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.

Beyond Visual Beauty

“Unidentified Anomalous Phenomena #1” [3rd August 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), 5797 x 4314 pixels.

Most paint artists think about how beautiful their composition will be. I do.

Sometimes I’m evaluating a work asking myself this very question. The paintings I’ve catalogued in this article challenge the whole concept of traditional aesthetic beauty.

Consciously and subconsciously I decided to paint exactly as I wanted without personal critique.

For those who haven’t read my Instagram social media here is a little commentary I published, in bold and brackets:

[ Four drafts through the afternoon and evening timed at 21m03s, 21m07s, 19m01s and 17m50s, the latter adding in the gold around the UAP and making artistic adjustments. Approximately one hour nineteen minutes with one untimed change consisting of quickly fine tuning the ‘green-sea-space’ effect.

“Unidentified Anomalous Phenomena #1” builds upon my “Cavernous Red Blue Abyss” and ”Propulsion – Original“ artworks. It’s purposely strange/unusual in the manner of this art genre. Details either abstract or definitive for the viewer to decide.

I sought for Willem de Kooning and Frank Auerbach (specifically “Primrose Hill Study – Autumn Evening” [1979]) in style and texture. With any past/present master artists’ inspirations I always seek to create an original composition. Styles like theirs are incredibly difficult technically to produce.

The objective is to blow your mind figuratively speaking through raw creativity. ]

The wet paint in an unedited photograph for “Unidentified Anomalous Phenomena #1” is theatrical to view. I feel the lighting for this artwork is important for an installation. Placing the light source above should suffice very nicely.

My thoughts are two types of viewing experience. Moonlight and Light-source-above. Personally I find the artwork utterly intriguing! Writing this article I needed to see UAP #1 again.

I’m proud of this piece. The textures have such motion.

Some one hour nineteen minutes for an artwork shining like a bright Star. Unusually unique. Different. Confounding. Unexplainable.

Yes please..

.. sorry, gifted.

“iM” [11th August 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 4531 pixels.

Quotation from my Instagram social media, in bold and brackets:

[ “.. the iconography in “iM” is phenomenally fresh, clean and distinct.. i love it!!” – 11th August 2024.

“iM” is pure spontaneity, play with paint really. Symbology, themes and messaging with reference to my past & most recent works.

Please note both “ART LIFE M 314” and “iM” took within one hour seventeen minutes combined to paint from start to finish. ]

What do the symbols and iconography mean in “iM”? This is an area of art where I love art critics and viewers to internalize/externalize the personal commentary.

Let’s include “ART LIFE M 314” too for you to see:

“ART LIFE M 314” [11th August 2024] by Matt The Unfathomable Artist, acrylic paint & charcoal sticks on premium 115gsm medium textured cotton primed to 240gsm over 12in x 16in (30cm x 40cm) wood-fibre board (4mm), 6017 x 4497 pixels.

Quotes for “ART LIFE M 314”:

[ “.. i noticed a ‘gun’ shape in ‘art life’, it is PURE chance 💯%. a piece of charcoal stick broke in my hands (end of gun looks like a bullet!), i didn’t even know this 🙉!! yes i heard some charcoal breaking, just not there. i have straightened the charcoal piece to appear as a bullet leaving the gun. cool huh 🎯. totally chance it became a bullet ^^. not certain how i ensure the charcoal piece is properly adhered to the painting (acrylic holds it there for now). i will look into this tomorrow 🎨 nb interestingly a wipe got totally covered in red making ‘art life’ and the charcoal pieces too. kind of cool i think.”

“i just worked some varnish into and around the charcoal ‘bullet’🏆”.. “.. nb these art after Willem de Kooning, Basquiat inspiration too with overpainted areas. who on Earth is going to believe the charcoal ‘bullet’ placement was pure chance lol 😆. the funniest thing is.. i didn’t even know I’d painted a ‘gun’ haha. then again a yoda in yellow flowered sun abstract, i mean really, how!! ♏️” ]

With “ART LIFE M 314” I just hoped people would ‘get’ the art. Thankfully, they did, including professional artists and writers.

