Tag Archives: Alvis Dede Wimsey III

Turquoise Green Bronze Waters

Turquoise Green Bronze Waters Matt The Unfathomable Artist

“Turquoise Green Bronze Waters” [23rd April 2025] by Matt The Unfathomable Artist, acrylic mixed with liquid fixative and clear acrylic medium on A4 250gsm Artist’s mixed media paper mounted onto A3 (42cm x 30cm) primed-bronze painted 5mm wooden board, 5000 x 3725 pixels.

“Turquoise Green Bronze Waters” is made with specific movie inspiration, having rented the film the evening prior on the 22nd April. I painted “Alvis Dede Wimsey III” immediately after “Turquoise Green Bronze Waters” too.

Then on 26th May I produced six variations to create a 3×2 Collage, plus a silver 3D-Movie version. The latter silver version yet to be published.

Turquoise Green Bronze Waters

At first glance, your attention is drawn into an oceanic expanse of turquoise depth, layered with strokes of emerald green, coral pinkish-salmon, burnished bronze, and subtle golden highlights. The textures ripple across the surface like tidal currents, suggesting a convergence of water, mineral and energy.

This piece is alive with impressive swirls:

  • Fluid yet grounded – The swirling gestures evoke the untamed motion of water, while the underlying turquoise base steadies the composition.
  • Calm whilst intense – Soft pastel undertones create moments of serenity, balanced against sharper bronze and emerald accents to bring dramatic tension.
  • Elements interacting with water – A recurring theme in art, bridging natural contrasts through layered abstraction.

Essentially I would like to reveal this painting represents the most joyous scene in the movie, to me. The ebb and flow of emotion carried within each curve-play of..

.. discovery, perfect friendship, adventure, understanding and selfless uncompromising protection.

Turquoise Green Bronze Waters 3x2 Collage Matt The Unfathomable Artist

“Turquoise Green Bronze Waters – 3×2 Collage” [Digital Artwork, 26th May 2025] by Matt The Unfathomable Artist, produced from the original A3 acrylic painting, 5000 x 2483 pixels.

The Colour Transformation: Six Dimensions of the Same Tide

Accompanying the original piece is a six-panel digital collage, a study in chromatic reinterpretation. Each transformation recontextualises the original features into alternate emotional registers, revealing the adaptive soul of abstraction.

1. Violet Surge (Top Left)

A lush, almost botanical transformation, where shades of lavender and green fuse into an ethereal dance. The strokes become vine-like—suggesting organic life entangling beneath the surface.

Have you guessed the movie yet?

2. Graphite Echoes (Top Centre)

Stripped of colour, the monochrome rendition exposes the raw anatomy of movement. Without hues to guide the eye, we are drawn purely to form, discovering unexpected structures hidden within the fluidity.

3. Crimson Drift (Top Right)

A heated translation where deep reds and muted aquas meet. This version feels elemental, as if fire has collided with water—suggesting passion, turbulence and heat.

4. Verdant Flux (Lower Left)

A vivid green inversion that evokes reforestation, renewal and nature’s resurgence. It reimagines the composition as an aerial landscape—a terrain seen from above, multicoloured rivers weaving through new growth.

5. Magenta Pulse (Lower Centre)

Possibly the most vibrant reinterpretation, where magenta dominates in a surge of emotional energy. This palette brings out the artwork’s inner velocity, the textures vibrating with urgency.

6. Yellow Golden Horizon (Lower Right)

Finally, the yellow-golden translation lifts the piece into radiance and warmth. The once-aquatic composition transforms into something sunlit, reminiscent of desert mirages or a chameleon catching the glimmer of daylight.

Here, on 11th September 2025 I see for the first time a face at the centre of the Yellow Golden Horizon!

How did I not see the face in my own artwork before 🙈?

Themes and Intent

Across the primary work and its chromatic studies, recurring motifs emerge:

  • Fluidity and resistance – The tension between soft washes and defined, almost calligraphic lines mirror nature’s duality.
  • Transformation through perception – By shifting palette alone, the emotional narrative of the artwork changes entirely.
  • Time and memory – The layered gestures evoke geological sediment, wave ascensions and the intimations of thought—a sense that the watery surface is the playful act of emotive friendship.

