“Road to the Nature Reserve in Light Snow”

“Road to the Nature Reserve in Light Snow – A Short Film” [17th February 2024] by Matt The Unfathomable Artist featuring “Elegy for Viola” music composed by PETER CAVALLO and performed by violinist JONI FULLER.

I could see the potential for a suitable musical accompaniment to my short film.

Upon listening to a deeply emotive piece by award winning Australian composer Peter Cavallo entitled “Elegy for Viola” I knew this created a perfect mood to capture my snowy scene.

The abstract footprints provide an unwritten storyline, a mystery. Stop motion, ‘full circle’ film editing harks to an early 1900’s movie directed without voices and played to the sound of classical instruments.

Where did our protagonists walk to? An adoring dog travelling into the expectant distance with its owner.

Your own personal thoughts are everything as you wander into the stirring realm of my short film.

Here is my acrylic artwork produced from a still within the film:

“Road to the Nature Reserve in Light Snow – Painting” [14th February 2024] by Matt The Unfathomable Artist, acrylic impressionist painting on A3 250g mixed media paper, from video still on 8th February 2021 at 1528hrs.

“Road to the Nature Reserve in Light Snow – Painting” is one of my quickly painted works taking less than one hour fifteen minutes from blank mixed media paper without prior study. Forty-six minutes for the first draft then twenty-five minutes for the second/final draft.

Walking silently along this road I knew 100% it would become an artwork upon the composition calling to be made. Technically difficult yet satisfyingly invigorating to make. My first draft is pretty much the tone of the short film itself. Therefore I view my final painted artwork as foreseeing Spring and Summer arriving in due time with a renewed happiness.

Clearing the sadness of emptiness.

Interestingly the nature reserve road takes on an eerie, spooky feeling at night. To me though I always view beautiful shapes with twisting, gnarled trees leading to the lake. The road snaking gently to the south.

Here is an earlier artwork I made from a photograph along the nature reserve road called “Creatures Wood” taken two months after my short film clip:

“Creatures Wood” [15th April 2021] by Matt The Unfathomable Artist, 3H HB 3B pencils signed in black ink on A4 250gsm Artist’s paper.

Again, a magical glimpse of light and hope makes an appearance in “Creatures Wood”.

Let’s take a look at the precise video still for “Road to the Nature Reserve in Light Snow” shall we:

“Road to the Nature Reserve in Light Snow – still photography” [from 8th February 2021] by Matt The Unfathomable Artist.

“Road to the Nature Reserve in Light Snow – still photography” is a perfect allusion to pictorial angles, contemplation, perception, spiritual being, direction and personal thoughts.

I would like to thank the extraordinary talent of renowned Australian classical composer PETER CAVALLO for breathing powerful emotional life into “Road to the Nature Reserve in Light Snow – A Short Film”

Unerring credit also to JONI FULLER for her exquisite viola play throughout Peter’s “Elegy for Viola”.

You can purchase Peter Cavallo pieces including the full version of “Elegy for Viola” from his website at Peter Cavallo Music.

A dream musical collaboration as I write would be Peter, Joni and Chloe Chua.

I do hope you have enjoyed a culmination of inspiration.

Abstracted Paints #1 and DIGITAL

“Abstracted Paints #1” [11th February 2024] by Matt The Unfathomable Artist, gouache abstract painting on A3 250g mixed media paper, 3000 x 2162 pixels image.

Whilst making ‘Bluish Grey Sky with Tea’ I used a whole A3 canvas to make paint checks to test brush textures or remove excess paint. I looked at these random paint strokes as an artistic opportunity.

“Abstracted Paints #1” (image shown above) and “Abstracted Paints #1 DIGITAL” (shown below) are two works I made using those paint marks upon that physical A3 canvas. I succinctly added paint to turn the canvas into an abstract artwork. As I write it’s still wet so I will sign the canvas in due time.

It was a quickly produced piece. A mix between Kandinsky and Pollock, in my opinion. Unintended at the time of producing. If anyone draws similar comparison in style then I would most definitely be delighted.