It really is all about the (honestly) chance gun, (honestly) chance bullet and edgy Basquiat style. Ridiculous odds.

Ordinarily, if slowly working, this would seem unlikely. However I made these two artworks very quickly. I purposed for tiny bits of charcoal to be included in this piece along the black lines. Taking imaginative inspiration from Basquiat’s use of oil stick.

Most all black lines were the result of heavy-handedly scrawling charcoal onto the canvas. The sound of charcoal splintering against the canvas was something I can only describe as quite wonderful. Bits of charcoal in the paint, yes, yes, I said to myself! Wanting immediacy, no personal critiquing.

It’s likely the charcoal piece broke in my hands rather than against the canvas, as this happens all the time when I use charcoal sticks.

I don’t know how I didn’t notice the ‘bullet’ piece of charcoal. All I know is whilst reviewing areas on the whole canvas specifically for any significant pieces of charcoal I then realised quite a large piece of charcoal needed initially removing..

.. before quickly deciding this.. was.. absolutely.. perfect!

One hour seventeen minutes for both “ART LIFE M 314” and “iM”.

“Island Anatomy” [wet painting image, 24th/25th August 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), 5978 x 4386 pixels.

Quotation from my Instagram social media, in bold and brackets:

[ The first draft for “Island Anatomy” took 38m46s entirely of palette work.

Reviewing the artwork I wanted to soften the lines. Therefore I made very quick instinctive changes using an angled paintbrush in 5m04s.

I am absolutely delighted with the paintbrush effect throughout the piece.

Did I have anything in mind whilst painting?

“Not specifically, shapes. I began to think of Greek sculpture after making the chrome-like textures. The shapes are <100% pure chance>.”

In the 5m04s second draft [within minutes of the first] I did purpose waves over the textures with the paintbrush. The distinct shapes already painted.

I feel this references my earlier works “Propulsion” and highlights inspired phases visual artists have. For me its rectangles, UFO shapes etc. Kind of like cravings some pregnant women experience.

To be honest I realise there are layers of conscious and intellectual thoughts resonating in this artwork.

In the working process I allowed myself to paint. This is how Andy Warhol also made immensely insightful diary entries. ]

To be clear, the shapes are all palette [knife] work. By pure chance I mean the construction as a whole rather than the individual shapes I made. The individual shapes are pure chance in that they did not represent anything specific at any time. Of course, I did make these shapes of my own freestyle working, by chance, by complete imagination.

I made two digital versions, interesting enough to publish:

“Island Anatomy – Monochrome” [digital artwork, 25th August 2024] by Matt The Unfathomable Artist, 4000 x 2989 pixels.

“Island Anatomy – Monochrome” looks like night time aerial photography.

“Island Anatomy – SolarScape” [digital artwork, 25th August 2024] by Matt The Unfathomable Artist, 4000 x 2989 pixels.

Please do click the image for “Island Anatomy – SolarScape” to see details. As a computer interested person, I find the colour interactions super delicious on this one. It gives a sense of the scientific, electron microscopy, atomic level organisms.

Personally I would love to see this print-painted with textures, then mounted behind the glass of a huge aquarium!

Why ever not, aside from the cost obviously lol.

RAW OME

I made “RAW OME – Original” within approximately half an hour, completely spontaneously without any preconceived ideas. It should be noted this was done with a dip pen with a sharp flat metal nib.

Every line, rounded shape, written word and iconography required repetitive ink dipping to create the stark, clean workpersonship you see here. I use an original boutique made recipe in good reference to an oak gall ink by Giovambattista Palatino from the mid-1500’s.

In addition to the Original ink edition I made two digital versions ‘Silver Bullet’ and ‘Brimstone’ shown below which feature black backgrounds. These digital artwork titles play on men thinking of divine retribution to manmade problems, like manmade war.

“RAW OME” incorporated some of my Galaxies Reverberation symbology in its [subconscious] construction [G.R. #7 #8 & #9 featured]. nb see also Galaxies Reverberation #1 & #2 and Galaxies Reverberation #6 whose titles all reference <cause and effect> and <chaos theory>. ‘Chaos’ Theory in the way I understand this. That is to say an occurrence can, at certain times, be interconnected to another.

