This video in stylistic cinematography is real-time footage of my shadow boxing and performing a warmdown on the heavybag after an upper body workout at a gym.
I recommend headphones or loudspeakers đ˘đ§ to fully enjoy the experience đŹ.
Tag Archives: artwork
Documenting Works incl unpublished pieces
The artistically placed palette colours onto A4 paper for âUnification of Colour #1â took me approximately twenty minutes.
With the beauty of its construction this reminds me of my earlier works Geometric Lines #1 & #2. Whereas acrylic paint in âUnification of Colour #1â forms the structure instead of ink and pencil in Geometric Lines #1 & #2.
The title for this work derives from the unification of peoples rather than describing political terminology. A unification transcending individual national colours.
Please note the choice of colours is not political, national or with any exact meaning. It merely represents the palette colours I had available at the time of my art working.
I encourage you to click on each image for closer detail. âUnification of Colour #1 -SolarScapeâ is a digital artwork derived from the original. I balanced the tones, contrast and brightness digitally for this artwork.
Whilst some digital artworks I make are purely experimental, I do feel digital artworks like these are limited edition giclees, lithographs and silkscreens for the future.
Both these works are as perfect as my artmaking gets, to me.
I photographed prewritten A4 paper at 2135hrs consisting entirely of charcoal pencil from an earlier working idea.
By 2312hrs on the 20th I had photographed the completed âcetaceaâ work with acrylic paint. I write this to give you an idea of just how fast I am working sometimes.
Here is the premarked paper:
Super glad I had the thought to photograph this A4 premarked paper prior to painting, see immediately above.
10101, 10101, 01010 is an ISBN style theme from earlier works in Pop Art Egyptian Rabbit with ISBN & Barcode. Albeit a different numbering code, visibly obscured in the painting.
âcetaceaâ asks questions with regards to the origination of life, entwined in the idea of secrecy and spiritual liberation.
âGold Rectangular Frame with Redâ (shown immediately above) is made in the same one-draft-only session with âRed Scratchpadâ using a gold and cadmium red 50/50 acrylic paint mix.
The first photographs for both paintings [Gold Rectangular Frame with Red and Red Scratchpad] were taken at 0023hrs upon completion on 24th April including photographs of the two acrylic paint tubes used, for documenting purposes.
Quote âWith the remaining deep red paint I made another quite phenomenal abstract immediately afterwards in the style of âPseudo-Purple with Gold Frameâ [29th March 2024]â.
I decided on the paint mix for âRed Scratchpadâ and continued with this colour scheme for âGold Rectangular Frame with Redâ. The latter has two digital Versions entitled âPseudo-Gold Monochrome Frameâ and âPseudo-Gold Magenta Frame with Purpleâ, see immediately below for both these:
Then the Purple version here:
âI kind of like this one, Bob, leave itâ – screenplay quote from Batman (1989).
Why reference a popular violent movie?
I don’t know. Heat? Global warming? Manmade climate damage. Art is interpreted the way you perceive it. I didn’t have any specific theme behind âGold Rectangular Frame with Redâ. It does have an urgency within the artwork though.
I feel if we combine the red to be heat, the monochrome to be fossil fuels and the purple to be a psychopathic onslaught against planet Earth.. an intellectual theme is created as I write!
In keeping with themes here is my next work to share with you:
Clearly this is Abstract.
âMapped Random Satellite {Day} #1â is literally a doodle produced by drawing pencil lines around random premarked acrylic paint likely made during my earlier work âBlack Rectangle with Blueâ. The latter included both silver and black acrylic.
As an electronic gaming enthusiast since my childhood I had just completed a virtual flight using a modern computing simulation of avionics.
Having a pencil at the ready following notation after my gaming I made a quick doodle around the premarked acrylic in the Notepad I was using! No preplanned idea whatsoever.
The title is derived by how I perceived the artwork, afterwards.
Quote â âWhat do you think of looking at this?â [Asking with no information given regarding the artwork besides drawing around premarked paint]
– “It looks like tools“.
Maps are an integral part of aviation. The artwork is 100% pure chance.
nb I made a second Version as a digital artwork for this entitled âMapped Random Satellite {Night} #1â here:
I felt âMapped Random Satellite {Night} #1â had artistic value in context of beauty and symbology.
Incredibly by 100% pure chance the original has two adjacent runways with a ‘person’ sat on a seat as if viewing a computer, perhaps even directing aircraft either for ATC or military purposes?
You’re the viewer, you decide.
For me as an artist the original is one of the most ridiculous artworks I have ever made by chance.
As a bonus to blog Readers I thought I would include a previously unpublished acrylic work:
“10110101” is a direct number reference to Pop Art Egyptian Rabbit with ISBN & Barcode linked earlier in this blog article.