Here is the digital version in monochrome:

“Abstracted Paints #1 DIGITAL” [11th February 2024] by Matt The Unfathomable Artist, digitally created from my original gouache abstract painting, image is 3000 x 2162 pixels.

I invite you to click on the images for “Abstracted Paints #1 & DIGITAL” to get a sense of how beautifully intricate the pieces are. As a high quality large-scale giclee print these would look phenomenal!

I balanced colours very carefully to bring the most out from the digitally produced monochrome tones in the latter artwork whilst utilising professional photographic editing software.

Love these artworks, hope you enjoy ;]

Robert C. Jackson

In my introducing to you the artist Robert C. Jackson I would like to say firstly that for further information about his career I provide a link at the end of this article. Please do take a look at his commissioned art process on the Robert C. Jackson website, linked below, as this is superbly interesting.

Here though I wish to talk about his art.

So let us begin.

“DON’T EVEN THINK ABOUT IT” [2023] shown above is so funny. Hahaha, I love this. I want this piece to be honest!

It makes me laugh. Humour has featured in paintings overt and sophisticated, such as Jean-Honoré Fragonard’s “The Swing” of 1767, for millennia.

Robert C. Jackson is a Realist painter. Fine details are everything to Robert.

The yellow soda crates immediately provide focal interest. An indifferent expression on the toy gorilla adds intensity. The bananas look delicious, stacked for display. Marketing words hint at the whole title theme concept. Whilst I’m now also notably aware of writing in the pithy manner of Fleming.

Short sentences. Can draw. Attention.

The cooper-like barrel metalwork at the outer edge of the boxes speaks strength, creates definition. The gorilla shadow is prominent. Light to darkness casts along the floor, foreground to aft. Fonts are accurate, finite. BIG BOY BEVERAGES is turned upside down. It could have a meaning. Then again this is a feature Robert uses to make random, fun or juxtaposed interest within compositions.

Next artwork shown immediately below we have toy animals in parallel opposition, perhaps:

Robert C. Jackson
CATS AND DOGS, 2023
Oil on Linen
30 x 40 in.
76.2 x 101.6 cm.

I feel “CATS AND DOGS” is representing much more than cute toy pets. There is perhaps subtle messaging going on. Advice or words to live a good life? Childhood imagery of an age when play is the only thing to occupy our time? Dissipation? Mediation? The precipice of something?

You decide ultimately as the viewer. Everyone has their own opinion. Sometimes we agree, sometimes we agree to disagree.

As with all pieces by Robert it is beautifully painted. The toys have real life. I often say my own drawings and paintings have life of their own once I’m happy to sign them.

What packaging boxes, soda crates and items would you include in a Robert C. Jackson work?

Yes, lots going on intellectually with these works. The toys have personalities.

Boys and girls, ladies and gentlemen please sing with me the song of cats and dogs:

“Cat.. m-eow.

Dog.. t-ongue.

Eyes.. w-ide.

Raised.. cl-aaaaw.”

Haha. That made me laugh too. I’m sitting here loving the idea readers are cheerily singing away.

On that note we have the next artwork to talk about:

Robert C. Jackson
PEACEABLE KINGDOM, 2023
Oil on Linen
30 x 40 in.
76.2 x 101.6 cm.

PEACEABLE KINGDOM, 2023.. Dr. Nut hahahaha. Come on, is it my sense of humour or is this messaging absolutely hilarious. The lion is funny. The tiger is funny. Winnie the Pooh is always and forever funny.

I want this piece too! If I’m writing about an artist you can already know I greatly appreciate their work to that very extent.

Technicalities, compositions, style, individual pieces and their personableness.

The mannequin here in the piece immediately above looks like C3PO of Stars Wars fame. ORANGE SQUEEZE. A-TREAT BEVERAGES. A sheep looking to camera. Fun. Fun. Fun.

We can enjoy viewing a multitude of impressive artists online through social media. I first got to see Robert’s work through his gallery representation at Gallery Henoch in New York [link to Robert C. Jackson artworks here: Gallery Henoch – Robert C. Jackson works.

