If you were to look into Mu the Croc’s eyes—a pastime best described as bold when dealing with a Nile crocodile—you’d find a gaze uncannily reminiscent of the Blinking Planetary Nebula. There’s something quietly mind-boggling in there, ancient and unhurried, paired with an unsettling kind of heavy‑tailed precision.
You might wonder if the spectacles perched on his lengthy snout have something to do with his lack of elegance. However, Mu wears those simply because he likes the “look”. He chooses that look every time he reads, which, since he reads whenever he’s basking, is quite a lot. A scholarly crocodile, with a book resting on a river rock, pages and everything else turned by his breath, is simply part of the local scenery now.
The Paradox of the Straw Hat
Then there’s the brimmed straw sun hat, a choice that confuses anyone with even a casual understanding of crocodilian biology. A Nile crocodile is, after all, a living solar panel built to charge up on celestial rays.
So why the hat? Mu says he likes the “look”. This, of course, has absolutely nothing to do with the little headaches he gets if he’s out in the sun too much. A light‑sensitive, bookish crocodile is an absurdity Mu carries with total confidence.
The Diplomacy of the Tail
Mu keeps his tail mostly still these days. A momentary twitch has been known to accidentally swish his friends across the riverbank—something one can get away with when it involves warthogs or hippos, yet impala are far less receptive to an “Oh, sorry”.
Mu’s personal record is flattening seven at once. They were all uninjured, Mu proudly states. The apology, though, required half a ton of mixed leaves with a decent haul of acacia seed pods, all carried on Mu’s back for two lion‑miles from a local elephant trading post. Elephants, as it turns out, will happily trade half a ton of leaves for a decent watering hole location.
The Measurement of the Plains
Out here, distances are measured in lion‑miles, which are quite different from termite‑miles. Most mammals of the African Plains have worked by this standard for millennia—or so says Babby, the oldest baobab tree, who has seen it all.
A Moment of Mu‑Style Study
In the accompanying Mu animation, we catch a rare glimpse of Mu pausing his studies for a quick, muddy slurp of water. The book is waiting, the sun is shining, and Mu returns almost immediately to the serious business of reading.
The grazers had finally returned to the watering plains after a long day of munching, yet Soffiz the Kudu was still bursting with energy. While the rest of the herd eased into their usual evening calm, she adjusted her ballet skirt — a treasured accessory she insisted improved her balance — and prepared to perform her inimitable routine: the Kudu Prance.
Kudu are famously sociable, happiest in small herds, though they remain shy toward most outsiders. Especially lions.
Soffiz, however, had spent the entire afternoon practising her grace between mouthfuls of grass, keeping one eye on her footwork and the other on the scrub for hyenas. Tonight she intended to finish with a flourish: a brand-new move she called the Manbat Position.
A few days earlier, she had watched a creature leap from a high ravine, plunging into the valley at a speed no sane animal would attempt. In broad daylight, Soffiz was quite certain it was a real “manbat”. Just when it seemed he was about to have a disagreement with the ridge, he unfurled a strange contraption shaped like enormous elephant ears. With a whoosh, he drifted gently to the ground.
“Jumping over dry riverbeds is daring enough for me,” Soffiz muttered as she stretched, “Manbats think they’re vultures soaring through the sky.”
“They are vultures,” Schrodyn piped, her best friend forever.
“Vultures flap..” Soffiz replied, pleased by her own analogy, “..Manbats just stiffen their arm-wings and freefall like boulders. Maddest creatures on the planet — excluding honey badgers, obviously.”
Schrodyn nodded with absolute seriousness, “There can be no disagreement on honey badgers. Ever!”
Most of the time I share the finished pieces, the ideas and the process. Today I want to be honest about the practical side: keeping the studio running takes real resources and I can’t do that on inspiration alone.
I’m an independent artist. I work solid hours, I research, do all my own administration, draft, paint and keep going until the piece is ready. That part is the privilege. The really hard part is that every new work has a cost attached to it.
