Tag Archives: Matt The Unfathomable Artist blog

Conservation – Local Nature Reserve

‘Ancient Oak circa 1612 – Height & Breadth’  – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Ancient Oak circa 1612 – Sun Rays’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Ancient Oak circa 1612 – Canopy’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Ancient Oak circa 1612 – Trunk’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Local Nature Reserve – Third Field Views #1’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Local Nature Reserve – Third Field Views #2’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Local Nature Reserve – Third Field Views #3’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Local Nature Reserve – Third Field Views #4’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Local Nature Reserve – Third Field Views #5’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Local Nature Reserve – Oak Trunk View #1’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

‘Local Nature Reserve – Oak Trunk View #2’ – Photography [19th May 2020] by Matt The Unfathomable Artist.

Dear Readers I’m hoping your thoughts find beautiful views through my series of Local Nature Reserve images artistically arranged for your nature loving enjoyment.

Very best, Matt The Unfathomable Artist.

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Triple Vertical Horizontal Seismic Waves #1 Sketch

‘Triple Vertical Horizontal Seismic Waves #1’ [11th May 2020] by Matt The Unfathomable Artist, Blue/Black Iron Gall Ink on specially treated A4 Artist’s Gouache Paper 160 gsm.

I’m working on a new art project to highlight preservative conservation.  In doing so I’m exploring further artistic opportunities with my artworks.

Those familiar with my work will appreciate my interest in seismic wave and sound wave depictions.  Myself producing numerous free-hand sketches, as shown above, similar in style to how seismographs record ground motions such as earthquakes.

Having lightly sanded the nib of my dip pen, I subsequently sketched ‘Triple Vertical Horizontal Seismic Waves #1‘ and happily signed this artwork.  Satisfied with its quality and feeling.  I didn’t expect to produce a delightfully enjoyable piece whilst practicing handwriting using my new nib dip pen.

Autoschediastic artworks are as jubilant as carefully planned creations whenever successful.  Van Gogh analysed levels of quality ascending to masterpieces in his own work.  I’m certainly of the opinion that all his artworks are masterpieces through his ingenuity, obsessive practice and artistic genius.

My artwork, shown above in a digitally edited photograph, was wet with ink as I wasted no time taking this image!  Afterwards, whilst writing this article I realize the wonderment of this piece.  I’m not immodestly discussing whether it’s a success or not.

No, rather, I’m viewing my sketch as a curiously spontaneous artwork by reason of my lacking fresh quality art paper.  You see I hastily ran upstairs to use the reverse side of some old practice sketches made on quality paper.  Then immediately, old sketch pad in hand, I returned downstairs to quickly enjoy my smoother sandpapered nib!  Scribbling on plain paper, before producing this completely impromptu seismic waves artwork.

The reverse side of this artwork above is less favourable of quality in my own view of how I judge my works.  The pen work on the reverse, unpublished side, is good – it just didn’t connect with me technically.

Some earlier unpublished sketches I’ve already signed, some not.  Quite laughably without any pre-thought whatsoever ‘I’ve now gone and signed‘ this earlier sketch, albeit upon its newly defined triplet.

I find this genuinely hilarious.

Of course, I’m not the first paint artist or illustrator to do the same thing.  I just think it’s the first time I’ve personally utilized earlier sketch work held on the reverse side for a new signed artwork.  To be perfectly honest I kind of like the economical use of good quality paper, and that’s the whole nib point.

Except it’s not, because I sanded the nib to a ‘seismic’ curve.

Anyway, do you like my triple vertical horizontal seismic waves artwork?

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Oak Branch Astronomy

‘Kinin Valley’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.

Imagine NASA has just this second received new images from their distantly galactic travelling satellite probe. Kinin Valley, shown above, could have been photographed 100,000 miles from space. Detailing its epic landscape of cavernous valleys and Mars like red rock formations.


‘Nebulaic Cyclones with Wormhole Striations’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.

As the deep space probe passes over this alien lunar surface we see a huge meteor has struck an immensely dry area to our left in the above image, Nebulaic Cyclones with Wormhole Striations. Upper right we can make out what appears to be storm scars of ancient water erosion.

At the lower mid section of the image we observe heavy sloping, a natural quarry descending downwards towards us. An alien species has perhaps eaten into the landscape in worm-like striations, burrowing strange etches into this now lifeless moon.


‘The Helix Whorls’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.

NASA gathers together a team of specialist scientists to categorically figure out ‘The Helix Whorls’ phenomenon.