You are invited to spiritually immerse yourself—to discover how colour redefines meaning once reimagined across multiple dimensions.

A Reflection on Process

My original painting, here, reflects textural layering technique, where pigment and medium interweave to create depth you can almost feel under your fingertips. The carefully curated six-panel digital collage demonstrates a digital-meets-physical dialogue, amplifying the tactile qualities of paint through chromatic reinterpretation.

This convergence of traditional artistry with modern experimentation positions the work within a broader conversation: how abstraction evolves in an era where colour appears infinite, yet visual touch remains irreplaceable.

Hope you enjoyed viewing and reading this article.

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Tree, Gold and a Rectangle

Chocolate Bronze Rectangle Matt The Unfathomable Artist
“Chocolate Bronze Rectangle” [30th April/1st May 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso & paint primed 5mm wooden board, 5000 x 3757 pixels.

As is my custom I shall include pre-published text in colour font:

After making “Alvis Dede Wimsey III” I produced two beautiful ivory-black and bronze canvases with the same 3/8in angular long-tip brush.

“Chocolate Bronze Rectangle” is the first canvas of the two. The photograph here is the best tonal matching of the painting I can provide to you. Varying light creates superb shading values, a wonderful feeling imbued.

Upon completing I sat in the garden on a wooden bench, the painting on a table under a fabric parasol, intently admiring my own work!

The painting’s understated beauty requires a cave.

I have to say myself, “Chocolate Bronze Rectangle” amazes with its tones. For me this artwork is kind of like Basquiat writing a work as ‘Untitled’.

An artist preferring viewers to simply enjoy its qualities.

——-

I have decided to share two of the three paintings which made “Gold-Bronze King James VI & I Oak of 1612”. Merely a bonus to dear Readers waiting for this latest blog article.

This is the final, third painting, after two previous underpaintings:

Gold-Bronze King James VI I Oak of 1612
“Gold-Bronze King James VI & I Oak of 1612” [7th to 13th June 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3752 pixels.

Gold-Bronze King James VI & I Oak of 1612

“Gold-Bronze King James VI & I Oak of 1612” presents slightly lighter for sharing online.

My vibrant Impressionist painting depicts a large tree with a rich, textured trunk and branches laden with colourful leaves amidst a resplendent abstracted fauna, fore and far-ground.

The 1612 Oak branches appear like two arms of a figure reaching out towards the sky. The trunk is strong and detailed. Leaves and branches are textured with visible brushstrokes creating a sense of depth and volume.

Noticeable layering technique is utilised to create an immersive effect. The palette features various shades of green, umber, black, gold, bronze, copper, white, ultramarine and cerulean to bring a unique dreamy warmth to the treescape.

The sky is a light, hazy blue, adding openness to the expanse. There is a feeling of calm and peacefulness reflecting the quiet beauty of nature, my personality.

“Gold-Bronze King James VI & I Oak of 1612” is kind of three paintings if we include the two underpaintings prior to completion. The first, a prior study-effort of the tree in the same composition. Then a different painting entirely, a beautiful Gold Textured Abstract.

I decided to retry the tree composition from my photograph of 21st May 2025 at 1737hrs. The original photograph faces south towards the mighty Quercus Robur I named the “King James VI & I Oak of 1612”.

Both tree compositions received five distinct drafts each, with the latter including multiple finite changes throughout evaluation.

I took seventeen field photographs around the Nature Reserve and my local Lake on 21st May. The last four photographs at 1737hrs of the 1612 Oak.

The first seven photographs around the adjacent field were taken at.. 1612hrs.. I didn’t know this until writing this very description you read here!

“I love art I do”.

I found myself inspired by Japanese blossom and fields in making this.