In this intellectual reasoning therefore both cause and effect and chaos theory have pertinence with my latest artwork, “RAW OME”.

Yes, this is 100% derived from topical international news. It is genuinely ‘completely spontaneously without any preconceived ideas’ in that I just drew lines and shapes. Becoming the news as I did so, now in my thoughts. After completion I myself realised the ‘squiggles with DEMOLITION’ area of the paper actually represented something specific!

Humanity.

This sliver of ink itself not conceived as an idea in any way whilst drawing, aside from the obvious connection to war generally.. demolition. An overt movie reference.

I leave no ambiguity with some things. RAW OME is quite simply ‘WAR MEMO’.

A diplomatic capacity.

Last night I looked up the word OME. I had no prior idea it was even an individually recognised word or words in any connotation or scientific meaning whatsoever. This formula to obscure word or words is entirely Basquiat inspired.

SAMO is merely a play on words only.. to sound–like ‘same old’.

N^ox builds upon hierarchical mens inability to appreciate their wanton ruinous Earth-wrecking actions.

The aghast hands parody their critical analysis of the situation.

Other hierarchy must be evil. They cannot possibly believe how their enemies could react so co-equally recklessly also.

This artwork is not about good or righteous actions. It’s about recklessness. Recklessness sharpening missiles against recklessness.

Cause and effect.

A ^businessin cunningly orchestrated war at the detriment of national debts, cost of living, your personal well-being, safety and security.

50 + 50 + 50 = DStM.

“RAW OME – Brimstone” [16th April 2024] by Matt The Unfathomable Artist, 100% Digital Artwork, 4189 x 5814 pixels.

As already mentioned “RAW OME – Brimstone” is all about the onerous thinking that God wants to eliminate co-competing nations or their peoples. Some or all of whose people will believe in God. Some of whose people will not.

That is free will.

“RAW OME – Silver Bullet” [16th April 2024] by Matt The Unfathomable Artist, 100% Digital Artwork, 4189 x 5814 pixels.

“RAW OME – Silver Bullet” leaves the option of simpler solutions to complex problems.

Of course, we do not live in a perfect world where everyone will chat nicely to solve bitter disagreements amicably with a cup of tea.

Unreasonableness is a problem.

Evil is a problem.

Without selfish unreasonableness the global manmade climate damage problem would be much further along its most timely reversal.

I wrote this impartially without prejudice for all people.

Thank you for reading.

M Gold Eight Original + New Variant

“M Gold Eight – Original” [19th March 2024] by Matt The Unfathomable Artist, Pop Art acrylic painting on A3 300g mixed media paper, 3000 x 4318 pixels.

Well there you go “M Gold Eight – Original” is the actual acrylic painting originating all the Variations digital works I made from this.

It features real 24k gold leaf in two fashioned squares. The eight is not a planned number reference. It is purely chance through my amalgamating the two gold squares. It was made in portrait over landscape from the beginning.

Yellowish painted ‘track‘ lines were added in whimsical focus. ‘Must make it beautiful.. must make it nice’ went my robot thoughts, possibly, haha. I literally went around the eight track with the brush multiple times in my own tranquil art world.

Lots of fun.

I was like, ‘everyone is going to think this is an 8!’ So I titled it with an eight to go along with perceived perception. Is that even a thing perceived perception?

The M at the top completed the piece. One to fill canvas space. Two since I believed it would look awesome, particularly including my own version of Basquiat famed iconography. Which as an artist I cannot write enough regarding my admiration for their secular achievements and natural artistic abilities.

I let light onto the canvas for this photography shot (above).

Today, following my up-to-date photography of the piece I noticed a Frankenstein-like head in the lower gold ‘square’. A humanoid figure to its right can also be imagined. Pure chance I promise. Especially as I only noticed these today lol.

The shapes only occurred through the process of varnishing. A quick indoor photograph (unpublished) on the 18th March shows the two gold leaves near intact upon the canvas.

