-purple paint I mixed on sandpaper that randomly became “Sandpapered Green with Dark Purple & Yellow”.

You can see the wet purple and yellow on the UN noise dash dot canvas (image immediately below) that featured in ‘Sandpapered Green..”:

“UN noise dash dot – third draft”

8th September 2024 – artwork drying, photographed once for artistic evaluation:

  • no drafts, I photographed “UN noise dash dot” now dry from the day before and the still drying heavy impasto canvas of “Cosmic Mouth” – the ‘astronomy‘ art work (not the female mouth canvas working as this was extensively done on the 1st & 2nd September 2024, subsequently overpainted).

9th September early afternoon prior to 1334hrs:

Fourth draft:

  • green highlights around boxes and dash dot symbols added in green to balance the canvas visuals.
  • heavier overpaint to the existing UN green box for definition.
  • second batch of mixed red/blue-to-pseudo-purple paint added around smaller boxes and underneath the overpainted green dash dots below ‘UN‘. I called this latter area ‘the seated dash dots‘ as some days afterwards this is how I myself interpreted this. Please do see “Mapped Random Satellite {Day} #1” as I believe this is my subconscious finding its way into UN noise dash dot. Interestingly the seated shape of these dash dots is pure chance to fill negative canvas space!

see [*2] further below for details of the second batch of pseudo-purple paint I mixed on Notepad paper to randomly become “Upper – Original” with “Unfathomable Apocalypse Rider in Six-Grid Collage”.

Photograph immediately below, wet paint online version.

“UN noise dash dot – WET PAINT” [6th to 9th September 2024] by Matt The Unfathomable Artist, acrylic paint on premium 115gsm medium textured cotton primed to 240gsm over 12in x 16in (30cm x 40cm) wood-fibre board (4mm), 6624 x 4914 pixels.

In terms of subject matter I feel “UN noise dash dot” is my usual pop art complexity. Not in any order of importance or competing artistic thought:

What did you feel “UN noise dash dot” is about?

Here is further information whilst making “UN noise dash dot” with regards to the two pseudo-purple paint batches I mixed on the 7th and 9th September respectively:

[*1] 7th September prior to 1445hrs:

  • I folded one P400 sandpaper piece in the middle from the leftover purple paint to make two paint prints on the same P400 paper piece. I then pressed one of these to a third sandpaper rectangle (folded P400 piece), now making three individual rectangular acrylic ‘prints’ across two pieces of P400 sandpaper.

[*2} 9th September early afternoon prior to 1334hrs.

  • Whilst mixing a second batch of red/blue paint for the purple I made a (then unknown to me) random artwork on lined Notepad paper. This would become first two acrylic pieces then their digital artwork derivations through “Upper – Original” and “Unfathomable Apocalypse Rider – Original” (both physical pieces and the digital derivations are included in the same blog article and link).

Just a quick thought on ‘then unknown to me‘. To me as an artist, mixed or mixing paint is made purely for the purpose of the canvas I’m working on, nothing more. When working on oils I have art-deco teacup saucers I use to mix the paint. These are cleaned after each oil painting session.

Making art from mixed acrylic paint leftovers is therefore quite new to me. Every now and then I like the look of the random paint I’ve mixed, please see “Pure Chance Portrait #2 in Portrait” for instance. Interestingly, I have some iron gall ink practice works I turned into art pieces some years ago. I’ve not published or formally documented any of those as yet.

“UN noise dash dot” is unusual in that I had two batches of mixed acrylic paint workings I liked and decided to do something with.

Hope you have enjoyed this article.

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