The gold acrylics, heavier surfaces, panels, varnishes, the technology that keeps the workflow stable, even the cost of keeping this site online so I can keep sharing work with you. It all adds up.
So I’m making a straightforward ask.
How You Can Help
A lot of you have followed my work for a long time. People often ask if there’s a way to support the studio beyond buying an original artwork.
If the work brings you something, if you enjoy the fusion of science, nature and subconscious that I share here, please consider contributing to the Studio Fund.
What Your Support Does
This support keeps the studio moving.
It helps me buy the materials that make the work possible
Covers the running costs of sharing the work publicly
Supports me whilst I’m working on drafts or busily researching pieces
If you can only give the price of a coffee, every donation helps. If you can’t give at all, you’re still welcome here. Reading, sharing, commenting, being present: that support is real too.
To Corporate and Science Readers
If you represent a research body, organisation or business and you see value in supporting research-focused art, I’m happy to receive donations or formal sponsorships to aligned projects. If you want to chat, please reach out directly via email.
“Equation M Electro Cell” [5th to 8th October 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 3000 x 2199 pixels
Connecting the Circuits
With Equation M Electro Cell, I wanted to return to the hardware – the physicality of things, rather than how computers operate.
When I look at the finished painting, this feels like a heat-hazed circuit board, a motherboard still holding warmth from the last surge of power. Immediately I recalled my dad’s interest in electronics. I’ve written before about the “type: The Unfathomable… Artist – Electronic Version”. Equation M Electro Cell sits in that lineage of technical references.
My dad worked with soldering irons, resistors and capacitors. I work with pigments, surface and the subconscious. The instruments are different, yet the impulse is recognisable: to make a connection, to get something to come alive, to coax an interconnection between the inanimate and human.
Process
To give the central form its particular presence, the painting needed to be built carefully. I began by painting the surrounding ground in that deep near-black and allowing it to dry completely. The surface became a kind of stable void for the central characterisation to materialise.
Only then, the following day, did I lay in the central block of colour, working the wet paint precisely. This is the intricate part. While the paint was still malleable, I used sandpaper edge to drag, scrape, and meticulously draw through the layers. The method hints at Gerhard Richter’s drag techniques, although here the abrasive surface of the paper takes the place of a squeegee.
The sandpaper pulls the golds, ochres, electric blues and violets sideways across the image. It micro-reduces the physical texture whilst increasing the visual depth, carving out bands and striations that feel close to etched copper tracks on a printed circuit board.
Upon producing the chance ‘double M waveform equation’ at the top right of the colour block, I decided this is the entire piece itself. Further interventions with the sandpaper were measured visually—finite, and inch-by-inch considered in specific colour block areas.
Whenever I note a valuable artistic representation in a piece, I do everything to preserve the uniqueness – purposed or chance.
The Equation
The result is a kind of ‘flat textural’ field. Looking distinct from a classical era painting and more like something printed, pressed or photographic film plate– as if a motion recording in an analogue system had been frozen, glitched and made visible.
I called the work “Equation M Electro Cell” to explain a self-contained apparatus for energy transference. A cell of stored charge, or a fragment of data, suspended in the mainframe. For me, this has the same quiet magic as looking into an old radio and seeing the valves glowing: a mix of warmth and nostalgia with music harmonising softly in the background.
Did I ever tell you about my dad’s valve amp radiograms?
“emi mi” [29th May / 1st June 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3716 pixels.
The Silent Sentinel
Art reflects a shared conscience and understanding.
In “emi mi” I switch from flowing gesture to firm geometry, using the cool poise of mid-century science fiction as atmosphere rather than subject.
While “The Day the Earth Stood Still” centres on Klaatu—the messenger—my focus is destructive force: Gort, the mute power that enforces the warning. This piece does not depict or reproduce any character or image from that film; the reference is conceptual.
The Abstraction of the Enforcer
An irregular silver monolith commands the field. This is not formal portraiture, rather a distillation: visor, eye, shield. I rarely embrace strict forms, yet to convey a cosmic arbiter the organic yields to rigid structure. The silver plane intrudes with order, dominating the canvas.
