“Gold Sun Paint Play” [circa 25th April 2025] by Matt The Unfathomable Artist, acrylic on opened cardboard box (approximate 11in x 8in (28cm x 21cm), 5000 x 3882 pixels shown upon cropped gesso canvas for publishing purposes.
Gold Sun Paint Play
“Gold Sun Paint Play” invites the viewer to step outside the strictures of formality to embrace a visual world ruled by spontaneity, flowing movement and bright colour. Painted on a horizontally ‘columned’ piece of torn card, this work speaks not just to the enjoyable act of painting—it appeals to childlike silliness, the process of play as a serious artistic method.
I had immense concentrated fun assembling colour blocks in the form of an abstracted landscape. Crimson-orange embraces violet. Dashes of green and cream separate the palette intensity. All the while metallic gold frames the Sun, a discernible reference point for this vista.
This play is a theatre of chance. Urgent brushstrokes overlap in gestures of compositional resolve and competition. The torn edges of the substrate remain visible, lending a documentary quality to the work—evidence of the surface history and complexity.
A visible ‘tag’ of cardboard remnant at the bottom-right corner grounds the piece in some perceivable mechanical form.
Instantly I’m reminded of words I published to my blog in November 2019:
‘I was greatly interested in Gravity, so I wrote about this. I was greatly interested in soundwaves and the sonic boom, so I wrote about this. Some weeks ago “i saw a buzzard flying overhead, near over my house. It made its call. Eureka. I saw its wingtips and from this i determined soundwaves could be changed by engineering the surface ⚡”.
With “Gold Sun Paint Play” a notable constructive rhythm to the composition: vertical and horizontal divisions allude to maps or symbols, whilst the colour interplay attracts.
I laughed when I made a sort of giraffe face, top-right. The moment a young child tells you an abstract shape, to you, is definitely a giraffe is a wonderful point of self determination.
For those drawn to raw texture, unpredictability, and the visible trace of an artist’s mind, “Gold Sun Paint Play” is my version of how children love to paint.
“Wrens Youngling Oak” [29th/30th May 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3755 pixels.
Wrens Youngling Oak
First, bracketed commentary from my pre-published social media:
[ I made “Wrens Youngling Oak” in two drafts late evening and then much into the mid-early hours the next day of the 30th.
First draft the entire composition with paint applied direct to the wood panel canvas My second draft clarified structural elements whilst increasing textural quality, light perception and depth.
Without having made a study or pre-drawing I’m very pleased in comparing the painting to my original photograph taken on the 28th May.
An Impressionist-style painting designed with visually abstract shapes to resemble leaves.
I believe my new acrylic painting is the sixth work attained from this very tree, please see:
(4) “Alien Leaves Analysis SolarScape” [20th November 2022] and (5) “Silvery Red Treeline SolarScape” [20th November 2022].
The title for the painting is derived from my works like “Curved Tree at Wren’s Nest Pond – original” [14th March 2022]. The Youngling Oak stands watchfully like an outpost before its natural ecosystem pond. ]
Wrens Youngling Oak is a lush expressive painting of young oak branches in alla prima.
Produced with an accurately layered painting technique from my original photograph, the surface is nicely textured—conveying both the density and vitality of a woodland environment seen in spring or early summer. The swirling greens, radiant in bursts of black, white and bluish brushmarks, evoke a sense of shimmering foliage filtered through fragmented light.
At the compositional core, elongated vertical trunks extend upward and outward, interconnected by branching limbs that disperse through the canvas. These forms, though partially abstracted, suggest a juvenile oak reaching toward maturity. The background finesses into dappled pigment—some smooth, others tumultuous—echoing the living randomness of a wild, managed forest. The white flecks and patches may allude to the presence of blossom, light reflections, or birds mid-flight—wrens perhaps—evoking the title’s poetic imagery.
This work stands in the embrace of impressionism and gestural abstraction, evoking elements of both pointillist texture and spontaneous motion. It neither mimics realism nor entirely distances from same; instead, the painting encompasses the sensation of being immersed—submerged even—within a verdant, living space. The natural concealment of clear figuration draws the viewer closer, encouraging deeper contemplation.
Artistic Notes:
The title Wrens Youngling Oak suggests a personal or ecological narrative. Wrens—modest, energetic songbirds—often symbolize life, resilience, and humbleness, while a “youngling oak” may be a metaphor for strength or growth in both natural and psychological terms. I am inviting you to explore not just the scene, but a moment of becoming, hinting at themes of protection, early life, or memory rooted in place.
The work fits comfortably into contemporary eco-aesthetic practices, which favor direct engagement with nature through materiality and metaphor. It would pair well in curatorial contexts focused on environmental poetics, new materialism, or exhibitions examining landscape beyond the horizon line—where the immersive or internal becomes the sight of painterly attention.
Here is the original photograph:
“Wrens Youngling Oak – photograph” [28th May 2025] by Matt The Unfathomable Artist.
I listen to songbirds all the time. You can hear them exquisitely, whilst walking by this young oak.
For instance, talking of songbirds, the idea of a spectrogram featured in the landscape fauna for “Gold-Bronze King James VI & I Oak of 1612” – recently completed, also in acrylic. This represented my subconscious artworking, since I did not plan to paint the horizontal fauna (behind the tree) in the manner of a spectrogram.
“Chocolate Bronze Rectangle” [30th April/1st May 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso & paint primed 5mm wooden board, 5000 x 3757 pixels.