I put so much effort into professionally cleaning this piece of loose brush bristles from my heavy varnishing. Awake through the hours so I was. Early up working at not much past 0430hrs cleaning into 0705hrs having worked on the piece after midnight (19th March) prior with the varnishing itself!

Necessary since the varnish would dry solid.

Sacre bleu..

.. then joyful after meticulous canvas brush bristle cleaning and daytime working to add the black and green around the ‘eight’ for strong visual definition.

The earlier opaque light paint (to the black and green) surrounding the ‘eight’ was primarily palette knife work by the way. Calming the overall Pop Art piece to how I envisaged it.

Stylistic.

“M Gold Eight – Monochrome” [11th April 2024] by Matt The Unfathomable Artist, Digital Pop Art, 3000 x 4318 pixels.

“M Gold Eight – Monochrome” now makes for the seventh Digital Variant.

Namely (1) “M Gold Eight – Collage of Four” (click to see the other Variants), (2) “M Gold Eight – Blue/Red”, (3) “M Gold Eight – Goldish-Brownish/Cyan”, (4) “M Gold Eight – Black/White Sketched”, (5) “M Gold Eight – Green/Magenta”, (6) “M Gold Eight – Burgundy/Bright Green” and this latest version here (7) “M Gold Eight – Monochrome”.

I know, I know, they art all freakeh! Probably love all these as much as any of my other Painted or Digital works.

Am I layering movie themes into the wordology of this article? Yes.

Hope you enjoy these works too.

convenient tasty snacks

As any Pop Art aficionado will know with my recent works since September 2023 I am drawing up my inner Basquiat inspiration.

These two blog articles wrote in July 2015 by me will show you my love for Jean-Michel’s works. You can always read these articles after this blog post. Articles shown in chronological order:

Empathic Depictions by Jean-Michel Basquiat

then:

Basquiat, Matt & The Soul Stream

”convenient tasty snacks – Original in Yellow“ shown above formed from one word.. ‘convenient’.

Convenient like the Earth growing an adundance of tasty foods we love to combine in sophisticated culinary ways to produce incredible meals and drinks.

I wanted to celebrate this in an artwork, Basquiat style.

Prior to making the artwork <past the midnight hour> I happily enjoyed a documentary on the engineering feat of the ‘South-to-North Water Diversion Project in China’.

For instance, Beijing has a population of twenty one million people! Just think about how much food and water is needed. The Earth is truly amazing.

Good engineering works by humans is also amazing.

”convenient tasty snacks – Solarscape“ [digital Art, 27th November 2023] by Matt The Unfathomable Artist, digital artwork, 1920 x 1080 pixels.

I did two further editions of my artwork, immediately above is ”convenient tasty snacks – Solarscape“. My solarscape versions always become vibrant, cool works on the digital canvas. To be honest I would love to see these in physical form, silkscreen prints would be wonderful.

Lastly I did a Monochrome version for a contrast between the colour editions, ”convenient tasty snacks – Monochrome“ is shown immediately below:

”convenient tasty snacks – Monochrome“ [digital Art, 27th November 2023] by Matt The Unfathomable Artist, digital artwork, 1920 x 1080 pixels.

With ”convenient tasty snacks – Monochrome“ it was quite difficult to balance the tones, whilst retaining the verbal messaging.

Some of the messaging I wish to explain is the inclusion of Roman numerals. This is purely a Picasso influence-idea in the work! I feel subconsciously I included the popular laughter word ‘KEKW’ to highlight the playfulness of my imagery.

Subsidy street is a reference to engineering in terms of safety for cities and also a connection to the modern phenomena of world economies spiralling into further debt.

The light seemingly blazing through the canvas in Monochrome is a direct simile to my much earlier work in 2012, shown here in a blog article of 2019:

Playful Light Signature

This is my past paint artwork in burnt umber on paper I am referring to:

‘Matt’ [Playful Light Signature, June 2012], Oil on paper.

I shone a light through the paper then took the photograph.

Hope you are enjoying my artworks and the layers of ideas.

Kieron After Claude

“Cattle Walking At St Benet’s” [2015] by Kieron Williamson, Oil on canvas, 16ins x 22ins.