I hadn’t published this artwork up until now for no particular reason. It certainly has no gender specific or unspecific connotation.
Those knowing my youth will appreciate I was/am immensely technically interested in computers. Including the ability in my teens to write programs in computer languages to some extent. With (non-machine) code I could understand somewhat its intended purpose.
In my childhood family life and/or directly owned by me personally I had direct access to the ZX81, Atari, ZX Spectrum, Commodore 16, Commodore 64, Commodore Amiga, Playstations 1 & 2 then three desktop PCs (as early as Windows 95) and two laptops.
Binary numbers always represent computing to me.
In this sense “10110101” is created as a cuneiform tablet as a pseudo-set of language rules.
The origination of written language academically, historically, culturally and genetically as a human race.
Art.
The Fathomable Scream
This piece is inadvertently inspired by Edvard Munch entitled âThe Fathomable Screamâ and made of approximately three drafts on two separate days with around three hours working. Beginning the work on lightly prepainted paper.
Here is the slightly premarked paper immediately below (11th May) to give you an idea of how the artworking area looked before I began:
Minimal.
You can see entirely random palette marks made, immediately above, whilst working on another paper canvas. The premarked paper is unintended scrapes of my palette knife whilst I worked on âCavernous Red Blue Abyssâ.
Here is the first intended draft:
In the first draft entitled “GG” we see the words ‘disguise’ and ‘covert’ in iron gall ink. The GG stood for good game, inspiration from an online Youtube video. I had no thought whatsoever to make the ‘GG’ into eyes, face and mouth as yet. Nor any idea regarding a Munch scream inspiration until the lower-right face formed.
Of the two faces to the right.. the lower-right face was first. Completely random in any likeness. HONESTLY. The paint was placed directly onto the paper. I used the palette to make face shapes. The mouth reminded me of a popular Oscar winning animation. However its sense of sadness, horror or anxiety appealed to me within the ideas of a developing artwork theme.
If you had observed how very randomly I moved the paint for the lower-right face over and over you would appreciate how odd it was to me when the chance likeness of someone famous appeared. Again.
From this I then thought of tragedies and musicians.. like Kurt Cobain, hence the blonde hair idea. Afterwards (days afterwards) I realised this artistic idea had another direct significance to ‘the likeness’ face!
By this time the top-right face could represent John Lennon, or anyone the viewer chose in the context of tragedy.
——-
It is good to note for the second draft I watched television at the time of painting the evening of 18th May. Usually I art work in quiet as I’m a very focused person. Although if I write songs I am often listening to music.
A particular sports commentary to know their general opinions.
The hair for the large left face is pure chance in that I never intended to actually paint hair! I thought of Andy Warhol by the time I made divers goggles around the eyes. It was also here I loved the way the unintended hair looked. I literally wanted a nice background as I paletted gold paint onto the canvas.
âThe Fathomable Screamâ [16th/18th May 2024] became an immediately recognisable, creative and unique Unfathomable Artist work.
Here it is to show the painting only:
“Face with Gold Mouth”
Let’s start with my social media quotation:
âFace with Gold Mouthâ began as charcoal lines in mostly abstract forms. Shapes primarily. The drawing took me about 20 minutes.
I photographed the drawing at 2101hrs immediately, deciding what to do next.
The entire acrylic painting was then finished in an incredible one hour fourteen seconds, timed. I quickly started photographing. The image you see here is from a photograph I selected at 2207hrs, the paint still gleaming wet.
I do feel it is a very unique artwork for one hour fourteen seconds of painting.”
Picasso and Van Gogh are my main influences here.
The ivory black paint around the outer area I kept very accurate to the drawing. There is no brushwork whatsoever. I decided to improvise with the actual painting. Only restoring the idea for eyes, mouth and nose ‘later‘ in my working.
later within the hour of course.
The dachshund shape is complete chance. This delighted me immediately after making the drawing. I knew I needed to retain this in the painting. With wet paint heavy on the paper I quickly referred to my photograph of the drawing to place the eyes and nose, stylistically.
I noted the triangular area looked wonderful for the mouth. So much fun to produce. Likewise the ivory black area, the etched lines my own Van Gogh emulation seen in a number of sketches (with pencils and/or ink) I’ve produced of trees.
After completing the piece I originally envisaged the title “Face with Dog Tree”! However two reasons I decided upon âFace with Gold Mouthâ.
Firstly, my mother specifically commented ‘it has a gold mouth’. Also, I thought it would be interesting for viewers to see the idea of a dachshund/dog for themselves. Particularly as this element was unplanned.
The ‘mouth teeth‘ at the top is the original charcoal from the drawing. It was pure spontaneity. Immediately it reminded me of a music industry friend.