Oversight of Human Entropy
Though the style nods to mid-century sci-fi and modern abstraction, the story is present tense. Klaatu arrives to assess; Gort stands ready to act. Here, the silver mass is a celestial oversight of man-made harm. Surrounding bands—oxidised copper, burning gold, bruised violet—signal extraction, scorched habitats, pollution and the dull red of conflict. Hard demarcations: cold corrective logic set against heated disorder.
The Weight of the Ultimatum
Silence is the threat. This presence sees not argument or contention; it measures. Metallic impasto reflects actions. The painting is a study in accountability: by reducing the “enforcer” to a single dominant shape, it asks whether a civilisation can survive its own inventions—or face the consequence of the silent sentinel.
Who or what is the silent sentinel to you?
Is it purpose, chance or cause and effect?
Title Note:
‘emi mi’ fuses EMI (electromagnetic interference) and MI (machine intelligence) with linguistic echo of the self. Succinctly referencing “Mi” iconography as a superscript while the lower-right “M” signature is dually stylised as the human presence to whom the geometric form inclines for direction.
Artist produced and directed AI generation with Adobe Firefly.
Music licensed from Pixabay.
Provenance: From the artist’s Estate
Curatorial:
Father of Sci-Fi operates in the tradition of poetic film documentary.
Envisaging overheated mechanical instruments as a warning against unchecked manmade systems that built them; the film’s central imagery—gauges and thermometers—provide a fine argument for climate discussion in denial.
By placing H. G. Wells as the background inspiration, I’m drawing upon a vivid history of industrial biography to implore systemic commercial change.
Science-fiction is treated as a logic to prime societies into accepting large-scale industrial change. Avoiding the often reported dystopia of future civilisations. That same logic can be used to prepare humane futures rather than excuse extractive ones.
The film’s ecological thesis is a beautiful blunt instrument in itself.
War and resource harms are not only a human tragedy; they are an accelerant of ecocide. Ruining soil, water and air in the moment, locking regions into disaster zones through spiritual or monetary corruption. The poem names this as anti-cyclic use of Earth’s resources: a refusal to close loops, to repair flows, to respect sustainable limits.
Formally, the piece is a crafted sense of emotive visuals. Battlefield grounds read like scorched plates and ravaged lands. Ancient Egyptian symbology suggests melted ore and coinage, tying metallurgy to monetary currency and to the direct pricing of economic damages.
The narrative language is highly tactile—heat, force, mass—ethics coupled to matter.
For museums, Father of Sci-Fiinvites cross-departmental interpretation. Residing comfortably beside media art, environmental issues and design. Art speaking to public-facing programmes on climate literacy, post-conflict recovery and wise economical transition. The work’s request is modest and exacting: learn to read the warning gauges we already have, shift policy, industry and culture to fully enable political administration to appreciate avoidable risks.
“An instrument panel for conscience—counting the costs of economic ecocide”.
“NAWT” [17th/18th June 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3803 pixels.
“NAWT”
I view this piece as childlike, a baby suckling his mother.
Five compositional areas organised by raised gold ridges that act as structural boundaries and energy channels.
Left: A stacked, totemic block in reds and olives, pocketed with yellow cells. The perimeter gold line is noticeable, enclosing smaller islands and voids; interior ridges create sub-chambers.
Centre: A vertical plume of warm reds with ripple textures. Gold points punctuate the column, giving a sense of heat or rising material.
Right: A cool turquoise plane meeting a dark indigo/violet corner speckled with gold edging. The m signature contrasts the chroma and scale.
Palette & Surface Warm spectrum (red, ochre, olive) opposed by cool spectrum (turquoise, indigo). Heavy impasto gold forms the highest relief; underlying layers show brush striation and dragged texture that directs the eye vertically and diagonally.
Direction
A diagonal ridge travels from lower centre to the turquoise plane, functioning as a natural partition: it carries the centre visually.
Vertical waves in the red plume interlink to seismic waves works during the Iron Gall Ink flurry period.
Canvas Separation
Perimeter Gold Ridge: Seal forms from the background, preventing colour wash and establishing the object/ground hierarchy.