Having viewed John David Ratajkowski’s beautifully charming ‘Cow Tuesday’ art pieces online I thought it would be interesting for me to include “Cattle Walking At St Benet’s” by prodigious child artist Kieron Williamson.

Artists incorporate a unique personality and stylistic signature to their artworks. Art experts know a John Ratajkowski artwork from a Kieron Williamson, a Basquiat from an Andy Warhol.

All masterful artists in their own right.

Where do I begin writing about an artist whom at six years of age was already exciting prospective buyers into making sealed bids for his artwork?

His lifetime earnings have exceeded £2.5 million.. and Kieron is still only 14 years old!

‘I guess’, said the movie veteran, that when you make a child genius we should always appreciate that their early talents have also likely been nurtured from a very young age. Even so, they are undoubtedly born this way.

Like Justin Bieber musically.. and beyond.

“Cattle Walking At St Benet’s” is glorious. Cows have that remarkable quality of looking at us pensively. They’re immensely trusting. Chewing the cud they couldn’t care less what was going on in another field, sheep grazing by their side.

Kieron’s artwork above captures the layperson’s idea of cows. Aloof, awkwardly thoughtful and at great efforts in movement at everything until perhaps the Farmer calls. That’s how I see it.

Then again, I breathe art every single day of my life. Kieron and John too.

“Dramatic Sunset” [2009] by Kieron Williamson, Pastel from his 2nd Exhibition, 14 ins x 10 ins.

Immediately above is an astoundingly mature artwork by Kieron Williamson when he was just seven years old. I encourage you to look online to see his people-in-rural-landscapes work.

This sunset pastel is one of my favourite sky scene artworks, ever. I’m trying to bring forward words to describe here what I’m seeing. Artists study artists and none more so than lifelong famed British artist David Hockney.

Therefore I can say that this sunset pastel has become ‘pools and portraits’ to the art world in my opinion. KRW Esq, if you will.

“Distant Cattle” [2014] by Kieron Williamson, Oil on board, 10 ins x 14 ins.

The above artwork “Distant Cattle” contains intense drama. The wind could be roaring any moment soon. Those approaching clouds might loom as a thunderous downpour. This painting is about our relationship with the environment. How it makes us feel.

‘Urgency mixed with the oils of imperturbability’.

Thanks Kieron, I’ve hyphenated this new saying as it sounded, dare I say of classic landscape art, inspirationally cool.

JMW Turner’s are cool. And Hockney too.

Imperturbability, he said. Oh how this most unusual word somehow reminds me of Roald Dahl and all his wonderful children’s books.

“London Monotone Figure” [2013] by Kieron Williamson, Oil on board, 10 ins x 14 ins.

I continued to sit back in my chair whilst I first viewed “London Monotone Figure” on Kieron’s website:

http://www.kieronwilliamson.com

Anyone familiar with my photography will probably understand why for interconnective reasons:

“The Snow Walker” [photographed 6th January 2010, 1635hrs] by Matt The Unfathomable Artist,. Unknown man walking near and to my hometown local lake.

Interconnective reasons of Imagination and Reality.

You see, at around 9 years of age I was by my own personal request gifted with a children’s book about spycraft. It was for Christmas that year I think.

Can I please imagine that the solitary figure in Kieron’s painting is a spy vanishing into London’s misty void? Okay, he might be an old man.. in disguise? Or a blind man tapping his way along the murky pathway? Kieron’s painting allows artistic licence for our imagination.

Which brings me to my next interconnective thought..

..The 1927 film ‘Metropolis’ by Fritz Lang was my Dad’s favourite movie. He owned the complete film on video.

The full movie is itself a work of art, inspirational even to this day. I’ve no doubt my Dad saw a simile of his own mother and father in the film. Yes a good likeness of character, a simile of my Gran and Grandad. I’m absolutely certain of this.

M and the spy movie genre began to find its place in film art history.

“London Monotone Figure” is also a superior artwork. Its simplicity and complexity. A bluish-grey gun metal palette. Mysterious, Spooky, Ghostly. Absolutely charming, characterful and inventive of Kieron’s design.

