Portraits & Caricatures

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:

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” [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?

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”:

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.

Silvia

Silvia with Thought, Beauty and Style

I produced this sketch-drawing in June 2021 as an exercise in portraiture ability. The model relaxing at an outdoor swimming pool.

Silvia is an Italian model and social media influencer.

Here is the photograph:

View this post on Instagram

A post shared by Silvia (@silvia_davenia)

Courtesy of @Silvia_Davenia Instagram, published 6th June 2021.

Rarely, my artwork here is derived from the model’s online photograph. The pose is person and picture perfect.

I spontaneously produced the drawing that very day! No prior study.

As with my work everything is freehand sketched or drawn visually. With only the exception of “Moonlight in Hay Meadow” [24th January 2022], since that particular drawing required a perfect circle.

I love this drawing of “Silvia”.

Baby Hippopotamus Constellation.. a story

Baby Hippopotamus Constellation Matt Unfathomable Artist — “Baby Hippopotamus Constellation” [26th February to 2nd March 2025] by Matt The Unfathomable Artist, acrylic & pastels on A3 (42cm x 30cm) 2mm gesso primed wooden board, 5000 x 3529 pixels.

“Baby Hippopotamus Constellation” is a highly textured Impressionist-Surreal painting with an adorable personality.

Can you see the baby Hippopotamus, the Seahorse, the Guide and three other characters?

Five definitive drafts each with important evaluations whilst I painted “Baby Hippopotamus Constellation”.

I could publish individual stages of the painting production.

Write about the closeup beauty of the piece.

Explain how I made this.

Detail my thinking when I first realised a baby hippopotamus looking out from the canvas.

Give reasons why I named these the “Guides Head Eye”, “Seahorse Eye and Gold Whorl”, “Gold Whorls Plume with Space Offering”, “Seahorse Gold Tail Plume”, “Guides Head” and “Gold Whorls Nebula Plume”.

Would you like to make your own version of “Baby Hippopotamus Constellation”?

Hanno

Let’s read about the painting’s main character in… the beginning of the “Baby Hippopotamus Constellation” story..

An Enchanting Tale of Celestial Wonders
In the calm twilight of a distant realm, where the sky became fireflies of infinite stars, the legend of the “Baby Hippopotamus Constellation” began to gather fruit into the hearts of humans. This magical story, a tradition through generations, resonates in friendship, sentience and the Unimaginable beauty of the Universe.

The Origin of the Constellation
Aeons ago, in a fertile, leafy valley, there lived a baby hippopotamus named Hanno.

Hanno was not an ordinary animal; he was gifted with a ravenous thirst for knowledge and a heart brimming with love for the Unknown. Every night, while the human world slumbered, Hanno mudged to the edge of a river, gazing up at the gleaming sky, pondering about the mysteries that lay beyond.

Determination for the Stars
One incredibly unusual night, as young Hanno sound-squeaked to the celestial performance, a meteoric star dashed across the sky, leaving a procession of shimmering light. Filled with an ineffable determination, Hanno decided that he must journey to uncover the secrets of the stars. He uttered an emotional goodbye to his family and friends, promising to return with stories of the cosmic heavens.

Hanno’s journey was filled with supremely physical, emotion-rending challenges. He explored immense forests, mind-boggling grasslands, and skip-swam across vast rapid waters to enter Sub-Sea Lake City. Along the way, he found many creatures who were clearly fascinated by his imaginative adventure.

A wise old Nile Crocodile called Mu, an excitable dray of Bush Squirrels, and a gentle Kudu all joined Hanno, eager to learn about the Unknown to support their new friend.

Climb to the Highest Mud Peak
Their journey led them to Matope – the highest mud peak in the land, where the sky seemed within touching distance of our lively Hippo’s nostrils. As they climbed, Hanno’s heart brimmed enthusiastically, knowing hippos usually stay near water and avoid the highest of heights.

Well, they reached the summit plateau of Matope just as the sun meandered below the orangey horizon. At this exact time the sky exploded like fireworks into a symphony of stars.

As Hanno and his friends gazed in delight, the stars began to butterfly-beam an awe-inspiring brilliance. The constellations seemed at play, with a lovely soft, melodic hum filling the air.

Could it be the stars themselves were welcoming our adorable Hanno?

Moment of Revelation
In that instant, a radiant reddish orb descended from the deep Universe, bathing Hanno in its incomparable glow.