Left Internal: Multiple small gold lines divide the left block into micro-cells (pockets/voids), creating a chambered topology.
Central–Right Boundary: The raised, slanted gold ridge that delineates the warm centre from the cool right; is both barrier and channel.
Indigo Corner: Ragged gold edge where indigo meets the warm fields; the edge retains discrete gold as floating nodes.
Turquoise Plane: A near-flat field bounded by slight ridges, acting as a pressure release zone.
Compositional Understanding
Rule of thirds tendency: Left mass ≈ one third, central plume ≈ one third, right release ≈ one third.
Figure–ground: The indigo corner behaves as negative space whilst activated by gold; the left behaves as positive mass.
Behaviours
Gold medium used as structural relief and optical highlight.
Visible drag marks suggest slow, deliberate pulls; ripple patterns imply wet-on-wet movement control.
Edge fidelity of ridges indicates masking-free, hand-guided boundaries.
With “NAWT” I didn’t use masking, I rarely ever do. The last time I utilised canvas masking (whatsoever really or at least to any significant degree) is in Two Swans Together sometime ago in 2013. Goodness, the work I made for myself in Conker Lots for my refusal to canvas mask. Conkers affixed first, then highly careful painting, no masking.
Emoji hearts eyes mode activated from a distance.
Visual Meaning Containment vs. expansion; heat to cool; pressure building then venting. The eye experiences compression in the left and cooling/space in the right. The distinct canvas spacing makes this legible by preventing chromatic dissection and choreographing the viewer’s path.
Quadruple intellect angles sought, times ten to the power of one hundred.
Signature Placement Lower right m within the turquoise field—chosen to sit in the calmest zone, preserving legibility while completing the warm–cool dialogue.
No originating concept or preconceived theme(in the actual painting), just painting to enjoy the process. The title is the first word arriving to mind. A painter freestyling, having fun! Although originally I intended this composition:
Original composition for a new painting (NAWT).
Is this a concept or preconceived theme?
No. This is a composition. My painting from the outset was devoid of concept or theme since the original composition ideas didn’t translate into the painting.
I created same (a concept) upon painting, through the working act of subconscious play.
Whereas .. “DANGER: Men at Work with Missiles” had a concept.. symbology, signs, iconography. From here I produced the theme, which became missiles. The ‘signs’ interlinked as a visual concept:
“DANGER: Men at Work with Missiles” [21st to 24th June 2025] by Matt The Unfathomable Artist, acrylic on A3 (42cm x 30cm) gesso primed 5mm wooden board, 5000 x 3725 pixels.
A sign-language visual painting: bold perimeter gold ridges define a two-part emblem that reads as industrial icon + ordnance bracket. Internal strokes (red/orange, turquoise, ochre, black) ride a white ground, all set against a matt green field.
Thirty seconds to comply. Sounds fair.
The palette and edging are engineered to feel like a warning placard lifted into relief.
From Study to Painting (alterations)
One of six study drawings made quickly on lined Notepad paper.
Study drawing (notepad, lined): angular A-like left mass + jigsaw-like leg; arm-bar stretching upwards (highest pencil shape), stylised facial totem nested in the body; linear hatching; a circular peg-coil (the original head with its adjacent arm); missile at this point is the intended triangular head looking up towards ‘m‘!
A3 painting: the facial totem becomes a mosaic of micro-strokes; the arm-bar is retained as a rightward cantilever (or left), softened by curved infill; all outer lines become raised gold fields; hatching converts to channels of colour; the lined-paper constraint dissolves into a continuous awesomely beautiful green plane.
Net effect: the sketch’s diagrammatic figure becomes a sign-object—legible from distance, intricately textured up close.
Hardwork is in the details.
Practice unseen. A life unfathomable.
Different.. communicated for you, by me. Honestly. I love.. places (compute the analogy, derive the connection, distance the meaning).
Use of Canvas Space
Scale shift: notepad lines → A3 board. The jump in size allows thicker ridges and deep impasto, turning flat signage into tactile relief.