Kieron Williamson is producing masterpieces in a consistent manner with the dexterity of past greats such as Carlos de Haes.

Here’s to a superb “Family Gathering” as we check the “View From A Window” at “Day’s End, Norfolk” just wishing for the “Blakeney Sunrise” to arrive.

Sound Waves Art

‘My Wild Big Cat Sound Wave Vocalisation; Artwork [number 1]’ drawn on A4 paper using blue ink pen – June 7th 2016 by Matt The Unfathomable Artist

You may already know I love writing song lyrics and composing melodies. Yes, even singing too.

So it should be no surprise really that I enjoy any art form that might be musically inclusive. Whilst producing my ‘Seismic Waves’ series of artworks I wondered how I might represent sound waves. In order to replicate sound waves in digital on-screen format I changed the point accentuations jaggedly.

Which.. (or is that wice?) nicely brings me to seeing a curious bird that went calling in all directions on the treetop at my local lake. Literally chirping at 90 degrees (not like Joe 90 of the television series) and swiftly shifting its petite form clockwise then chirping again quite loudly. Four times it did this through 360 degrees and repeated the process all again.

I’m quite sure that this proud little bird would make a very beautiful sound wave artwork. The artwork shown immediately below was a pure contrivance. No doubt this sound wave would make a good noise of sorts if processed through digital software.

‘Soundwaves [number 1]’ on A4 paper using blue ink pen – June 6th 2016 by Matt The Unfathomable Artist.

Following on from ‘Soundwaves [number 1] and ‘Seismic Waves’ I thought to myself that it would be exciting to record a soundwave then replicate the visual representation of vocals with an artistic impression.

I chose to create a wild big cat vocal as this has many ideas behind the concept of my first sound/drawn choice. Yes, I appreciate I could have chosen ‘Hello, my name is Matt.’ However the former vocal would be interesting both audibly and visually with its change of tone and pitch peaks. It required some practice. So I personally vocalised for about 5 minutes, making various wild cat sounds before recording.

Here is the recording:

https://drive.google.com/file/d/0B_1g4lrULQoBcXJzN1A1RTdRUEU/view?usp=drivesdk

I strongly recommend Low Hertz Bass Capable Headphones whilst listening to this recording.

Probably not so useful if you’re watching the film ‘On Her Majesty’s Secret Service’ (1969).

A closer look at my ‘wild cat vocal’ ink on A4 paper artwork is shown here:

‘My Wild Big Cat Sound Wave Vocalisation & Artwork [number 1]’ on A4 paper using blue ink pen – June 7th 2016 by Matt The Unfathomable Artist

Perhaps some fine art collectors will raise their eyebrows. Perhaps not. I respectfully appreciate their professional opinion. Basquiat and Warhol is obviously fine art.

It’s definitely worth noting, oops no mistaking the wordplay there, that this sketch artwork immediately above was replicated on the first attempt whilst actually looking at the sound wave.

That said, are the seemingly crazed sounds of a man impersonating wild cats and producing drawings from his vocals fine art? I don’t think it will take 50 years to know the answer. Everyone has their own opinion – I respectfully appreciate this too.

Dali, Picasso, Frida Kahlo and even Jackson Pollock were and are all considered eccentric. Basquiat often listened to music as he felt this helped his artistic ingenuity. Normal behaviour mixed with their extraordinary creativity.

Warhol worked with extreme efficiency of artistic method. Some fashion photographers prefer the freedom of taking hundreds of photographs during a shoot. Some limit themselves to no more than 50 shots or less.

Different working methods. New and reinvigorated ways to create art. Art that inspires people for generations.

I would like to produce a ‘Seismic Wave’ artwork in oil paint on canvas from an actual earthquake (see previous blog article for further details). I also wish to create further ‘Sound Wave’ art impressions from real life recordings.

It got me to thinking. Can you imagine how beautiful…

‘That’s one small step for [a] man, one giant leap for mankind.’
… would look like in a sound wave artwork? If anyone knows of such an ink or oil painted artwork please do let me know.

INCREDIBLE.