A voice, kindly and prudent, echoed through the fleeting day-lit night:

“Hanno, your love for the Known, the Unknown and your uniquely inquisitive heart have brought you here. You shall be immortalized among all the galaxies, a symbol of enlightenment and honour for all who consider their heartfelt thoughts upon the night sky.”

As the voice quickened to silence, the stars gathered themselves together, forming the shape of a baby hippopotamus!

Hanno’s friends sang raucously contented in their time-honoured quest, and the valley below lit up with a leafy aura of the new constellation. The Baby Hippopotamus Constellation dazzled brightly, a sign of encouragement and inspiration.

Legacy of Hanno
Hanno returned to the valley, greeted lovingly as a hero. He shared the story of their journey and the wisdom they had gained. The creatures of the valley looked up at the night sky with renewed amazement, appreciating their friend Hanno was always watching over them.

Generations passed, yet the legend of the Baby Hippopotamus Constellation endured. Parents told their children about the dreamily brave Hanno, who ventured into the deepest expanse to bring back the happiest light of the joyous stars. And every night, as the baby constellation opened its eyes to the sky, it reminded everyone that the spirit of exploration and the search for new knowledge is timely and boundless.

Your New Beginning
This is only the beginning of the “Baby Hippopotamus Constellation” story. As ever and ever there are earnest hearts and dreamers who look up at the night sky, the tale of Hanno will continue to inspire. The stars will always hold secrets waiting to be discovered, and the spirit of a little hippopotamus will forever guide those who seek to explore the wonders of the universe.

So, dear reader, the next time you find yourself gazing up at the stars, remember Hanno’s story. Let it remind you that no dream is too big, no journey too troubling. The stars are within reach if you make the effort to seek them. The Baby Hippopotamus Constellation is a symbol of hope, friendship, and the yearning that exists in the heart of every dreamer.

And thus, the legend lives on, shining wonderfully throughout the artwork of our night sky, gleaning promises of new beginnings and endless discoveries.

[the beginning of the “Baby Hippopotamus Constellation” story outline made using AI with story editing, character creation & development by Matt The Unfathomable Artist.]

World Culture & Conservation

after Chikupo Cave Art

[ pre-published commentary is highlighted in blue. If you have seen my Instagram posts for these works you can skip re-reading if you prefer. ]

“after Chikupo Cave Art” is stylistic ‘cave art’ with symbology in the stripes, dashes and a dot inspired from recent acrylic paint and collage/mixed media works such as “UN noise dash dot”, “Conker Lots”, “The Fathomable Scream” and “Tiger Lion Sphinx with Human Hair”.

The works referenced all feature either/and/or stripes, dashes or dots to hint the idea of Morse code. “after Chikupo Cave Art” differs in its whimsical addition of dashes and dots contrary to the other pieces. Despite the whimsical nature to fill canvas paper space, I feel there is a point to this. I don’t know what exactly, or why I chose to include this symbology.

Vertical Cosmos

“Vertical Cosmos” is an art experiment.

I posted this work giving no information regarding its originating inspiration, theme or interconnection. Specifically for viewers to form their own ideas, first.

After making the piece I realised a sorrowful woman’s face at the centre of the ostrich egg! I was stood several feet from the artwork at the time, then appreciating why I didn’t wish to change the cerulean blue paintwork.

The ‘vertical’ title for the piece is derived from the atomic structure of ostrich eggs, namely the vertical crystal layer. Decorated ostrich eggs have been used to make art pieces in Africa for millenia.

I wanted to make an impressionistic ostrich egg after listening to a Botswana man playing the hanedelo, a one-stringed violin type instrument, recorded in Botswana, the Kalahari Desert, 1972, according to the video’s description in 2017.

Here is the video I viewed:

Video posted to YouTube by Joe Leeming publicly available online.

The San bushman’s rapture is fascinating. I felt his spirit was lifted by the music.

Cave Art Monsters

Quote:

“Cave Art Monsters” began as a geometric doodle. I decided to overpaint/cover the ink pen doodle completely, dripping mars black paint randomly. The intriguing shapes formed whilst the paint moved over the paper canvas unintentionally.

Enjoying these shapes I cloth dried the watery-wet paint and decided to brush paint cadmium-red around the lines. Presently I’m also seeing (filmed) bonded atoms in some of my recent works (appears as two dots/paint-circles joined).

I love the strange mythological creatures in this piece with the mars black volcanic substrate.