You can even see a charcoal line did not get overpainted on the head above the eyes too.
Here is the charcoal drawing:
I never viewed this as a self portrait then or now. The abstract face was made without any thought to resemble or represent anyone in particular.
Some days later reading the earliest introduction of this [portrait] person’s life.. I knew it would be ridiculous for me to pretend this painting could be of any other person.
It’s strange a randomly made abstract-like painting could become a certain, unique human being. Unique enough for others to intellectualise.
By the way, I thought you might like to see the timer for this painting work:
“Knight Unfathomable” Works
Firstly my earlier quote:
” I made the spontaneous [under] drawing for this work in 15 minutes.
The âsecond draftâ five minutes later for all the painting work took me 50 minutes using only one palette knife entirely. There is no brush work. One hour five minutes in total working on this piece.
I also made four different digital artworks from the Original painting the next day, Sunday afternoon :]
Completing a work of this strength in just one hour five minutes using only one palette knife and a 2B pencil.
The spontaneity, inspired of style, personal references, intellectual interconnectivity and visual beauty of this artwork has truly pleased me. “
With âKnight Unfathomable in Goldâ there is intricate symbology throughout. Whilst painting, inspiration kept arriving in my mind.
Lowry. Levitation. A popular science fiction-fantasy film franchise. My “type:” art works series. Very personal experiences. Interests, sporting, hobbies and disciplines – specific. Physiology. Physical attributes. Emotion and feelings. Some perceptions of others towards me. Explicable world views. Ancient presentation. Cubism. Art Masters emulation. ‘M’ wavelengths.
Every thought therewith upon the paper.
The “om” interconnecting was purely unintentional.
A line between ‘a’ and ‘b’ merely the estimated spacing for the rectangular sign. I found this quite laughable since under-spacing “unfathomable” has occurred almost every time I have made this worded visual in past works. It features 12 letters!
Next for this article I’m inviting you to view each Digital Work from the Original (you can click on each) without further commentary by myself. I like the idea you will choose your own favourite:
[please note colour representation might vary slightly according to your monitor or mobile device]
âKnight Unfathomable in Blueâ above.
âKnight Unfathomable in Redâ above.
âKnight Unfathomable in Black & Whiteâ above. A fifth Digital made on the 1st May.
âKnight Unfathomable in Greenâ above.
âKnight Unfathomable in SolarScapeâ above.
Finally here is the first draft photograph immediately prior to beginning palette knife painting in a second draft, just five minutes from the first.
Timeline:
- 2125hrs to 2140hrs first draft drawing with 2B pencil shown in the monochrome image immediately above.
- You can see the first four gold paint placements onto the paper directly from the paint tube at 2145hrs in the photograph. I very quickly documented the first draft before continuing. My thought being ‘I would really like people to see how successfully I can keep to the original drawing with my palette paint work only‘. Similar to an opera singer amazing you with the power of their voice.
- 2145hrs to 2235hrs palette knife paint working to completion. 50 minutes.
I feel the Digital Artworks for these pieces would be best represented in physical form as unique silkscreen prints. Or equally best in some form of paint pressing method in like-style to how I made Pressed Gold Flowers.
By the way, as I viewed my blog to obtain the “Pressed Gold Flowers” link I astounded myself with my own works scrolling through! The quality and distance to my art portfolio has become remarkably weighty even if I humbly so write.
The original âKnight Unfathomable in Goldâ considering its unbelievably complex spontaneity and speed.. is a genuine masterpiece of intellectual art!
I do want to create further cubist and psuedo bas-relief works in the future.
Cyan Palette Nebulae
I made three miniature canvas artworks on the same draft evening session the 4th April. This cyan liquid paint drip and palette knife working is the second piece, completed in literal minutes.
Artistically placing liquid mixed dripped paint then very carefully applying my favourite palette knife.
As with âYellow Gold Rectangular Masterpieceâ this artwork âCyan Palette Nebulaeâ just happened to present beautifully upon the canvas to my exquisite delight.
I do not think there is a painting I ever made with so few palette knife motions. “I love this paintingâs complex simplicity“
Then some days later whilst viewing this artwork on display I noticed an almost âalien-like womanâ, herself appearing to view the extraordinary.
If this is difficult to fathom.. there is also a believable lionâs face in my âCyan Palette Nebulaeâ. Definitely extraordinary for an artwork taking me not twenty minutes or thereabouts with completely random paint drips and quick palette work on the wet canvas.
The ‘lion’s mane‘ of the nebulae took the longest. Please appreciate I constructed this piece as a 100% abstract. I had no objects, faces or people in mind whatsoever. Not even nebulae! I only named this piece afterwards for how I believed it could reasonably be titled.