A time traveller probably visited last Wednesday, one million three hundred thousand years ago, at a time when sturdy shell covered creatures roamed this moon’s macro-phasic atmosphere.


‘Robur Canyon’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.

Mythical legends have spoken of monsters lurking in structures exactly as described in Robur Canyon. Dark matter without discernible mass, form or measurable depth causes disenchanted quietness upon anyone approaching its entrance ways – shown above, to the right and lower right, at two distinctive places.


‘Inescapable Monster Moon’ [copyright 7th May 2020] by Matt The Unfathomable Artist, digital photography.

Similar in idea to our own Man in the Moon, this image conjures a vivid resemblance with the terrestrial deep sea Fangtooth, Anoplogaster cornuta. Actually the pit to the lower left could be 20,000 feet deep!

Imagination is Art.

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“Straw, Olive and The Azure”

“Straw, Olive and the Azure” [23rd April 2020, digital photograph] by Matt The Unfathomable Artist.

Over several years my primary concern has been with humanitarian, societal, social, economic, renewable energy resources, commercial sustainability, wildlife, natural habitat and world conservation issues.

The silver birch trees shown in my photograph within a designated Local Nature Reserve, above, represent an increase in intensity of natural blues and greens. Reparation of our natural world. The culmination of popular human effort to manage our resources ethically and environmentally advantageously.

These neatly arranged trees are, currently, a sound barrier to an adjacent transportational highway. Nature blocking man-made activity. Suffering quietly without a voice. Drying to its sinew the veins of our gracious planet Earth.

Happily, the grass is cultivated for hay stacks.

Through summer of 2019, in the UK, I saw a remarkable increase in butterflies and other insects across this very field. Having noticed a startling lack from past summer seasons.

“They always say time changes things, but you actually have to change them yourself.” – Andy Warhol quote.

“Olive and the Azure” [19th May 2020] digital photograph by Matt The Unfathomable Artist.

You see, these fields remind me of the ‘common land‘ sodden with crudely made shoes from yesteryear. The pre-Industrial age ala mid 19th century, with its burgeoning mass of innovative technological machinery.

Steam trains; cotton, silk or linen canvas built biplanes; cruiseliners; skyscrapers and tractors pulling the plough.

Straw holds multiple meanings to me. Usually I think of the ancient harvesting process for thrashing grain.

A steel sword, droves of horses, hay bales, pyramidic structures, straw bricks and agriculture.

I think of the gentle breeze too.

Olive springs the colour green to mind, juicy olive fruits, healthful oils and good cultivated produce. I envisage fields of olives in symmetrical rows, Azure skies basking in a bright yellowy ripened Sun.

What do you think surrounded in nature?

Please note the difference between the two photographs ‘Straw, Olive and the Azure’ / ‘Olive and the Azure’ shown above over a short distance of time.  The field has ripened with green foliage.

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“Gazes Are Nebulae”

“Gazes Are Nebulae”

“Please.

Is not love equally fair?

Does it not take captive the Soul and urge onward thy Mind?

With tongue its gazes are nebulae,

Thy aperture is thee aurora south swirling north of thine domes,

Heart is a Sidewinder, Alexandria, racing meet over fallow sands.

Cup is cameled dirt, gnatted clean,

Dogged muck, faith-fulled bread.”

“Gazes Are Nebulae” – poem by Matt The Unfathomable Artist, copyright ©16th March 2020

Image copyright Matt The Unfathomable Artist, March 2020.

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Sonia Mehra Chawla presents ‘Entanglements of Time and Tide’

‘Entanglements of Time & Tide [No.1]’ by Sonia Merha Chawla.

North Sea reflections reveal the art of science in new exhibition by internationally renowned Indian artist Sonia Mehra Chawla

Living artworks, historical scientific material, video, and new commissions in print follow intensive residencies in Scotland and mark artist’s debut solo exhibition in the United Kingdom.

The worlds of art, science and technology are set to collide at Edinburgh Printmakers this April.

Celebrated Indian artist and researcher Sonia Mehra Chawla presents Entanglements of Time and Tide, a new exhibition exploring entanglements of ecology industry, culture, politics and
aesthetics.

‘Entanglements of Time & Tide [No.5]’ by Sonia Merha Chawla.

Mehra Chawla’s artistic practice explores notions of selfhood, nature, ecology, sustainability and
conservation. For Entanglements of Time and Tide she spent two years on three intensive residencies at the Marine Scotland Laboratory in Aberdeen, the ASCUS Laboratory at Summerhall and Edinburgh Printmakers.