Bonded atoms, for this theme see also “Fragments #1” which features Buster Keaton and Charlie Chaplin riding on a train track, broom or rocket. Hey, to me “Fragments #1″ was a bunch of abstract shapes when I made it. The only discernible shape I could visualise was the popular ‘blanket ghost’ in triangular orange at the top-right. Complete chance.

For that matter, are bonded atoms somehow represented in “Conker Lots”? Possible conjecture or coincidence I guess. Could be scientific in some way though.

Making art for all ages is something I enjoy. Appealing to classical art fans and a child five years of age is the gift of artmaking.

Log Cabin with an Orange

In the morning viewing a social media reel of an American lady showing the utter ruin of her family home in LA following the Eaton fire, “Log Cabin with an Orange” began as a scratchpad work. Brushwork completely unconnected to the reel.

As textures formed a box-like structure I began to paint a roof, becoming obvious the ‘artists dimension’ was calling for some way for me to communicate feelings surrounding the fires’ events.

I referenced the artwork with an orange, deriving personal meaning to myself in 2004. Then, starving hungry all I had to eat was sour oranges from a tree.

A sense of empathy.

Please kindly note I have strongly campaigned several years for a reversal of manmade climate damages in terms of commercial activities clearly ravaging the natural ecology and meteorological environments.

This artwork would only be sold for charitable purposes.

Here is the reel:

@saraandcrew
never did i think this is how i would come back to my house
♬ original sound – mommy sara

TikTok video reel copyright of @sarahandcrew publicly available online.

I believe citizens have the right to lawfully question commercial and locale climate policies based on lives, health, business impacts, real-world economic damages in $trillions, residential estate values and wildlife.

My digital works such as ”Newton ft² – Mud“ artistically highlight the effects of manmade climate damage.

A Series of Portraits

Orange & Violet Untitled

I have chosen to highlight pre-published social media commentary in blue. If you have read my Instagram posts for works in this article you can quickly skip re-reading if you prefer.

Quote by me for “Orange & Violet Untitled”

“I just photographed this new work, a soaking wet impasto paper in the dark with camera flash.

After making it I brushed varnish on a 250gsm paper underneath to fasten the two papers together for greater rigidity. the purple from the wide brush in between, beautiful.

I used my palette knife underneath the paper doing so. this created unexpected resonance sounds.. something i 100% guarantee i never planned. Satisfied I am with this.” – 1900hrs 29th November 2024.

nb Please note the ‘purple’ colour is actually violet, nearer the blue wavelength. The entire painting work took me less than 30 minutes, timed, in two distinct drafts excluding the photography.

After the primary draft completed a quick second draft etching detail around both eyes during evaluation.

The use of camera flash in the dark simulates a live music concert. Whilst I chose to paint in portrait I did not purpose a face until the very last moment upon adding the violet and gold eyes to the composition. I envisaged an electric guitar throughout.

“Orange & Violet Untitled” [29th November 2024] represents cool guitar designs I made at that time, in an abstract painterly way. You can see Alienalis Mantis for further detail on those guitar designs (please click the link to do so if you wish).

“Orange & Violet Untitled” also represented something earlier in the day on the 29th November..

.. a busker singing in my hometown. An anecdotal story I shall tell anyone who asks me.

Goggles ROC

Matt The Unfathomable Artist Goggle ROC — “Goggles ROC” [23rd December 2024] by Matt The Unfathomable Artist, acrylic painting on partially torn A4 250gsm mixed media paper, 7000 x 7000 pixels with background for social media.

I feel “Goggles ROC” is a humorous piece.

“Goggles ROC” is made from a partially torn A4 paper supporting a work from 12th December I have worked upon since then.

The cadmium red acrylic is all from the 12th December draft workings over days of time, 100% unintended. I added copper and orange once removing the paper to make a work. ROC means red, orange and copper with regards to this piece. Building upon my artistic idea that colours such as red, blue, yellow et al do not derive political meanings, to me.

The Mars Black paint is mixed with water, dripped onto the paper then rolled carefully via gravity entirely holding the paper in my hands.

Fans of my work will note a similarity to “The Fathomable Scream” [16th/18th May 2024]. Aside from the ‘goggles’ which I purposed artfully, everything else in Mars Black is void of object or objective construction except to look balanced in composition.

To me this is the oft sought quality of prettiness, attractiveness to you as the viewer.

In artistic terms Picasso is my primary inspiration in brushwork for this piece. Basquiat’s use of any materials available for the function of making art is likely the reason I chose to produce a work in this way.

