“Wells Beryllium”

“Wells Beryllium”

“Betroth expatiate Mohs forbidding,

Electrons, ions, intransigent missing,

Nephesh halcyon junctured megalithic,

Discern bauxite cavalcade civic,

Ten twelfth’d mellifluous adjutant quorum,

Reportage veracious implorem,

Hans Christian Ørsted Andersen,

Aitch G gem-rotated Wells beryllium,

Polyatomic cedared anodized tantalum,

Clay winged Endopterygota’d writed-reader,

Centurion imperative coalesced,

Evocation renewable crest extented breadth,

Tectonic ultra-sounded super-souled test,

Thermal{LED} rheostatic propitious behest,

Declaration ‘Tangier, tingis, Tonga,

Kong Haakon’.”

– a poem by Matt The Unfathomable Artist © February 2021.
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“Thrice Orb’s Emolument”

“Thrice Orb’s Emolument” a poem by Matt The Unfathomable Artist.

“Setteth Thrice Orb’s emolument,

Thine ingenious Gazetteer,

Sing harmonious oars thee stade

of Roebuck dangered clear,

‘Parley’d barley, M’lud’,

A Dragoon reined ‘Spheric steer

tarried pinions principled crag,

‘a Viziered Artist {mightest my seer},

aye of fair lass an’ thine ruddy lad,

to deed that their two five and ten pointed stag’,

whence The Course fill thy run ye true’d,

An’ shine wit intellect natch intend imbued,

‘Newest far yonder Oldest’ we saith

yare our dearest Plough’eth’d H’earth,

thee nated-knap ravin-surged,

takin’ a ponderous weevilled bourse,

nev’ aught Leap nor unbounded words permit,

that we putteth high aft our soddened ground,

gift her alluvion married sail

wildern makest hallowed proud,

an’ whence thou work endowed

in quickened Time,

Gord be lively brindled sound.”

– a poem by Matt The Unfathomable Artist, shown in Trade Gothic Next font in image © January 2021.

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“Resurgental Teem”

“Resurgental Teem”

‘Amalgamated punctilious presciential,

ancient Romanized primordial,

prehistoric chimera Luxorial,

periscopal Sans-Serif rye-cardial,

Emerald, ruby, sapphired-diamond,

Laplacian machina extincted firebrand,

Kindled ebullient meritorious,

Praia das Catedrais,

Sojourned island Peiraieus,

Setted proscenium,

Tragedian,

Stokered stormied theorem,

Physiognomy,

Thine and thy a progeny,

Solemnly,

‘I Maat Metamorphose’

Quaintly Unimprobably,

Countenanced Thutmose,

Who really is the utmost Resurgental Teem?

silvery Superhost overspilling thee,

Sepia portraited {cobalt} green,

Reclamational Blue & Baleen,

Scrolling spouted words,

Please follow me,

Osier{ily} manifested,

Quotient collected,

Unto foreseen.’

– “Resurgental Teem” a poem by Matt The Unfathomable Artist in Sans Serif font, © January 2021.

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“Modulated Paragon”

“Modulated Paragon” – a poem by Matt The Unfathomable Artist, © 19th January 2021, poetry image text in UD Digi Kyokasho NK-B font.

‘Irrepressible enumerate tracks,

Grandiose entrepreneurial stacks,

Coracle floated entomological,

Diplomatical syntax categorical,

Stretched-out handed,

Gold lined annexati{A}n0n,

Electric arcing,

Maelstrom modulated Paragon,

Algebraic constanted Automat{e}-ion,

Forrader ravenous trajectory,

the Superlative Plenipotentiary,

Prepositionalled lattice crowned,

Elevationary.’

– a poem by Matt The Unfathomable Artist, © 19th January 2021.

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Nine Six Nine Deciduous

‘Nine Six Nine Deciduous’ a poem by Matt The Unfathomable Artist, copyright January 2021, poetry image text in Sitka font.


‘One wisheth to be fastidious,

Exuberantly earthened unhideous,

Fettering the Demarcatious,

Being Nine Six Nine deciduous,

Half the Time Draconian contiguous,

Fervently filial-al,

Omnisciently quintessenti-al,

Redolently chromosomium,

Extricably balonium,

Hath thou eve’n heard thy Meconium?