Robert C. Jackson
GOOD COMPANY, 2023
Oil on Linen
28 x 72 in.
71.1 x 182.9 cm.

Balloon dogs were of course made famous by Jeff Koons. Earlier to this Andy Warhol created an art installation which featured air + helium filled Silver Clouds made as pillows in a room, floating above viewers near the ceiling.

The idea of balloon dogs and inflatables communicates the sense of fun and playfulness. Robert’s balloon dogs in GOOD COMPANY shown above are having a ball! Partying, eating, having a good ole chat reminiscing about ‘when they were a kid‘.

I did wheelies on my bike, played tig in torrential rain, got my string-connected mittens soaking wet throwing snow balls, knee deep. Climbed trees, all.. the.. honest to goodness time. Played everyone for themself one-v-one soccer. Rolled on the Malvern Hills. Rode a horse in the Welsh valleys. Threw exploding giant mushrooms. Read so many books I could not count. Watched Glen A. Larson shows on tele.

“Life is the starling that calls out for the grub.”

As promised here is the link to the website for you to enjoy of Robert C. Jackson.

The Runners Totem

“The Runners Totem“ was sketched in just under 57 minutes including signing over two drafts. 51m17s first draft; 5m39s for the second/final draft including signing. I enjoyed a quick cup of tea in between the two drafts.

The original photograph taken by me on 27th January 2024 is a late afternoon composition at the ‘totem pole’ where I have started and finished my lake runs for about fourteen years. This is (at least) the second totem pole in this exact place since the former pole was replaced some years ago.

My favourite feature of this sketch is the shadow on the metal bridge walkway. It reads as an ‘M’.

Interestingly the totem pole clearly has a notable singular ‘M’ displayed upon this. Possibly this is purely a chance occurrence. I didn’t include the totem pole M as this was too far away in the photograph. Besides, my sketch is impressionistic in style and drawn quite quickly.

I like to believe there is a man’s face in the “CYCLE LANE“.. “LOOK BOTH WAYS” blue sign to the mid-centre-left of my artwork. My artistic idea in this depiction is regarding impartiality over partiality in a hiearchical sense. A topic of conversation I have discussed recently with regards to human beings and an inherent tribal mentality.

Even the titling of my artwork has definitive meaning too, to me personally.

In my opinion (considering past, present or future) dystopia does not need to be restricted to technological adversity in living conditions upon Earth. Dystopia could also include societal, economic, spiritual, cultural, lawful-unlawful or geographically misaligned sensibilities.

Individually, collectively and/or across certain hierarchy.

Here is my photograph:

“The Runners Totem – photograph“ [27th January 2024 at 1718hrs] by Matt The Unfathomable Artist.

Obviously there are things I would change or add detail to with further sketching time. I wanted to make this sketch in under one hour. Less than 57 minutes sufficed.

Again it is genuinely baffling to me why this might take near an hour. What I appreciated is the placement and general composition proportions needed to be as reasonably represented as possible.

I did a very quick Collage too, just for fun:

“The Runners Totem – Collage of Three“ [Digital Artwork, 6th February 2024] by Matt The Unfathomable Artist.

I feel my Collage of Three plays on visual perspectives.

Finally I made yet another collage with four complimentary colours:

“The Runners Totem – Collage of Four“ [Digital Artwork, 6th February 2024] by Matt The Unfathomable Artist.

With “The Runners Totem – Collage of Four“ I thought an Andy Warhol style Pop Art piece would be supercool.

Hope you enjoy :]

Ridge Willow Corner

“Ridge Willow Corner“ was sketched in just under 56 minutes including signing over two drafts.

42 minutes 44 seconds for the first draft then 12 minutes 44 seconds for the second/final draft. My original photograph is taken on 28th February 2021 facing south, with Ridge Willow in the middle of the composition, logs piled and strewn.

Afterwards I viewed everything satisfactorily except the wooden posts to the right. Only though for technical reasons as compared to my photograph (see below). That said, the strong contrast of the wooden posts in charcoal is a noteworthy feature of the whole quickly sketched piece.