For clarification I genuinely love Chinese culture.

I love all peoples and cultures.

The title is a play on the word ‘goggles’ as this sounds amusing in English (to me anyway), with the word ‘rock’. I feel this artwork communicated the strength of Chinese manufacturing innovation and range.

By saying the ‘goggles rock’ I’m noting the products are cool, fashionable, well made.

In my opinion I view peoples of the USA, Italy and China as naturally inclined commercially.

The USA since indigenous tribes and settlers eventually co-traded after much civil war. The latter (then-immigrants) being adventurous types to seek out pastures new across the Atlantic/Pacific. Italy through ancient Roman Empire industry routes with a plethora of trades. China via highly disciplined cultures throughout the far-east. Nations like Japan and South Korea too for instance.

We (as in you possibly agreeing with me) could easily include Greek and Jewish culture too, in terms of the inherent working malluability of the people.

Subjective opinion you appreciate, as clearly I note individual/national endeavour around the world from an artistic viewpoint.

Here is a chart from Wikipedia about global working hours to click and read if you’re interested (stats upto 2022 at time of this article, 29th April 2025):

List of countries by average annual labor hours. (does not include all nations).

Of OECD nations the five highest average annual working hours are (2023 stats):

Mexico: 2,207 hours
Costa Rica: 2,171 hours
Chile: 1,953 hours
Greece: 1,897 hours
Israel: 1,880 hours

Untitled Orange & Black (Face) #1

Matt The Unfathomable Artist Untitled Orange Black Face — “Untitled Orange & Black (Face) #1” [19th December 2024] by Matt The Unfathomable Artist, acrylic painting on A4 250gsm mixed media paper, background for social media, 5000 x 7221 pixels.

“Untitled Orange & Black (Face) #1” is a pure paint play in the Basquiat spirit of artmaking. I believe this was the first time I consciously incorporated the idea of guitar ‘pegs’ into a portrait. That said, after making “Alvis Dede Wimsey III” I re-viewed “Face with Gold Mouth” and realised guitar ‘peg’ shapes at the vocal chords!

I find my paint plays similar to how musicians produce new songs.

Eye Snout with Sand & Silver

Matt The Unfathomable Artist Eye Snout Sand Silver — “Eye Snout with Sand & Silver” [sometime prior to 11th to 23rd February 2025] by Matt The Unfathomable Artist, brush collage & palette acrylic on A3 (42cm x 30cm) 2mm gesso primed wood panel, 5000 x 3577 pixels.

“Eye Snout with Sand & Silver” is an instinctive piece where the careful silver/sand framing brought attention to the arty central paint play.

The central A4 is scrap paper having pressed together cadmium-red. Some days later to mix paint I began to use said same scrap paper. Mixing pseudo-black at the top for another painting.

The central paper upside-down to how you see here, throughout.

I brush-scraped out cadmium-red with the pseudo-black impasto on the paper to clean a brush. Incredibly, this became the snout.

Afterwards orange and umber just having fun.

Turning the paper 180 degrees, I liked the artiness.

The paper then affixed to wood panel with thick cadmium-red to obscure the paper edges. A rectangle sand acrylic surround added. Further cadmium-red flourish onto the wood panel beyond the central paper.

Finally the silver rectangle acrylic framing to perfect the visual.

A piece founded upon paint play whilst retaining its originality.

A few straight-from-my-camera raw evaluation photos for you:

“Eye Snout with Sand & Silver – detail one”

“Eye Snout with Sand & Silver – detail two”

“Eye Snout with Sand & Silver – detail three”

Gold Sun Paint Play

Well, having read thus far into my article please let me thank you with a bonus paint play to enjoy:

“Gold Sun Paint Play” is just me having fun on a piece of cardboard packaging.

Likely made on one of the days I worked “Surfaces #n” (working title), a new wood panel piece as yet unpublished.

I love making these delightful paint plays..

.. I love seeing people enjoying life and having fun.

Brushworks Ensemble

Brushworks #1 Original Matt The Unfathomable Artist — “Brushworks #1 – Original” [21st September 2024] by Matt The Unfathomable Artist, acrylic paint on 250gsm A4 mixed media art paper (upon a 250gsm paper), 6000 x 4271 pixels.

Brushworks and Palette Works

For this article featuring a multitude of paper works, the text shown in italics is replicated from my Instagram social media. I’ve included these words since my earlier Instagram posts give much insight into each work.