Empathic Depictions by Jean-Michel Basquiat

Untitled known as 'Two Heads on Gold', 1982. Acrylic and oil paintstick on canvas [80 × 125 in 203.2 × 317.5 cm]

Untitled ‘Two Heads on Gold’, 1982 by Jean-Michel Basquiat
Acrylic and oil paintstick on canvas
80 × 125 in- 203.2 × 317.5 cm

Today I finished watching the latter half of a docu-movie entitled Jean-Michel Basquiat: The Radiant Child.

Let me please ramp up some intellectual thoughts for your consideration. Ok, well up until several weeks ago I didn’t know that Charles Bird King’s father was killed by a native American. This would not be poignantly significant except that Charles Bird King is almost singularly remembered as one of the greatest historical portrait artists of native American culture in a truly positive light. Dignifying the perspective of native Americans in his day and beyond to our time.

The question to ask from this docu-movie in my opinion is – How did Basquiat die at 27 years of age? Obviously his lifestyle choice was conducive to this. He was sucked up into a decadent torrent, seemingly casting himself off in an instant.

Can anyone here expect to cast a pebble into the sea only to find that same pebble rise to the surface of the waters and roll back towards you? What you actually do is skim the pebble upon the surface many times to see it skipping along the smoothness of waves.

I’m deeply moved by this film because I see almost precisely the same sensitivity and fragility that Van Gogh no doubt possessed during his own lifetime. 37 years and 27 years is merely glancing at the surface of what life has to offer.

At this point I would mention that perhaps watching Pina (preferably in 3D) by Wim Wenders is also a strongly emotive film experience. That is, if you would like to tap into your deep inner sensibilities for an hour or two. Personally speaking I do sincerely become immersed in a range of emotions during these arty indulgences.

Back on track to Jean-Michel Basquiat. Firstly a superior artist to any reference of what we might consider good or acceptable art in quality. His drawing in a child-like manner explains how he felt as a person in this highly competitive commercial world. Cartoonistic, raw and excitable in style. Abrupt, often complex and bold. Stark and beautifully complimentary. Largely attractive colour contrasted arrangements.

Philistines – 1982. Acrylic, crayon on canvas, 183 x 312.5cm.

Philistines – 1982 by Jean-Michel Basquiat
Acrylic, crayon on canvas, 183 x 312.5cm

Is Jean-Michel Basquiat explaining some of his own life experiences in his painting above? I would strongly accept this hypothesis.

Bird on Money, 1981 by Jean-Michel Basquiat.
Acrylic, crayon on canvas – 167.5 x 228.5cm

Come on surely we would all like to own a Basquiat? Colourful and interesting doesn’t even begin to describe a Basquiat. His influence in artists like Banksy is almost a given. Basquiat clearly dignifies many artists within his paintings so I think its posthumous reward his art is still living and breathing today. Speaking street and high brow intellectualism as one.

Del Monte, c1984-1985 by Jean-Michel Basquiat and Andy Warhol
Synthetic polymer paint & silkscreen ink on canvas
76 x 88 in. (193 x 223.5 cm)

I’ve included this latter painting above to add controversy to the whole art valuation debate. What is a piece of art worth? This painting sold for $1,082,500. Unusually Jean-Michel Basquiat chose not to use visible words or letters in this artwork. The branding work is synonymous with Andy Warhol’s style. An art collector would pay this sum purely based on the strong friendship that Andy Warhol and Jean-Michel Basquiat had or perhaps because JMB is a genius for unspoken commentary?

Art is each their own personal feeling. But I tell you something, when I saw the slave ship briefly referenced in one of Jean-Michel Basquiat’s paintings during the docu-movie aforementioned, well, sometimes it takes time to see what an artist is saying or feeling on many levels.

Personally I think this is Basquiat referencing his savvy worldly acumen and woefully addictive tendencies with honest sentimentality. I would be surprised if the brilliance of his style does not find influence in my own future artworks ‘through a new mind’ in some way. I certainly hope so because I loved the man himself. A great pity he is no longer with us as a person and masterful artist.

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Empathic Depictions by Jean-Michel Basquiat