As a nebulae.
It was days after seeing the âalien-like womanâ I then incomprehensibly discovered the ‘lionâs face‘ with a robot-like eye.
Its left eye (as we view the piece), nose, jaw, mouth and mane now recognisable to a viewer.
The strangest thing about these now discernible phenomena is knowing I had not planned, envisaged or conceived of any such idea whilst painting! Honestly. True.
It is definitely unfathomable.
To give you an idea of my process. I dripped the thinnest, wettest paint first. A watery mixture from the same singular batch. The top liquidy layer from the petri dish-like glass container I mixed the paint in. As an artist making an abstract my focus was purely upon contrast. Lights, darks, interesting swirls for this piece.
I remember being very definite about this. Moving the palette until I was happy. I took perhaps no more than ten minutes for the first paint layer. Time goes Dali when painting, believe me. This is why I often stopwatch my sketches to be accurate with times for speed drawings over drafts.
Generally I do not time oils and acrylics. Although I have kept a look at my watch when starting acrylics very recently.
Anyway let’s explain the second heavier alla prima top layer where we now see the woman’s face and lion. It is here I literally made so few palette movements as to be near impossible in creating such masterful depictions.
How else am I supposed to write this?
If I tried to make these complex, beautiful depictions it would actually take me more time. The ‘woman’s eyes‘ were made in two palette motions entirely. At first I thought to myself ‘Gosh, that’s heavier than I intended’. Strangely though I decided not to rework those two palette lines [‘eyes‘] for a second time.
How glad I am about that!
Every element about the lion’s face is rather unexplainable.
“The nose of a lion, is the mouth of a woman“. An ancient riddle? The canvas 100% abstract in shapes to me whilst painting. For days afterwards too.
Contrasting, attractive. A nebulae.
Personally I feel this abstract piece is a pure chance masterpiece. I am pleased to write of the artwork in this way.
My very own ‘Mona Lisa‘ in abstract form.
Jackapoo Pup with her Doughnut
My sketch âJackapoo Pup with her Doughnutâ is from a family photograph by my cousin of her adorable pup, now an energetic young dog. The prior week of making this artwork I saw this family dog happily in the garden with her doughnut.
The first draft took me 23 minutes 7 seconds and quite lovely already after the first draft. The second draft tidied at 6 minutes 16 seconds. Then a final draft of 8 minutes 8 seconds, an afterthought with a few finer details. 37 minutes 34 seconds in all.
Whilst I haven’t posted the original photograph it really is a very good likeness. The sketching is definitely my own style.
I made three fun digital versions of which ‘Silvered’ shown below is my favourite of those:
Along with the original sketch I feel âJackapoo Pup with her Doughnut – Silveredâ is a strong piece of its own merit. I can envisage this artwork pressed onto metal such as aluminium, copper or even silver.
The process would likely include garlic juice and oil paint. Finishing the piece with a gold frame.
I love both pieces here and hope you do too.
Painted Organism #1 Digitals
Original quote:
“This is a doodle for fun. I made this digital artwork quickly in around an hour. There are eight versions in total including the Original in Red.”
I carefully selected from the eight versions to publish four of my favourites.
âPainted Organism #1 in Monochromeâ is spectacular.
âPainted Organism #1 in Vivid Greenâ has an emotive sense, do you agree?
The subtle softness of âPainted Organism #1 in Yellowâ is calming.
Even now, several months after creating these digital Editions using readily available professional painting software, I enjoy the organic realism to the pieces.
Every line and tone is freehand drawn using a mouse.
The pieces were inspired by the style of a past artist which included Cells.
Digital Artworks – Green Umber Rectangular Abstract
I made two digital Editions of Green Umber. âGreen Umber Gold Rectangular – Solar Landscapeâ shown above.
This particular Solarscape (as I term this type of digital work) is quite nebula-like. Always interests me how my brushstrokes and palette work converts attractively into a digital representation. From there I make finite adjustments to arrive at a unique piece.
Next, I have a Portrait Edition, fine tuned today:
âGreen Umber Gold Rectangular – Monochrome Portraitâ bursts through with light in a vertical edition, similar to the Original abstract painting itself.
Businesses use technology constantly to communicate directly to an audience.
The use of technology helps artists achieve much greater exposure to viewers than ever before. For me the creative elements within technology offers new scope for making art.
I do feel these two digitals are valid artworks in their own way. In my early digital experimentations I made some artworks in an explorative manner only, merely to share with you.
Pieces like these in this article would certainly look super printed and installed in any suitable setting.
I think I am saying some pieces are for online enjoyment and personal exploration. Whilst I feel most of my digital artworks are potential installation pieces.
I would love to create an art museum of my works for your enjoyment.
The Unfathomable Artist 