“Brushworks #1 – Original” began (unintentionally) as paint markings whilst producing “DELINEATI0N #000000” (artwork shown at the end of this article). Afterwards I started to have fun with brush motions on this paper to (now) intentionally produce random arty brush workings.

Palette knife and brushes each bring different qualities to paintings.

Following the brushwork I used a solid palette knife to press the second sheet of paper underneath this 250gsm piece for structure. This produced pressed leaf, some flattening effects of the paint and virtually imperceptible yet purposed knife edge indentations into the paper.

The brushwork is interesting hence the reason for naming the piece as “Brushworks #1”. There is no palette knife working upon the painting itself.

A beautiful SolarScape from “Brushworks #1 – Original” is shown here:

Brushworks #1 Solar Scape Matt The Unfathomable Artist — “Brushworks #1 – SolarScape” [23rd September 2024] by Matt The Unfathomable Artist, digital artwork from original acrylic painting, 6000 x 4271 pixels.

Please do click on the image for “Brushworks #1 – SolarScape”.

Beautiful, expressive brushwork imagery.

Brushworks #4 Matt The Unfathomable Artist — “Brushworks #4” [5th December 2024] by Matt The Unfathomable Artist, acrylic painting on A3 250gsm mixed media paper, 5000 x 3621 pixels.

Having worked upon “Alienalis Mantis” I immediately utilised spare paint to make “Brushworks #4”.

There is no object or idea represented merely fun with the paintbrush.

I LOVE the paint colour gold. Oh my goodness, dear gold, how can I not paint your brilliance?

From approximately March 2024 to-date I have found myself in a ‘Gold Phase’.

Like some/most artists I focus on specific working themes or styles through spans of time. The fourth quarter of 2023, for instance, strongly represented 100% digitally produced painting works.

Through 2019 to July 2023 I produced multiple pencil drawings and sketches along with much intellectual poetry workings too.

You can read the literature works here Sayings.

Brushworks Ultramarine Gold Matt The Unfathomable Artist — “Brushworks Ultramarine Gold #1” [10th January 2025] by Matt The Unfathomable Artist, acrylic painting on A4 250gsm mixed media paper, 5000 x 3601 pixels.

Purchasing ultramarine, gold, sap green and sand (cream colour) on the day I made “Brushworks Ultramarine Gold #1” to carefully contrast lights and darks in terms of canvas visualisation.

I feel this is classically abstract.

Brushworks Ultramarine Green 1 One #1 Matt The Unfathomable Artist — “Brushworks Ultramarine Green #1” [14th January 2025] by Matt The Unfathomable Artist, acrylic painting on A4 250gsm mixed media paper, 5000 x 3580 pixels.

“Brushworks Ultramarine Green #1” is made intuitively and quickly within approximately fifteen minutes. Sometimes I create works incredibly fast with the high artistry I need to produce.

I painted this with two brushes (wide, flat) with the orange paint orientated to the top right. I perceived a ‘Caesar’ image, canvas reversed 180 degrees, 100% chance.

Here is the image upside-down for you to see the ‘Caesar’, on the left-half of the upside-down photograph in red with a gold crown:

“UPSIDE DOWN Brushworks Ultramarine Green #1” [14th January 2025] by Matt The Unfathomable Artist, acrylic painting on A4 250gsm mixed media paper, 5000 x 3580 pixels.

An arty ‘Caesar’ portrait, random chance, yet very much subconscious thought.

The A4 paper for “Brush & Palette Works #1” was utilised with another [fragmentary] piece from the underside of an as yet unfinished mixed materials work (“Conker Lots“).

Earlier overpainted (random underpaint) areas were complimentary-palette-scraged with copper and green. I then added cadmium-red, sand (delightedly) and violet with a brush.

The primary red area to the right is cloth work.

Seeing an abstract opportunity, I made a Rothko style flurry to the lower-left in appreciation.

I make these pieces spontaneously and quickly although I did two definitive drafts to perfect the visual.

Brush Palette Works #2 Matt The Unfathomable Artist — “Brush & Palette Works #2” [6th/7th January 2025] by Matt The Unfathomable Artist, acrylic painting on fragmentary A4 250gsm mixed media paper, 6000 x 5232 pixels.

The roughly ¾ A4 paper for “Brush & Palette Works #2” was utilised from the underside of an as yet unfinished mixed materials work (“Conker Lots”).

