The grazers had finally returned to the watering plains after a long day of munching, yet Soffiz the Kudu was still bursting with energy. While the rest of the herd eased into their usual evening calm, she adjusted her ballet skirt — a treasured accessory she insisted improved her balance — and prepared to perform her inimitable routine: the Kudu Prance.
Kudu are famously sociable, happiest in small herds, though they remain shy toward most outsiders. Especially lions.
Soffiz, however, had spent the entire afternoon practising her grace between mouthfuls of grass, keeping one eye on her footwork and the other on the scrub for hyenas. Tonight she intended to finish with a flourish: a brand-new move she called the Manbat Position.
A few days earlier, she had watched a creature leap from a high ravine, plunging into the valley at a speed no sane animal would attempt. In broad daylight, Soffiz was quite certain it was a real “manbat”. Just when it seemed he was about to have a disagreement with the ridge, he unfurled a strange contraption shaped like enormous elephant ears. With a whoosh, he drifted gently to the ground.
“Jumping over dry riverbeds is daring enough for me,” Soffiz muttered as she stretched, “Manbats think they’re vultures soaring through the sky.”
“They are vultures,” Schrodyn piped, her best friend forever.
“Vultures flap..” Soffiz replied, pleased by her own analogy, “..Manbats just stiffen their arm-wings and freefall like boulders. Maddest creatures on the planet — excluding honey badgers, obviously.”
Schrodyn nodded with absolute seriousness, “There can be no disagreement on honey badgers. Ever!”
“Alvis Dede Wimsey III” [23rd April 2025] by Matt The Unfathomable Artist, acrylic on opened cardboard box (approximate 12in x 8in (31cm x 21cm), 8000 x 8000 pixels with black border background for social media and online presentation.
Alvis Dede Wimsey III
“Alvis Dede Wimsey III” is a fun paint play with mixed paint in my ‘peghead’ artistic style whereby guitar, violin, viola-like instrument pegs usually compose part of the portrait. With this particular work I feel the ‘pegs’ aptly took the form of piano keys!
You can rotate the painting upside-down 180 degrees to see a second portrait of a different character.
“Alvis Dede Wimsey III” is a subconscious portrait of a definitive jazz musician and composer.
Did I know it subconsciously represented a portrait?
Absolutely not.
I didn’t realise it would become a ‘portrait’. I was having far too much fun doodling to see anything beyond ‘Van Gogh-like crop lines’. I began perceiving an aerial landscape of agricultural fields.
The Garden with Flowers by Vincent van Gogh [1988, Arles, Bouches-du-Rhône, France] is one of my all-time favourite Impressionist works, both visually and technically in terms of composition.
Remember dash dots? Now.. you.. know.. how my art brain works a little better. I’m inspired by past & present Masters whilst adding my own Morse-code blend to the paint-penciled mix.
Van Gogh somewhat composed drawings and paintings through the use of dashes and dots. Pointillism to some extent. In similar manner, “Alvis Dede Wimsey III” hints my personal interest in abstract techniques.
I had viewed social media reels of soul, blues and jazz artists in the week. I’m still enjoying listening, researching and thinking about those notable music genre artists even as I write.
Around the time of making “Alvis Dede Wimsey III” I also made “Gold Sun Paint Play” on another empty opened cardboard paint packaging box.
Raster Man
Proof of historical music culture presenting in my work is found with “Raster Man” pictured here:
“Raster Man” [14th/early hours 15th May 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 6734 pixels.
Completed in three distinct drafts very late evening (finished prior to 2325hrs 14th), then after midnight (inspired to add brushworked Ivory Black surrounds, 15th) and then finally continuing palette the morning of 15th May (finished prior to 1053hrs).
The latter draft new Cadmium Orange texture for the Rastercap. I sang delightedly.
Initially, this composition began as an abstract in landscape until I saw potential for a Pop Art portrait.
At the very last I added eyes, mouth and a nose with Ivory Black surrounds to harmonise colour.
(quote from my published social media)
With the Vatican having elected a new Pope (Pope Leo XIV, Cardinal Robert Prevost) in May 2025 I guess subconscious working occurred here. If you turn the canvas clockwise 90 degrees into landscape, this is how I began the wood panel.