Tellest thee of thine Meconium.’

– a poem by Matt The Unfathomable Artist, copyright January 2021.

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‘Thy Glinting End’

“Rhythm taut flexed skin,

Phoenix constellated Xiaolin,

Grey troned electronic queue,

Washington imbued stately hue,

Accrued in silvric metalled smite,

Smelted gilded ladened kite,

Embark radared mineralled sight,

Warp’ed Traveller supered extra-Nigh,

Prospect ye illust-fabled crystalline bright,

Crush-cookied shaped girded lineal spars,

Soot tunnelled depth-charged night,

Terraquoised chasmed vultured sleep,

Shah-Khan, Bosi, Tanakh, Chi-Tewan,

Resonate volumed anti-quet Clan,

Green threaded strongheld quasi-Blue,

Mired Red wounded aged dread,

Of ye an’ ye thy Stratos fallened through,

Meat thou meeted glinting End.”

by Matt The Unfathomable Artist, copyright 9th December 2020.

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“Spook’ed Mangled Soul”

“Spirit darkened myriad troll,
Thouest spook’ed mangled soul,
Quibbled night, contentious rift,
Confuffled postulation, cantankerous shift,
Tis mere blight, a trifling blip to your day,
Thy creaking lull, makes fishers hay,
Thine sinking bedraggled vessel,
Lest not evil grin dishevel,
Fallen Kraken weighted bat strewn cavern,
Taking monstrous sup,
Debauch’ed bloodied tavern cup,
Wolves a’ howling melod’ thee lungs,
Arms of fire, defended Damascus guns,
Sighs overgrown, deaden’ed bite,
Hollowed eyes devoid’ed fright,
Artily made Love, submersive eve’n unto die,
Pitifully uncan’ bruted tragic joy,
As scrying imaged plotted ploy.
Guard thy torrented storaged keep,
For lovers one cannot nightly weep.”

– by Matt The Unfathomable Artist, copyright 25th October 2020.

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The Art Career of Denise Wyllie

‘Being Together’ Estandos Juntos Series by Denise Wyllie, Woodcut, 63 x 45cm.

I like to select artists for this blog whom uniquely represent the art world.

‘Being Together’ shown above is a woodcut from the Estandos Juntos Series [the Spanish translation of the artwork] by Denise Wyllie which featured at “The Master’s” exhibition, hosted by the Royal Society of Painter-Printmakers in November 2019 at The Bankside in London.

Denise Wyllie’s artworks appeal to the fine art and interior design markets alike.

Her ‘Estandos Juntos Series’ of gender inspired prints explores the relationship between men and women.  Closeness, disparity, fear, acceptance, race, dominance, reluctance, submission et al.  At least that’s how I see this Series of works.

There is no doubting a feminine style to Denise Wyllie’s floral works.  Her literary commentary is itself ‘a cat among the misogynistic pigeons’.  At this moment I can picture every female reader cheering Denise on.  Men too, as without thorns how does one protect the rose?

Are female artists under-represented in museums?  Is this something you would agree is true?

Primarily through the latter 19th century we see international art establishments readily accepting women into the upper echelon of art.  Often from well-to-do connected backgrounds.

My own past blog articles featuring female artists include: [please click their names to visit the links]

Sonia Mehra Chawla

Tamara de Lempicka

Louisa Beresford, Marchioness of Waterford

Mary Stevenson Cassatt

Élisabeth Louise Vigée Le Brun

Artemisia Gentileschi

Anna Hyatt Huntington

Aelita Andre

Käthe Kollwitz

Berthe Morisot

Thankfully the 21st century is creating new working opportunities for women regardless of class, background, beliefs/non-belief, race or origin.  Technology is the ethical driving force within art, through increased marketing accessibility and popular cultural movements supporting equality.

Let’s take a good look at Denise Wyllie’s floral landscape and treescape works:

‘Into The Renaissance Rose Garden’ by Denise Wyllie, Screenprint, 50 by 70 cm, Edition number 10.

Denise has immersed herself within the David Austin Rose Gardens in Shropshire and blossom trees of Kyoto, Japan over the years.  Artists have an innate desire to draw near to their subject matters to disentangle meaning, grasp new definitions and disseminate thoughts.