Underpainted areas were palette-scraged with copper and cadmium-red. I also added violet and sand colour paint with a brush.

I made this piece spontaneously and quickly, evaluating prior to a second draft in a finite area to perfect the visual. The second draft on the 7th.

The background helps to view the piece uniformly due to partial fragmentation of the paper.

I would like “Brush & Palette Works #1″ & “Brush & Palette Works #2” to be sold together. I perceive a three-dimensional element to the display installation.

The partial paper piece was purposely torn from the underside of “Conker Lots” sometime earlier. I needed to mount “Conker Lots” to an A3 wood panel for structural integrity.

This is the otherside of “Brush & Palette Works #2” (taken from some A4 papers stuck to the underside whilst making “Conker Lots”):

Black White Robot Matt The Unfathomable Artist — “Black White Robot” [7th January 2025] by Matt The Unfathomable Artist, acrylic painting on fragmentary A4 250gsm mixed media paper, 8000 x 8000 pixels with border for social media presentation.

I made “Black White Robot” whilst wiping paint from a brush in vertical and horizontal motions. Produced entirely with the torn part at the top. Afterwards I discovered a ‘robot’ or ‘android’ looking face.

Interested in this unique composition I decided to make a second version the next day:

“White Black Robot” differed only in the ground, whereby I painted titanium white to add a level of contrast to this formal piece. Formal in that I planned to make the robot composition, emulating lines from the original brushwork paint play the day prior.

As promised here is “DELINEATI0N #000000” (shown immediately below) from which I utilised to make “Brushworks #1 – Original”.

The colours corresponding precisely between the two works:

DELINEATI0N #000000 Matt Unfathomable Artist — “DELINEATI0N #000000” [20th/21st September 2024] by Matt The Unfathomable Artist, charcoal pencil & acrylic paint on 250gsm A4 mixed media art paper, 6000 x 8484 pixels.

“DELINEATI0N #000000” started as a study to develop ideas for a pop or poster art piece. I realised the work becoming exceptionally unique as words arrived to mind in stylistic calligraphy.

As I document this artwork I understand some subconscious specific concepts found their way into “DELINEATI0N #000000”.

National geographic borders, music, opportunity for all and plenty of complex thoughts I am happy for people to enjoy deciphering according to their own interpretation.

“DELINEATI0N #000000” is inspired from Elijah solo, you can listen to their beautiful music by clicking the link.

Hope you enjoy.

Acrylic Portraits

Cadmium Red Mars Black Untitled #1 Matt The Unfathomable Artist — “Cadmium Red & Mars Black Untitled #1” [26th December 2024] by Matt The Unfathomable Artist, acrylic painting on A4 250gsm mixed media paper, 5000 x 6879 pixels.

Acrylic Portraits in Subconscious Working

“Cadmium Red & Mars Black Untitled #1” whilst made very quickly in portrait orientation is in fact an abstract. I only noticed the side profile head shape afterwards upon photographing the wet painting. My own focus 100% on making contrasts with the red, black and palette knife textures.

The work is subconsciously inspired of Frank Auerbach.

I photographed this piece on a black cloth vest with light blocking-surrounds excluding camera flash. In effect the piece appears to make its own light since I photographed this completely under shadow.

If you view the work in portrait at 180 degrees you might distinguish a squirrel (in side profile), perhaps a rabbit or some other cute fanciful like-creature facing the viewer.

nb Produced in one draft with my favoured palette tool. One tidying draft millimetres around the edge with brush only. I carefully retained the entire main abstract working seen here from the first draft exactly as spontaneously made.

I do not know how the human portrait formed from an abstract.

Next we have “Fragments #1”:

Fragments #1 Matt The Unfathomable Artist — “Fragments #1” [19th December 2024] by Matt The Unfathomable Artist, acrylic painting on A4 250gsm mixed media paper, slightly cropped paper, 5566 x 5934 pixels.

Do you see Charlie Chaplin and Buster Keaton?

On 19th December I utilised two A4 papers on the same day with random paint scrages from an as yet unpublished mixed media piece on A3 (“Conker Lots”).

These became “Orange & Violet Untitled” and this work “Fragments #1”.

“Orange & Violet Untitled” featured a predominantly Mars Black ground, inadvertently influenced by the formation of ‘guitar pegs’ around the portrait head.

“Fragments #1” also features Mars Black, somewhat already preplaced randomly. To this I added orange with an umber acrylic mix, carefully balancing colours on the canvas paper.