“When I made Raster Man i had no idea the new Pope (Leo XIV) is of Creole (Haitian I believe from newspapers) heritage. I personally view Raster Man as any individual Caribbean man embracing their culture. I do also like any perceived association with a distinct person. Bob Marley, Pope Leo XIV et al..
.. It wasn’t until i realised a portrait potential that the white (cap) became a potentially perceivable structure around a face. Art is our subconscious shaping canvases, sculptures, pottery. Picasso and Basquiat are undoubtedly most influential in these kind of works by me.” – my quote 18th May.
“Raster Man” is visually unique, however, experiencing a physical artwork in person is different to viewing a 2D artwork online.
Ivory Mask
Next is “Ivory Mask” which I originally titled “Insect Mask” before preferring the former name:
“Ivory Mask” [digital artwork, early afternoon 15th May 2025] by Matt The Unfathomable Artist, digital artwork from pressed Ivory Black acrylic, font ‘Destroy’, 5000 x 4000 pixels.
“Ivory Mask” shown immediately above is a digital artwork derived from mixed Ivory Black paint, pressed into Notepad paper, folded at the centre.
I added the mi to create intrigue. The font I chose is called ‘Destroy‘, with individual letters suggesting erosion, damage or decay. The self-destructing words of a cassette tape perhaps?
As to the artwork, what does the mask mean?
Can we fictionalise a purpose to this strange disguise?
A superhero, alien or an ancient artifact with magical properties?
“Ivory Mask – pressed painting” [early hours, 15th May 2025] by Matt The Unfathomable Artist, pressed Ivory Black acrylic on lined Notepad Paper, 5000 x 4000 pixels.
With the Ivory Black paint having already finished the outline to “Raster Man”, I folded the Notepad paper in half, tapped around with my fingers..
.. then opened the paper to produce the very press-painting you see here!
Ivory chosen for the artwork title simply appreciating the beauty to the colour. Natural sunlight showcased the intricate leaf-like structure created whilst unfolding.
Scrollhead Caricature
Finally, we have the very vibrant “Scrollhead Caricature”:
“Scrollhead Caricature” [17th March 2025] by Matt The Unfathomable Artist, acrylic on A4 250gsm mixed media Artist’s paper, 5000 x 3611 pixels.
I produced “Scrollhead Caricature” during and after making “y intersects b” [14th – 17th March 2025] from a paint play with the mixed paint on paper.
(quote from my published social media)
“Scrollhead Caricature” is made quite quickly. I thought of Picasso whilst creating this highly original work. A sense of fun, play and textural contrasts.
There are a few themes to this piece, including Shakespeare.
“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”.
“Guides Head Eye” in “Baby Hippopotamus Constellation”
I could publish individual stages of the painting production.
“Seahorse Eye and Gold Whorl” in “Baby Hippopotamus Constellation”
Write about the closeup beauty of the piece.
“Gold Whorls Plume with Space Offering” in “Baby Hippopotamus Constellation”
Explain how I made this.
“Seahorse Gold Tail Plume” in “Baby Hippopotamus Constellation”
Detail my thinking when I first realised a baby hippopotamus looking out from the canvas.
“Guides Head” in “Baby Hippopotamus Constellation”
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”.
“Gold Whorls Nebula Plume” in “Baby Hippopotamus Constellation”
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.]
“Redeemer” [21st November 2024] by Matt The Unfathomable Artist, abstract acrylic painting on A3 250gsm mixed media paper, 4000 x 2859 pixels.
From social media, quotation in bracketed bold and italics:
[ “Redeemer” features iridescent bronze, alla prima copper, silver, sap green, mars black and burnt umber applied intuitively in precise motions on a wet, lightly pigmented ground.
The Redeemer element you can see is chance palette application. However, it’s clear to me my subconscious picked out imagery I had seen a day prior.]
Delicate applications of wet copper with heavier palette motions of bronze compliment the canvas. I filled the upper-central space in sap green, definitely in thought of Central Park, New York. To be honest, this delighted.
To canvas-frame the piece I partially added mars black as a surround. Very much a 1950’s art style.
Once again it’s possible climate change is the external narrative here. A sense of saving humanity from industrial pollution in whatever form.
Corruption of duty against the Earth.
On the paper this artwork reveals a gentle, considerate balance. I hope you can see this work one day, physically before your eyes.
As always lighting a work like this is finite, sensitive to its full potential.