‘Into The Renaissance Rose Garden’ by Denise Wyllie is a pretty play on perspectives.  It’s one of those artworks made specifically to bring joy.  Reminding us of springtime blossom whilst fairy flowers wistfully dance the breeze.  Children are probably running around making blissful noises getting caked in mud.

‘Into The Renaissance Rose Garden’ is a stunning composition.

For some years now I’ve recorded birds tweeting at my local nature reserve.  There is a wealth of natural beauty to discover and realise.  Listen as twilight water birds make soft conversational sounds to one another.

Kyoto: Travelling in the snow original Wyllie's screenprint Find Art, Buy Art, Museum Art Gallery, Royal Academy Of Arts, Contemporary Artwork, Abstract Expressionism, Kyoto, Printmaking

‘Kyoto: Travelling in the snow original’ by Denise Wyllie, Screenprint.

If you have ever seen timeless Japanese artworks such as ‘Magpies and Hare’ by Cui Bai [please click the link to view], you will appreciate Denise captures the absolute essence of Japanese silkscreen printing in her works.

‘Kyoto: Travelling in the snow original’ by Denise Wyllie is the apotheosis of the Japanese style.  Sinewy curving branches, hints of delicate leaves, windswept movement.  Bring a colour contrast to the mix and this wintry landscape comes alive with clever outer-edge and far-ground detailing.

A carefully constructed artwork like this cannot be fully visualised without first displaying the piece upon your wall.

‘Tree Spirits 3’ by Denise Wyllie, signed Giclee Fine Art print on Hahnemuhle 310gsm paper.

And then just as you thought there would be no darkness to Denise Wyllie’s work, we have ‘Tree Spirits 3’.

Eerily beautiful isn’t it?

Her career experience, ability and crafted brilliance is magnified throughout her art making.  Complex layers excite our visual senses.. eyes and mind.

Please kindly view the artworks for sale here at: Denise Wyllie & Clare O Hagan to find your own favourite art pieces from their vast inventory.

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HYPER JAPAN – Online Exhibition

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HYPER JAPAN Announces a Series of Online Workshops

HYPER JAPAN hosts the UK’s largest exhibition of Japanese Pop Culture, gathering together the country’s many Japan fans to share their enthusiasm.

Created by Cross Media Ltd.’s President and Representative Director Mr. Kazuhiro Marumo in 2010, HYPER JAPAN has been working hard to develop a community around their event and provide visitors with access to all kinds of exciting content from Japan. Despite the challenges of 2020, HYPER JAPAN remains determined to stay at the forefront of the UK’s Japanese scene, mapping out a series of online events to bring the energy of the exhibition online.

 

Tsurushi-Bina (Hanging Dolls) Workshop

Led by Jessica Corlett of Flapjac Fashion-craft Events, in this online event participants will create their own Tsurushi-Bina, decorations which are displayed at Hina Matsuri, Japan’s annual Doll Festival. Flapjac Fashion-craft have been a regular at HYPER JAPAN events, bringing a cute new twist to traditional Japanese textile arts.

This will be a paid event and materials will not be provided, but just as original Tsurushi-Bina were made from leftover kimono silk this workshop is a great chance to be reuse old materials and get artistic and Jessica leads you through three unique designs.

 

Date: 12th September 2020
Time: 14:00-16:00
@ZOOM online

Apply for Tickets here

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Shodo (Japanese Calligraphy) Workshop

With such a complicated writing system, calligraphy of Japanese is both impressive and beautiful. Professionals who train to create Japanese characters as an art form will go through extensive training, and the best way to be introduced to the ancient disciple is by a master.

That opportunity is being offered in an online workshop run by Akemi Lucas, who works under the name of ‘Koshu’ and has been learning the art of calligraphy since she was eight. Her artworks have appeared in campaigns for the 2019 Rugby World Cup and advertising by the 2020 British Olympic team’s main sponsor.

In a two hour lesson Akemi Lucas will explain more about the Japanese writing system, help applicants to draw the characters for Ambition & Eternity (大志&永) and host a Q&A session.