The result is an all encompassing exhibition featuring new commissions in print, video, living artworks of micro-biological organisms and representations of historical scientific material.

Part of the Edinburgh International Science Festival and part of Year of Coasts and Waters 2020 programme, Entanglements of Time and Tide explores how we can make our future more liveable.

Reflecting on the human impact on our environment and in particular effects on microorganisms by capital-intensive heavy industry and anthropogenic activities, the exhibition is in two parts.

‘Entanglements of Time & Tide [No.6]’ by Sonia Merha Chawla.

Part I looks at the mysterious and enigmatic life of planktons providing several entry points to understanding larger global issues associated with the world’s oceans. Part II explores the impact of technological obsolescence, the drive to consumption and the impacts of the waste created by these technofossils.

Speaking ahead of the exhibition opening Sonia Mehra Chawla said:

“Polluted, overfished, abused and threatened by extractive forces, the largest living space on Earth is rapidly declining. Human-induced environmental change threatens multi-species endurance, livability and continuity. We are all interconnected by shared ecologies and entanglements with our other than human kin makes life probable. Can humans and other species continue to inhabit the earth together in collaboration?

‘Entanglements of Time & Tide [No.4]’ by Sonia Merha Chawla.

We live in a time of many urgencies and I feel we require cross disciplinary curiosity of what constitutes life on this planet and what our place is in this universe. This exhibition has been created to act as a starting point for these conversations between artists and scientists, those in industry and the wider community.”

Running parallel to Entanglements of Time and Tide in Gallery 2 is Speculative Bubbles: Jess Ramm, a new show from Glasgow based printmaker Jessica Ramm.

With the aid of a children’s chemistry set and a selection of household chemicals, Ramm presents a series of prints, that evidence everyday magic, produced on a residency at Edinburgh Printmakers in 2019.

Ramm’s chemical and physical experiments propose alternative ways of navigating humanity’s symbiotic relationship with the material environment while paying particular attention to the extravagance of human aspiration.

Listings Information

Entanglements of Time & Tide: Sonia Mehra Chawla

Edinburgh Printmakers, Gallery 1, Castle Mills, 1 Dundee Street, ​Edinburgh EH3 9FP
+44 (0) 131 557 2479

Tuesday – Sunday 10am – 5pm

04 April to 05 July 2020 (Science festival 4th – 19th April)

http://www.edinburghprintmakers.co.uk/

Speculative Bubbles: Jess Ramm
Gallery 2, Castle Mills
Tuesday – Sunday 10am – 5pm
04 April to 11 July 2020 (Science festival 4th – 19th April)
http://www.edinburghprintmakers.co.uk/

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Sonia Merha Chawla

Sonia Mehra Chawla is an artist based in New Delhi, India. She received her BFA in 2001 and MFA in 2004–2005 from Delhi University’s College of Art, New Delhi. Chawla has an interdisciplinary practice as an artist, photographer and researcher. Her artistic practice explores notions of selfhood, nature, ecology, sustainability, and conservation.

Mehra Chawla’s practice is process oriented and research based, with a focus on specific locations and micro histories. Through her artistic projects, she examines how local places contribute to global changes, what drives those changes, how these contributions change over time, how and where scale matters, what are the interactions between macro-structures and micro-agencies, and how efforts at mitigation and adaptation can be locally initiated and adopted.

Through her practice, Mehra Chawla explores, dissects, re-examines and re-envisions spaces that exist at the intersections of art and science, social and natural realms, self and the other, focusing on the important dimensions of human engagement with and within nature, ranging from the built-environment to the ‘wilderness’, and human and non-human narratives and interrelations in the Anthropocene. The artist lives and works in New Delhi, India.

www.soniamehrachawla.in

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type: The Unfathomable Artist

‘type: The Unfathomable Artist #1’ [19th February 2020] by Matt The Unfathomable Artist, Digital Pop Artwork, MS Shell Dig 2 and Times New Roman fonts, 7016 x 4951 pixels, 600dpi, A4 Landscape format.

Digital Pop Artworks digitally produced to technologically articulate the need for global climate change policies.

Subtle version two shown immediately below, with the future idea to create written words and iconography throughout the blue canvas space:

‘type: The Unfathomable Artist #2’ [20th May 2020] by Matt The Unfathomable Artist, Digital Pop Artwork, MS Shell Dig 2 font, 4412 pixels x 3981 pixels, 600dpi, A4 Landscape format.