The idea is to be fast and impressionistic. In this I can honestly say the picture was a very difficult composition with much detail and angular perspectives to consider artistically. Likely its one of those vistas that requires a study to evaluate professionally prior to the perfected artwork.

Interestingly Van Gogh is noted for calling some of his finest masterpieces ‘failures’.

Now, as I look at this piece I see possible influence from Vincent Van Gogh in the despondent looking wooden posts heavily featuring charcoal. As if they are persons carrying a burden of hardship and toil. Complete chance although I have viewed Van Gogh and Picasso works this past week.

By the way I blunted several pencils during this work. One 6B pencil broke like the axe that near-splices a log all the way through, possibly whilst sharpening!

“Are the obstacles lines in the sand that can be moved?”

Let’s take a look at the photograph composition:

“Ridge Willow Corner – photograph“ [28th February 2021 at 1313hrs] by Matt The Unfathomable Artist.

With the photograph you can see why I chose to make the sunshine so bright. Actually this is careful use of the white canvas space. I did add yellow pencil at the outer edges (of the sun) to highlight this dazzling effect.

It’s baffling to me as I view my sketch for real as to why it took me so long haha! Then I remind myself that the time flew like a falcon. Glancing periodically at the stopwatch ‘clock’ à la rabbit of Alice in Wonderland fame.

Hope you enjoy :]

Chloë Lamb

How would you define Chloë Lamb’s artworks in style whilst viewing this blog article?

Abstract, surreal, bright, simplified(?), fascinating, emotionally communicative and happy. At least that’s how I see her work.

The first thought I had seeing Chloë’s work was about my now-teenage niece. There is clearly a childlike innocence in the way Chloë has chosen to paint. To this day I have kept some artworks by my niece which I regularly encouraged her to make through her earliest schooling years. Possibly even one or two prior to her starting school.

Therefore the work of Chloë Lamb was instantly emotive to me personally. Most paint artists experiment with abstract ideas, including the use of simplified forms. People, objects, animals etc.

Incredibly I often see artists whom on one side of their artworking paint a superb impressionistic portrait.. then abandon all classical-era derived interest to continue their art careers in seemingly childlike artistic endeavours.

These artists are, in my view, the empaths of the professional art world. They’re much more invigorated by how things make them feel rather than how ‘things’ might accurately be portrayed upon the canvas. For the latter genre of art we have the ever-impressive Realists.

If we take a close look at “Path to somewhere I want to go” shown above, professional art techniques are without question. Careful layering of tones, fine choice of brush strokes, textures, colour grading, compositional contrasts with glazing effects to bring a dreamy quality to the canvas.

I could see this path to somewhere happily existing in a computer game with fairies floating about and sheep walking on air.

A Lewis Carroll sort of world.

“Composition 2023 III” by Chloë Lamb, 10 x 8, oil and collage on board.

“Composition 2023 III” delivers to us Mark Rothko-like abstract colour-field elements. A painting asking questions of the entire picture. It’s fun whenever an artist wants us to embark on their visual journey. To appreciate this level of thought process one needs to sit and think.

I am very interested to know how this painting makes readers feel. I think of food, bold ideas generally speaking and branding! Not certain why my thoughts turn to commercial branding. Possibly since I can see definitive lines within the artwork.

Seeing is believing they say. Nothing is like physically seeing artworks for yourself. That is why we have museums and art galleries.

To immerse your soul, feed the brain and lift your spirit.

The textures in “Composition 2023 III” are a tantalising sensual mix, would you agree?

Born in Wiltshire, living and working in Hampshire UK, Chloë professionally studied at Heatherly School of Fine Art. Then afterwards at the Lydgate Art Research Center prior to settling upon her abstract vision in the late 1990’s.

“Solving a Puzzle” by Chloë Lamb, 50 x 50, oil on linen.

If “Composition 2023 III” has Rothko elements then “Solving a Puzzle” must be the Cy Twombly effect. We’re talking about art intellectuals here who let canvases air for a time before returning to rework the piece as a whole.

Most all artists wish to feel good about the quality of their work. Satisfaction in our work is an important spiritual yearning within human beings. I see a face in this one, “Solving a Puzzle”.