My intuitive brush scrapes of “Fragments #1”in a Cy Twombly style unintentionally collaborating with the Jean-Michel Basquiat style purposed in “Orange & Violet Untitled”.

As an artist I’m immensely intrigued to how viewers respond to “Fragments #1”.

Next is “Pitchfork Hands Man”:

Pitchfork Hands Man Matt The Unfathomable Artist — “Pitchfork Hands Man” [20th January 2025] by Matt The Unfathomable Artist, acrylic Pop Art painting on A3 250gsm mixed media paper with one lined Notepad paper as a painted central collage, 5000 x 7087 pixels.

I made “Pitchfork Hands Man” on 20th January 2025. On 8th February 2025 I read a CNN article (you can click the link to see the article) detailing a man knocking over a 19th Century candelabra at St Peter’s Basilica at the Vatican!

Let’s give more information about the artwork itself.

The lined Notepad paper with lovely textured inner cadmium-red paint looked rather arty. It’s paint scrapes originated from another recent work.

I began to paint play with sap green, cadmium-orange and then cadmium-yellow on the lined Notepad paper ensuring I retained all the beautiful red premarked paint.

Whilst making this I randomly scraped a brush loaded with yellow onto slightly premarked A3. With this separate A3 I began making hair, eyes and a face for fun.

Seeing potential I decided to intuitively place the Notepad piece centrally to produce a Pop Art character. I painted around the Notepad-body in gold to make the lined paper part of the A3 artwork.

Intriguingly if you turn the A3 anticlockwise 90 degrees to the left, the yellow eyes at your lower-left, I perceive a large authoritative head and face from the lined Notepad paper. This new character is not planned, merely a result of my retaining the premarked textured red paint.

Pitchfork hands each with seven prongs were added to complete the piece.

Finally for this blog article we have “Laughing Lion Eye” here:

Laughing Lion Eye Matt The Unfathomable Artist — “Laughing Lion Eye” [6th to 11th February 2025, wet paint photography] by Matt The Unfathomable Artist, acrylic painting on A3 (42cm x 30cm) 2mm white gesso primed wooden board, with border for social media publishing only, 8000 x 8000 pixels.

Personal quote on 11th February 2025:

“i genuinely made this in landscape with what became an eye at the upper mid centre-right. Seeing potential i turned this 90 degrees into portrait, et voila. i mixed red, green, blue (this afternoon) as i am out of pre-mixed black, making the definition outlines you see. this kind of piece is immensely exciting to me for its spontaneity.”

The ‘laughing lion’ in the eye is 100% chance. I didn’t notice this strange animalistic formation until photography again on 11th February.

I had no intention of making a portrait character prior to turning the painting 90 degrees.

Hope you have immensely enjoyed a flurry of portrait publishing to my blog in this article.

Ospicas Portrait in Blue

Personal quotations:

“i am definitely in Picasso inspiration, again. canvases being turned upside down, 90 degrees, strange wonderful art things. Here is (at first) a landscape of white outline with five random green rings i turned into a portrait to figure out some ideas.”

Updated: Approximately six definitive paint workings including three infinitesimal concluding drafts to perfect the visual.

I have strived immensely in my efforts, realising the portrait subject and timeframe during the very latter stages of its production. For me, interpreting my own work, the greatest clue came from the exclamation in the deep blue.

‘Ospicas’ is an anagram, a term of endearment and appreciation by me. I have utilised anagrams earlier with reference to specific artists and/or their works.

Making a portrait from a landscape-oriented abstract has made me very happy with this piece.

Here is the second draft, the first draft involved priming the heavy gesso with the cadmium-red ground you see:

“2nd draft – Ospicas Portrait in Blue” [12th February 2025]

At the time of making the second draft I made structural lines using a tube of titanium white. Additional brush painting in ultramarine/cerulean blue, sand (paint colour around the eyes), gold, copper, silver and burnt umber followed with careful, neat application..

.. only once I had turned the canvas into portrait orientation!

At first you see I envisaged a cute creature, being perfectly honest with you as a dear Reader.

With the yellow I wanted natural creativity to compose a face, enjoying visible brush lines, the interplay between red and yellow. Cloth fabric in use to allow the red ground to shine through, like the Sun.

The wild application of brushed yellow caused the necessity for much tidying work over the white tube lines. Wonderfully this improved the titanium textures. You can view the final draft with the second draft by clicking each image to see these textural differences. I retained smoothness at the centre for contrast.