Version three with Times New Roman ‘type’ font and ITC Kristen chosen for the main green yellow alternating Unfathomable text shown below:

‘type: The Unfathomable Artist #3’ [24th May 2020] by Matt The Unfathomable Artist, Digital Pop Artwork, Times New Roman and ITC Kristen fonts, 7016 pixels x 4961 pixels, 600dpi, A4 Landscape format.

At the time of editing this page on 24th May 2020 I have started work on two oil paintings for my ‘type: The Unfathomable Artist‘ series of pop artworks.  The blue screen backgrounds are already completed.  I’m waiting for the refined linseed oil mixed within the oil paints to dry before adding the painted fonts.

I’m likely to choose version #3 as the first oil painting artwork for me to finish.  Then version #1, as seen in these Digital Pop Artworks.  The blue backgrounds already look delicious.

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Inspired by Trees with Mall Galleries

‘Cold Autumn Walk on the Downs’ by David Brammeld RBA, Acrylic, 41cm x 51cm.

Inspired by Trees

The Royal Society of British Artists 303rd Annual Exhibition features a forest full of trees.

20 to 29 February 2020, 10am to 5pm
Mall Galleries, The Mall, London SW1
Admission £5, 50% off with Art Fund pass, Free for Friends of Mall Galleries and under 25’s

Mall Galleries is happy to offer my Readers Free Entry for Two to the exhibition when quoting this publication at the gallery desk (normal price £10)

Visitors to the Mall Galleries will shortly be able to experience a ‘forest experience’ as the Royal Society of British Artists highlights the potent inspiration trees provide for artists in its annual exhibition opening 20 February. Two clusters of tree images showcase a wide variety of styles, locations and moods, in highlighted sections of the show which overall features more than 500 works on myriad subjects. Trees captivate artists and fascinate the viewer with their life-force, symbolism and extraordinary architectural variety and beauty.

Some works featured are portraits of individual trees, such as Mark Welland’s Reach For The Sky II, which is part of a series commemorating a 300 year old oak tree finally felled by storm Katie in 2016; some scenes of woodlands, trees on the horizon or trees in the garden offering shelter on a sunny day.

‘Reach For The Sky II’ by Mark Welland, Mixed media, 21cm x 21cm.
Urban life also features. Melissa Scott-Miller RBA RP NEAC, known for depicting London’s streets says of the capital’s trees: “In London the trees are often restricted by the buildings and paving slabs, but they have still kept going, their branches making beautiful patterns and shapes, the lichen on the bark has spread on to the rooftops and brickwork, in summer the canopy of leaves produce areas of shade, and they are a haven for wildlife, birds, squirrels even domestic cats, the changes of colour and shape they display through the seasons lift the spirits, trees are essential to city living!”

Beautiful urban landscape by Melissa Scott-Miller RBA RP NEAC
Environmental themes emerge strongly. While many of these paintings of tree suggest at themes of longevity, ideas of mortality and of the fragility of the environment are never far away. Gary Cook’s watercolour 1058: Melbury Beacon No8 stands as a record of the 1,058 UK species associated with ash trees, ranging from beetles to birds, lichens to mammals. Some of these species are written into the background. All will be affected when we lose up to 90% of the UK’s 70 million ash trees from dieback disease. Of the 1,058 species 40 of them live only on ash trees. The Centre Barred Sallow moth is one of those 40. Research is ongoing into replanting these trees with ash bred with tolerance to the infection.

‘1058: Melbury Beacon No. 8’ by Gary Cook, Watercolour & charcoal, 28 x 39 cm.
Cheryl Culer PPPS RBA suggests we should all try our hand at drawing trees: “Trees are great to draw and as long as they get thinner as they go up and the branches get skinnier as they reach out, then even the simplest scribble can be a tree.“

Alongside the exhibition, member artists will be demonstrating their techniques and there are a number of opportunities to join in; including a free drawing session where you will be serenaded by Classical Harpist Eleanor Dunsdon.
Visit www.malllgalleries.org.uk for a full list of the events taking place.

The Royal Society of British Artists (RBA)  is dedicated to promoting the highest standards of skill, concept and draughtsmanship in painting, sculpture, printmaking and drawing.

The exhibition is sourced from member artists and through open submission, to bring together works of the highest standard in an eclectic mix of style and media. Most works are for sale, with prices starting from £140.