The scientists are somewhat at odds with the believers. However, a belief if held true must stand up to science. Science being the practical means to explain something.

Emotion is ‘felt’ in the brain yet communicated through the body. Empathic art is therefore itself the body communicating the internal thoughts of the artist.

Consciously and subconsciously.

Just as British detective series Grantchester artily solves crimes, Chloë Lamb’s work seeks to tell a story.

“Woods II” by Chloë Lamb, 15 x 10, oil on board.

“Woods II” has broadly abstract ideas appearing to show a person carrying a vessel of some kind upon their shoulder.

Obviously we might interpret this artwork as conservation, physical work or the sense of providing for the family.

It takes a tremendous amount of courage to paint the way you want to paint. Chloë has proven highly influential with her work throughout her career partly due to this very reason.

Value. My niece’s painting will always be amongst the most valuable painting to me.

Through her early drawing my niece somehow communicated her feelings just as children know how to do.

The fact is I immediately viewed this as highly-expressive qualitative art.

Sentiment doesn’t always make sense. We buy things either because they make us feel good or we have a specific need.

Which perfectly brings me to inviting you to click on Chloë’s social media here: Chloë Lamb – Artist to let you know her forthcoming exhibition is at the Portland Gallery on 6th to 22nd March 2024.

Chloë is represented in New York by Hollis Taggart, in Hampshire UK by Cricket Fine Art and London by Portland Gallery.

Science literally means ‘to know‘.

Clouds in Moonlight

“Clouds in Moonlight“ was sketched in just under 26 minutes including signing. With the original photograph taken by me on 24th December 2023 at 1951hrs.

Here is my photograph providing the inspiration for my sketch:

“Clouds in Moonlight – photograph“ [24th December 2023, 1951hrs] by Matt The Unfathomable Artist.

I had just finished a jog around my local lake having returned to my garden to sit on a wooden bench to enjoy the cool night air of winter. To the south the moon shone brightly as we see here.

Three branch strands from the garden cherry blossom tree found their way into my composition by personal choosing. The clouds appeared calming and wistful.

“Moon you art beautiful,

Humble you art to the Sun taking your day,

You love the Earth so greatly,

You never want to leave,

Choosing to circle tirelessly,

Ebb and flow of tides,

Feeding the crawling shell, salty fish and birds,

Bringing delight to new children,

Guiding our friend turtle into blissful longevity,

Clouds art blankets silken,

Many a fiery boulder you have quenched,

Turning with grace,

Charm is your iron aura.

Wisdom is your strength.”

[Moon Art by Matt The Unfathomable Artist]

——-

Yumi Sugai

Here in this blog article I am introducing you to the work of Yumi Sugai through four oil paintings by the artist herself.

As you can see her work is immensely skilful, vibrant and visually stunning. Yumi has experience in the art marketplace since the 1990’s with numerous art selections in Japan and France during her career.

A great way for you to know Yumi’s gentle nature is through her own words she wrote to me:

“I like drawing since I was a child.
I grew up near the sea in Kyoto Prefecture. I often went to the beach with my dad when I was a child. The beauty of the sea and sky was filled with the great colors of blue created by God.
Studied at Osaka Art University School of Art.
I painted while married and raising my children in Fukui Prefecture. It was around that time that I started drawing pictures of angels. I became a Christian in my time. I think the reason I started painting angels as art was a message from a holy angel. Angels are messengers from God. I draw my art of angels with the desire to spread it to the world.“

Regardless of your religious beliefs, non-beliefs, spirituality and/or secular viewpoint, Yumi’s words do resonate a caring personality.

Let me share with you the first tenet of sales I was taught:

People buy from people they like.

I love Yumi’s work. I often have a masculine style to my work, so it is always nice to see how biological differences shape our lives and our artmaking. Even a look at the way I performance read my poems shows distinct differences in how we perceive the world as different creatures from the same kind.

Humankind.

I feel Yumi’s work has the originality I enjoy to showcase on my blog. True collectors pieces. Artists’ know the difficulty of oil paint working. It’s commensurately complex to structure, time and colour mix.