The Underpainting

Here is the second underpainting for “Gold-Bronze King James VI & I Oak of 1612”:

Gold-Bronze King James IV & I Oak of 1612 Matt The Unfathomable Artist
“Second Underpainting for Gold-Bronze King James VI & I Oak of 1612” – 8th & 9th June 2025.

If you review the two paintings you can see the top-right tree branch forms from the gold preworking.

If I had not already recently produced “NIIP Fine Gold” I might have considered retaining this gold painting as is. Quite honestly I was annoyed the first (now) underpainted tree (unpublished) didn’t show quite as nicely as I hoped.

I’m a perfectionist with my paintings.

I wanted to paint that tree in that composition on that canvas.

Here is the wonderful composition I photographed:

Gold-Bronze King James IV & I Oak of 1612 Matt The Unfathomable Artist
“King James VI & I Oak of 1612” [21st May 2025, 1737hrs at 50 seconds] by Matt The Unfathomable Artist, 5000 x 3750 pixels.

Perhaps art students or anyone interested for that matter would like to sketch, paint or even sculpture my photographic compositions?

I do hope so.

Gold-Bronze King James IV & I Oak of 1612 Matt The Unfathomable Artist
“King James VI & I Oak of 1612” [21st May 2025, 1737hrs at 45 seconds] by Matt The Unfathomable Artist, 5000 x 3750 pixels.

Four photographs taken of the 1612 Oak at 1737hrs are 45 seconds (pictured here, immediately above), 47, 50 (the painting composition shown in this blog article) and 54 seconds respectively.

Let me share with you a further nature photograph from the day of 21st, the fourth one taken in 1612hrs, precisely:

Gold-Bronze King James IV & I Oak of 1612 Matt The Unfathomable Artist
“Hay Meadow of local lake Nature Reserve” [21st May 2025, 1612hrs at 26 seconds] by Matt The Unfathomable Artist, 5000 x 3750 pixels.

Just as proof of my words earlier..

“The first seven photographs around the adjacent field were taken at.. 1612hrs.. I didn’t know this until writing this very description you read here!”

.. this is the fourth photograph of seven I very quickly composed at 1612hrs. Of those photographic seconds we have 18, 20, 23, (26 pictured here, immediately above), 30, 33 and 36 respectively.

Nature is awesome.

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Portraits & Caricatures

Alvis Dede Wimsey III Matt The Unfathomable Artist
“Alvis Dede Wimsey III” [23rd April 2025] by Matt The Unfathomable Artist, acrylic on opened cardboard box (approximate 12in x 8in (31cm x 21cm), 8000 x 8000 pixels with black border background for social media and online presentation.

Alvis Dede Wimsey III

“Alvis Dede Wimsey III” is a fun paint play with mixed paint in my ‘peghead’ artistic style whereby guitar, violin, viola-like instrument pegs usually compose part of the portrait. With this particular work I feel the ‘pegs’ aptly took the form of piano keys!

You can rotate the painting upside-down 180 degrees to see a second portrait of a different character.

“Alvis Dede Wimsey III” is a subconscious portrait of a definitive jazz musician and composer.

(quote from my published social media)

I made this fun paint play, shown above, after making “Turquoise Green Bronze Waters”.

Did I know it subconsciously represented a portrait?

Absolutely not.

I didn’t realise it would become a ‘portrait’. I was having far too much fun doodling to see anything beyond ‘Van Gogh-like crop lines’. I began perceiving an aerial landscape of agricultural fields.

The Garden with Flowers by Vincent van Gogh [1988, Arles, Bouches-du-Rhône, France] is one of my all-time favourite Impressionist works, both visually and technically in terms of composition.

Remember dash dots? Now.. you.. know.. how my art brain works a little better. I’m inspired by past & present Masters whilst adding my own Morse-code blend to the paint-penciled mix.

Van Gogh somewhat composed drawings and paintings through the use of dashes and dots. Pointillism to some extent. In similar manner, “Alvis Dede Wimsey III” hints my personal interest in abstract techniques.

I had viewed social media reels of soul, blues and jazz artists in the week. I’m still enjoying listening, researching and thinking about those notable music genre artists even as I write.