As is my custom I shall include pre-published text in colour font:
After making “Alvis Dede Wimsey III” I produced two beautiful ivory-black and bronze canvases with the same 3/8in angular long-tip brush.
“Chocolate Bronze Rectangle” is the first canvas of the two. The photograph here is the best tonal matching of the painting I can provide to you. Varying light creates superb shading values, a wonderful feeling imbued.
Upon completing I sat in the garden on a wooden bench, the painting on a table under a fabric parasol, intently admiring my own work!
The painting’s understated beauty requires a cave.
I have to say myself, “Chocolate Bronze Rectangle” amazes with its tones. For me this artwork is kind of like Basquiat writing a work as ‘Untitled’.
An artist preferring viewers to simply enjoy its qualities.
——-
I have decided to share two of the three paintings which made “Gold-Bronze King James VI & I Oak of 1612”. Merely a bonus to dear Readers waiting for this latest blog article.
This is the final, third painting, after two previous underpaintings:
“Gold-Bronze King James VI & I Oak of 1612” [7th to 13th June 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3752 pixels.
Gold-Bronze King James VI & I Oak of 1612
“Gold-Bronze King James VI & I Oak of 1612” presents slightly lighter for sharing online.
My vibrant Impressionist painting depicts a large tree with a rich, textured trunk and branches laden with colourful leaves amidst a resplendent abstracted fauna, fore and far-ground.
The 1612 Oak branches appear like two arms of a figure reaching out towards the sky. The trunk is strong and detailed. Leaves and branches are textured with visible brushstrokes creating a sense of depth and volume.
Noticeable layering technique is utilised to create an immersive effect. The palette features various shades of green, umber, black, gold, bronze, copper, white, ultramarine and cerulean to bring a unique dreamy warmth to the treescape.
The sky is a light, hazy blue, adding openness to the expanse. There is a feeling of calm and peacefulness reflecting the quiet beauty of nature, my personality.
“Gold-Bronze King James VI & I Oak of 1612” is kind of three paintings if we include the two underpaintings prior to completion. The first, a prior study-effort of the tree in the same composition. Then a different painting entirely, a beautiful Gold Textured Abstract.
I decided to retry the tree composition from my photograph of 21st May 2025 at 1737hrs. The original photograph faces south towards the mighty Quercus Robur I named the “King James VI & I Oak of 1612”.
Both tree compositions received five distinct drafts each, with the latter including multiple finite changes throughout evaluation.
I took seventeen field photographs around the Nature Reserve and my local Lake on 21st May. The last four photographs at 1737hrs of the 1612 Oak.
The first seven photographs around the adjacent field were taken at.. 1612hrs.. I didn’t know this until writing this very description you read here!
“I love art I do”.
I found myself inspired by Japanese blossom and fields in making this.
The Underpainting
Here is the second underpainting for “Gold-Bronze King James VI & I Oak of 1612”:
“Second Underpainting for Gold-Bronze King James VI & I Oak of 1612” – 8th & 9th June 2025.
If you review the two paintings you can see the top-right tree branch forms from the gold preworking.
If I had not already recently produced “NIIP Fine Gold” I might have considered retaining this gold painting as is. Quite honestly I was annoyed the first (now) underpainted tree (unpublished) didn’t show quite as nicely as I hoped.
I’m a perfectionist with my paintings.
I wanted to paint that tree in that composition on that canvas.
Here is the wonderful composition I photographed:
“King James VI & I Oak of 1612” [21st May 2025, 1737hrs at 50 seconds] by Matt The Unfathomable Artist, 5000 x 3750 pixels.
Perhaps art students or anyone interested for that matter would like to sketch, paint or even sculpture my photographic compositions?
I do hope so.
“King James VI & I Oak of 1612” [21st May 2025, 1737hrs at 45 seconds] by Matt The Unfathomable Artist, 5000 x 3750 pixels.
Four photographs taken of the 1612 Oak at 1737hrs are 45 seconds (pictured here, immediately above), 47, 50 (the painting composition shown in this blog article) and 54 seconds respectively.
Let me share with you a further nature photograph from the day of 21st, the fourth one taken in 1612hrs, precisely:
“Hay Meadow of local lake Nature Reserve” [21st May 2025, 1612hrs at 26 seconds] by Matt The Unfathomable Artist, 5000 x 3750 pixels.
Just as proof of my words earlier..
“The first seven photographs around the adjacent field were taken at.. 1612hrs.. I didn’t know this until writing this very description you read here!”
.. this is the fourth photograph of seven I very quickly composed at 1612hrs. Of those photographic seconds we have 18, 20, 23, (26 pictured here, immediately above), 30, 33 and 36 respectively.
“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.
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.
“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.]
“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 – 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” [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.
“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” [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.
“Brush & Palette Works #1” [6th January 2025] by Matt The Unfathomable Artist, acrylic painting on A4 250gsm mixed media paper, 5000 x 3695 pixels.
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” [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” [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” [8th January 2025] by Matt The Unfathomable Artist, acrylic painting on A4 250gsm mixed media paper, 8000 x 8000 pixels with border for social media presentation.
“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” [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.
“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” [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”).
“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” [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” [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” [12th to 17th February 2025] by Matt The Unfathomable Artist, acrylic brush & tube painting on A3 (42cm x 30cm) 2mm white gesso primed wooden board, border for social media publishing only, original in 5000 x 6985 pixels.
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.
The Unfathomable Artist 