Please just take a look at her Angel at Christmas Dinner artwork immediately below:

Angel at Christmas Dinner by Yumi Sugai, Oil painting, 65cm x 53cm

Can you imagine the work in terms of hours, days and weeks involved in creating this piece?

As with most secular occupations, time in hours equates to cost multiplied by the skill necessary to achieve in addition to popularity.

Popularity might equal niche, rare or unusual in some way. Personally (trying to guess how much art I see over the years) I have not viewed anything stylewise quite like Yumi Sugai’s work.

Classical, pre-Raphaelite, Christianised (think Salvator Mundi by da Vinci) and very pretty.

Yumi’s work is cleverly composed.

Christmas Toy Angel by Yumi Sugai, Oil painting, 65cm x 53cm

Christmas Toy Angel shown above is referencing ancient classical portraiture in a circa Victorian era, in my opinion.

Of course, Yumi is Japanese which makes her subject interest all the more intriguing.

Angel of the Christmas by Yumi Sugai, Oil painting, 65cm x 53cm

Angel of the Christmas continues the traditional posing of Yumi’s imaginative pieces.

Her portraits have influence from different cultures as far as I can perceive. Yumi has explained she has a wish to create illustrations too, particularly in childrens books and magazines.

Therefore any publishers who would like to work with Yumi, do get in contact through her social media.

I hope you have thoroughly enjoyed seeing Yumi Sugai’s work.

Moonlight at the Weir

A photographic start to my art year of 2024.

In producing ”Moonlight at the Weir in Sepia“ I made six versions of this photograph in all from several shots I took whilst walking approximately 2.77 miles in the evening. My walk included the local nature reserve and lake area.

This photograph shown above is at one of the weir’s near the ‘cervix’ area of the lake (southernmost). I have often viewed my local lake as resembling the shape of a womb.

Next photograph is the same composition in black and white, monochrome:

”Moonlight at the Weir in Darkness“ [digital Photography, 2nd/3rd January 2024] by Matt The Unfathomable Artist, digital artwork, 2000 x 1354 pixels, 300dpi.

Personally I thought this shot is interesting enough to publish online.

For contrast here is another shot I took on the night, ”Orion the Hunter from the Field“. You will need to click on this image to see this in the best light:

”Orion the Hunter from the Field“ [digital Photography, 2nd/3rd January 2024] by Matt The Unfathomable Artist, digital artwork, 2000 x 1354 pixels, 300dpi.

If you kindly click on ”Orion the Hunter from the Field“ you should see three stars at a circa thirty degree angle to the vertical in close proximity [zoom in on the photograph, three stars lower-centre-left]. Those three stars are ‘Orion’s Belt’. Amongst my fave stars to see in the night sky. Their names are Alnitak, Alnilam and Mintaka.

On this night Jupiter was also clearly visible, although I have published Jupiter photos and art in earlier posts [links immediately below for those interested]:

Untitled Photograph #1

“Jupiter at Night”

”Moonlight at the Weir in Solarscape“ [digital Photography, 2nd/3rd January 2024] by Matt The Unfathomable Artist, digital artwork, 2000 x 1354 pixels, 300dpi.

Solarscape [above] is pretty enough to post.

Then we have an imaginative photograph where I liked the idea of eyes peering out as a robot or android:

”Android Eyes in the Trees“ [digital Photography, 2nd/3rd January 2024] by Matt The Unfathomable Artist, digital artwork, 2000 x 1354 pixels, 300dpi.

Finally I couldn’t really choose between Sepia and a Monochrome version of ”Moonlight at the Weir”, so here is the Monochrome edition too:

”Moonlight at the Weir in Monochrome“ [digital Photography, 2nd/3rd January 2024] by Matt The Unfathomable Artist, digital artwork, 2000 x 1354 pixels, 300dpi.

It was a fun, artistic start to my 2024.

Yahweh

Freehand digital artwork within the hour.

Inspired by the Soleb Inscription [c1400 BCE].

Please enjoy.

The Unfathomable Artist

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