 

Date: 19th September 2020
Time: 10:30-12:30
@ZOOM online

Apply for Tickets here

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Sumi-e painting (Japanese ink painting) online workshop  

HYPER JAPAN is delighted to announce that Akemi Lucas will also be joining us for an online session where you can learn all about Sumi-e, the Japanese art of ink painting. An introduction on the background of Sumi-e will be followed by a chance to get active and create your own ink depiction of an orchid as Akemi talks you through the process.

 

Date: 17th October 2020
Time: 10:30-12:30
@ZOOM online

Apply for Tickets here

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Origami Workshops with Alice Stern from Sushi Art 

Origami is one of Japan’s most well-known art forms and HYPER JAPAN is looking forward to collaborating with Alice Stern for two separate workshops which will get focus on the fun of folding. After inspiration from time spent living in Japan, Alice set up Sushi Art more than five years ago and has been sharing her experience and craftwork across the UK.

In the first workshop Alice will be showing applicants how to create three designs, a Lotus Flower, Crane & Samurai Helmet. With talks on the history and tradition of origami included, this workshop promises to be instructive and productive!

 

Date: 10th October 2020
Time: 14:00-16:00
@ZOOM online

Apply for Tickets here

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The second origami workshop Alice will be hosting on November 7th centres on the more advanced Kusudama flower ball, a design comprised of 60 pieces of origami paper. As Alice takes you step by step through the process, she’ll also be explaining a little more about how this piece was displayed.

 

Date: 7th November 2020
Time: 14:00-16:00
@ZOOM online

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Keep the energy going!

With some great online activities lined up, let’s hope that we can keep the HYPER JAPAN spirit as vibrant as ever and make sure nothing gets in the way of enjoying Japanese culture together!

Event courtesy of HYPER JAPAN.
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‘a4 LY equation [digital sketch #1]’

‘a4 LY equation [digital sketch #1]’ [28th August 2020] by Matt The Unfathomable Artist, freehand digital sketch using desktop computer software with mouse, original image is 1396 pixels [w] x 1679 pixels [h].

From start to finish this freehand digital sketch took me approximately 44 minutes to produce.

The hours to refine the calligraphy was done over the foregoing days, with iron gall ink and carbon pencil practice upon A3/notepad paper respectively.

After historical handwriting research focusing upon ‘a’, ‘4’, ‘L’, ‘Y’ paper studies and freehand practice I had a good idea of the scrolling style I wished to create.

The best way to offer insight into my work is by providing actual photographs of my ink work practice:

‘yj’ [August 2020 – calligraphy] sketch practice, iron gall ink dip nib pen on notepad paper.

The ‘y’ was quite difficult as calligraphy goes.  Scrolling ‘y’ letters were already highly represented in handwritten texts I studied.  I wanted something with my style – simplifying and complicating my design as necessary to ensure it exemplifies Art.

The adjacent line similar to a ‘j’ [immediately above] is my practice at finding the downward stroke for the ‘y’.  With all the characters for this work I filled quite a few scrap paper sheets.

‘Perfect a’ [August 2020 – calligraphy] sketch practice, iron gall ink dip nib pen on A3 paper.

This ‘a’ I produced, photograph shown immediately above, is just about as perfect as I made throughout tens of illustrations with same.  My digitally sketched ‘a’ has provided complimentary movement to the other characters.  A sense of quirkiness.

There is a feeling of jazz music, bass playing and dancing in the above digital work, in my own opinion.

What did you think viewing this piece?

‘Scrolling L’ [August 2020 – calligraphy] sketch practice, iron gall ink dip nib pen on notepad paper.

The looped ‘L’ on the down stroke really excited me.  At that instance of artistic experiment I knew the L was, shall I modestly seek to say, successful.

The question was, ‘how much scrolliness is required?’

Digital sketching software enables us to add or remove lines and re-try without starting a whole new piece of paper.  Even my digital sketch with the mouse, top photograph, needed tens of practice letters and number 4’s on the computer screen.

I re-tried between twenty to thirty times for this digital artwork.  After the ‘a’ and ‘L’ had been digitally sketched I kept working at the ‘Y’ for the quality in this piece I wanted.  The number ‘4’ is my own version of 17th Century numerical handwriting.

Joyful working satisfaction through practice.

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