Around the time of making “Alvis Dede Wimsey III” I also made “Gold Sun Paint Play” on another empty opened cardboard paint packaging box.

Raster Man

Proof of historical music culture presenting in my work is found with “Raster Man” pictured here:

Raster Man Rasterman Matt The Unfathomable Artist
“Raster Man” [14th/early hours 15th May 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 6734 pixels.

Completed in three distinct drafts very late evening (finished prior to 2325hrs 14th), then after midnight (inspired to add brushworked Ivory Black surrounds, 15th) and then finally continuing palette the morning of 15th May (finished prior to 1053hrs).

The latter draft new Cadmium Orange texture for the Rastercap. I sang delightedly.

Initially, this composition began as an abstract in landscape until I saw potential for a Pop Art portrait.

At the very last I added eyes, mouth and a nose with Ivory Black surrounds to harmonise colour.

(quote from my published social media)

With the Vatican having elected a new Pope (Pope Leo XIV, Cardinal Robert Prevost) in May 2025 I guess subconscious working occurred here. If you turn the canvas clockwise 90 degrees into landscape, this is how I began the wood panel.

“When I made Raster Man i had no idea the new Pope (Leo XIV) is of Creole (Haitian I believe from newspapers) heritage. I personally view Raster Man as any individual Caribbean man embracing their culture. I do also like any perceived association with a distinct person. Bob Marley, Pope Leo XIV et al..

.. It wasn’t until i realised a portrait potential that the white (cap) became a potentially perceivable structure around a face. Art is our subconscious shaping canvases, sculptures, pottery. Picasso and Basquiat are undoubtedly most influential in these kind of works by me.” – my quote 18th May.

“Raster Man” is visually unique, however, experiencing a physical artwork in person is different to viewing a 2D artwork online.

Ivory Mask

Next is “Ivory Mask” which I originally titled “Insect Mask” before preferring the former name:

Ivory Mask Matt The Unfathomable Artist

“Ivory Mask” [digital artwork, early afternoon 15th May 2025] by Matt The Unfathomable Artist, digital artwork from pressed Ivory Black acrylic, font ‘Destroy’, 5000 x 4000 pixels.

“Ivory Mask” shown immediately above is a digital artwork derived from mixed Ivory Black paint, pressed into Notepad paper, folded at the centre.

I added the mi to create intrigue. The font I chose is called ‘Destroy‘, with individual letters suggesting erosion, damage or decay. The self-destructing words of a cassette tape perhaps?

As to the artwork, what does the mask mean?

Can we fictionalise a purpose to this strange disguise?

A superhero, alien or an ancient artifact with magical properties?

Ivory Mask Matt The Unfathomable Artist
“Ivory Mask – pressed painting” [early hours, 15th May 2025] by Matt The Unfathomable Artist, pressed Ivory Black acrylic on lined Notepad Paper, 5000 x 4000 pixels.

With the Ivory Black paint having already finished the outline to “Raster Man”, I folded the Notepad paper in half, tapped around with my fingers..

.. then opened the paper to produce the very press-painting you see here!

Ivory chosen for the artwork title simply appreciating the beauty to the colour. Natural sunlight showcased the intricate leaf-like structure created whilst unfolding.

Scrollhead Caricature

Finally, we have the very vibrant “Scrollhead Caricature”:

Scrollhead Caricature Matt The Unfathomable Artist
“Scrollhead Caricature” [17th March 2025] by Matt The Unfathomable Artist, acrylic on A4 250gsm mixed media Artist’s paper, 5000 x 3611 pixels.

I produced “Scrollhead Caricature” during and after making “y intersects b” [14th – 17th March 2025] from a paint play with the mixed paint on paper.

(quote from my published social media)

“Scrollhead Caricature” is made quite quickly. I thought of Picasso whilst creating this highly original work. A sense of fun, play and textural contrasts.

There are a few themes to this piece, including Shakespeare.

Hope you enjoyed this article.

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