Burnt umber is synonymous with academic underpainting. It was at this latter draft working I understood the portrait person, including the timeframe in their life.

A person with an intense, insatiable hunger for art.

I would greatly love anyone interested to make a version of this portrait with colours of your own choosing or in emulation of those in the painting.

Please enjoy.

Guitar designs for Alienalis Mantis

“Guitar Design One A” [Digital Art, 1st December 2024] by Matt The Unfathomable Artist, Digital Artwork, 5000 x 7073 pixels.

Let’s ascend into my process of production for these works. “Guitar Design One A” is made in ten minutes from “Guitar Design One” (foot of this article) using freehand digital drawing software.

The shading you see automatically follows the lines I made, see my blog article and works ‘a4 LY equation [digital sketch #1]’ for academic artistic reference.

Inspired by the beauty within “Guitar Design One A” I decided to make an acrylic replication of sorts on mixed media paper.

Artistic brand signage gave me the idea to produce a visually colourful piece in Alienalis Mantis, shown immediately below:

“Alienalis Mantis” [4th/5th December 2024] by Matt The Unfathomable Artist, acrylic fine art painting on A3 250gsm mixed media paper with four 250gsm backing papers, 5000 x 3617 pixels.

Impressed by the accurate brushwork of signage artists, think shop windows for barbers and barge boats, I thought this would make for an excellent amalgamation of styles.

Abstract and Signage.

My drawing lines in “Guitar Design One A” were so perplexing I found these a maze for my brushwork! Therefore I improvised with certain areas on the paper, quickly finding the landscape orientation the best for the acrylic visual.

I made the gold head for the (unintended) Mantis with textures similar to the preserved outer wrapping of an ancient Egyptian mummy.

It’s exciting for me to appreciate this acrylic is derived from guitar designs. The violet is blueberries to the orange. Everything seems to have motion. Life.

Here is the third computer design, a new work made in eight minutes:

“Guitar Design B” [Digital Art, 1st December 2024] by Matt The Unfathomable Artist, Digital Artwork, 5000 x 7073 pixels.

Haha, isn’t “Guitar Design B” wonderful?

To be a comfortable guitar I might need to round out its seated-position shape.

Finally we have the first design, “Guitar Design One”:

“Guitar Design One” [Digital Art, 1st December 2024] by Matt The Unfathomable Artist, Digital Artwork, 5000 x 7073 pixels.

“Guitar Design One” is more mandolin than guitar. Yet, this design provided the inspiration for guitar Design B.

Here is pre-published social media commentary for the digital pieces and acrylic painting in bold and italics:

[ The three computer drawn guitar designs I made are as follows:

‘Guitar Design One’ prior to 1720hrs on the 1st December 2024, produced in minutes for fun. Seen at the centre of this work.

‘Guitar Design One A’ a professional artwork produced from design one within ten minutes to 1730hrs. The design I incorporate into “Alienalis Mantis”, and the verily design represented here.

Then finally ‘Guitar Design B’, produced within eight minutes to find artistic lines for the possibility of a professional guitar body and neck.

Hope you enjoy these works as much as I do.

Bloom of Works

“Rosé Wine Flowers” [24th November 2024] by Matt The Unfathomable Artist, abstract acrylic painting on A3 250gsm mixed media paper, 4000 x 2914 pixels.

For readers who haven’t seen my pre-published social media here is a commentary for the artwork above in bold and italics:

“Rosé Wine Flowers” began with splatting a fan brush all over the canvas. Much fun to be honest. I then brushed in abstract shapes impasto style. The copper creates a wonderful contrast to the canvas which I have included in the photography for you to enjoy.

I have seen a ‘soldier’, ‘Beethoven’ or perhaps a ‘scientific genius’ in the abstract shapes. 100% pure chance. The vermilion hue red I added to harmonise the painting whilst also experimenting with compositional ideas.

From this lattermost freestyling I derived the working title “Rosé Wine Flowers” since afterwards it immediately reminded me of an artist’s work I viewed in a gallery some time ago in 2008.

An artist style I could recollect some sixteen years or so later. Her expertise is floral depictions. I felt my cadmium-red brush lines inadvertently emulated her floating, dreamy canvas quality.

Cadmium-red overpainting transformed this painting, providing definition with structure. A place for your eyes to wander.

‘The Beethoven’ as I shall call the mid-lower chance portrait is purely a bonus.

The Unfathomable Artist

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