We are happy to offer your Readers Free Entry for Two to the exhibition when quoting your publication at the gallery desk (normal price £10)

Royal Society of British Artists 303rd Annual Exhibition 2020
20 to 29 February, 10am to 5pm
Mall Galleries, The Mall, London SW1
www.mallgalleries.org.uk
Header image: David Brammeld RBA Cold Autumn Walk on the Downs
Copyright © 2020 Mall Galleries, All rights reserved.

Our mailing address is:

Mall Galleries

Federation of British Artists
17 Carlton House Terrace

Westminster, London SW1Y 5BD

United Kingdom

Add us to your address book
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Tamara de Lempicka

I hope you enjoy this excellent video courtesy of LearnfromMasters on Youtube, entitled:

‘Tamara de Lempicka: A collection of 154 Paintings (HD) *UPDATE’

I’ve wrote some words to best describe Lempicka’s artworks:

Stylish, art deco, stylistic, animate, illustrative, pastoral, simplistic, complex, daring, risque, evocative, provocative, sensual, fashionista, influential, prima-madonnarial, cubism, perspectives, distortion, natural, religiosity and surrealist.

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Royal Society of British Artists 303rd Exhibition

Peter Brown RBA PNEAC RP PS ROI – ‘Towards the Fatih Mosque from the Galata Bridge’

Royal Society of British Artists 303rd Exhibition

Join us for the Private View
Wednesday 19th February, 11am to 8pm

Exhibition open
20th to 29th February, 10am to 5pm
Tickets £5, Free to Friends of Mall Galleries and under 25’s

The Royal Society of British Artists (RBA) is dedicated to promoting the highest standards of skill, concept and draughtsmanship in painting, sculpture, printmaking and drawing.

The exhibition is sourced from member artists and through open submission, to bring together works of the highest standard in an eclectic mix of style and media.  Most works are for sale, with prices starting from £120.

Clare O’Brien, CEO of Federation of British Artists and Mall Galleries said:

“The artists have been out documenting the world around them and the many diverse landscapes and locations featured in the exhibition include the Faith Mosque in Istanbul, the White Cliffs of Dover and Billingsgate Fish Market.

We see joyous expressionistic dancers by Susan Bower, young men in photo-real pencil drawings by Malcolm Ashman, father and son historical Harp restorers by Lewis Hazelwood-Horner, the artist and her dog, Joey, painting in an Islington back garden by Melissa Scott-Miller, a portrait bust of Beatle George Harrison by Clive Duncan, a contemporary Venus of Willendorf by Callum Stannard – the whole of human life is here.”

With such a wide variety, RBA exhibitions always guarantee that no matter what your preferred subject matter, style, medium, colour palette or budget, you will be sure to find a work of art you would love to own.

Clive Duncan RBA – Bronze ‘Portrait of George Harrison’

Malcolm Ashman RBA – ‘Wrapped’

Susan Bower RBA ROI – ‘Headlong’

Cheryl Culver RBA PPPS – ‘Looking Across the Channel’

Lewis Hazelwood-Horner RBA – ‘Harp’

Callum Stannard RBA – ‘Venus’
We are happy to offer your Readers Free Entry for Two to the exhibition when quoting your publication at the gallery desk (normal price £10)

The Royal Society of British Artists 303rd Exhibition

20th to 29th February, 10am to 5pm
Mall Galleries, The Mall, London SW1
Mall Galleries website click here

Admission £5, Free for under 25’s, Friends of Mall Galleries and Readers on mentioning this publication at the Gallery Desk.

For images and information contact Liberty Rowley: press@mallgalleries.com
Tel: 0207 968 0955
Images:

Peter Brown RBA PNEAC RP PS ROI – ‘Towards the Fatih Mosque from the Galata Bridge’

Clive Duncan RBA – Bronze ‘Portrait of George Harrison’

Malcolm Ashman RBA – ‘Wrapped’

Susan Bower RBA ROI – ‘Headlong’

Cheryl Culver RBA PPPS – ‘Looking Across the Channel’

Lewis Hazelwood-Horner RBA – ‘Harp’

Callum Stannard RBA – ‘Venus’
Copyright © 2020 Mall Galleries, All rights reserved.

Our mailing address is:

Mall Galleries

Federation of British Artists

17 Carlton House Terrace

Westminster

London SW1Y 5BD

United Kingdom

Add Mall Galleries to your address book

For their social media links please visit the Mall Galleries website hyperlink shown above.
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