Field control: the gold perimeter acts as containment; interior gold seams partition silver ground into cells, preventing chromatic dispersion. Soldering iron is a fusible metal alloy.. interlink NAWT, in wordplay. Please tell me you like my eccentric brain.
Background: uninterrupted green creates a civic-utility register (worksite, military range, municipal warning).
Visual Reading
Left mass: triangular engine/gantry—work zone, man-human-power, structure, a literal symbolic missile.
Arm-bar: launcher lever —missile semantics without literal depiction.
Internal script: curved strokes function as a traffic of signals—command streams, siren paths(?), evacuation arrows(?).. symbology as yet understood.
Black vectors: fault lines(?) / blast trajectories(?).
Turquoise and orange: emergency contrast pairs (sea/sky vs. heat/hazard).
Gold ridges: authority, hardware, state apparatus; also separation-field technology. Perhaps.
Symbology & Signs
This work visualises the Estate’s sign lexicon: simplified shapes that communicate under stress. The artwork pairs with “Ye Mud, Ye Mud” (hummingbird + sign). The hummingbird = life, agility, energy; the missile sign = threat, projection, interruption. Together they outline a grammar: warning vs renewal. The common element is the sign-board frame—public language.
War News & Civilian Anxiety
Headlines about strikes and air defenses have migrated into daily cognition as icon flashes. The brain processes shapes: triangles, bars, chevrons. This painting uses that compression. Acknowledging the worksite metaphor—“men at work”—dissecting work with missile labour: logistics, manufacture, targeting, interception. The result is an ambient alert: the feeling of operating under siren logic while still trying to build.
Micro-signature & Detail
Includes a rare micro “m” (embedded within the paint architecture), consistent with discreet practice. Relief height slightly varies across the perimeter; interior gold seams are intentionally irregular to keep the sign hand-made.
‘m’ detail within “DANGER: Men at Work with Missiles”
“Easel #1” [2nd to 5th August 2025] by Matt The Unfathomable Artist, acrylic on A3 (12 in x 16 in) gesso primed 5mm wooden board, 2400 x 1789 pixels.
Easel #1 began as a conversation between colours, a raw outpouring of emotion and energy. A multitude of individual dabs of paint — ochre, turquoise, crimson, gold, silver — jostle for position like a crowd of competing thoughts.
Each daub is a distinct texture, a fragment of intuition. This is the foundation: the beautiful, untamed wilderness of the subconscious.
A highly painterly work, crafted with deliberate precision and sought-after intent.
I invite you into its layers. Wander along the meandering paths. What do you see in the noise? A cosmic nebula? A forest floor teeming with life? A satellite city glowing at night?
The work carries the energy of nature seen up close: the shimmer of moss and earth, the shifting tones of autumn leaves, the microscopic geometry of cells branching into unseen directions. Yet it remains entirely abstract — a landscape of the mind, painted directly from impulse.
At first glance, it’s a frenzy of colour and depth. Production, though, is not merely random. A search for pathways. Ideas.
My painting invites multiple readings: a forest after rain, a nebula in spring or the cartography of thought crystallising. Each interpretation is an opinion of self.
Threading across the surface is a network of deep umber lines. Roots, veins, neural circuits — maps of thought itself. A weaving structure through impulse, linking hundreds of discoveries into a unified whole.
At least, this is my interpretation..
For those having missed my Instagram post for this painting, here is the writing I published:
“Five distinct drafts, the last of these the defining idea, a then-realised originating inspiration. Canvas held in hand throughout my fifth draft.
A painting symbolically the notes of your voice, potential, your personal ability, to produce your own harmonic sound of melody in life.
Easel #1 presents a dynamic composition where rich, painterly textures and a profusion of colour evoke a visual topography that shifts between natural and imagined forms.
The painting is structured by a network of interlaced, vein-like umber lines that organically traverse the surface, echoing neural pathways. These darker linear forms separate swathes of vibrant, impasto daubs in cadmium-orange, yellow-ochre, cadmium-yellow, ultramarine, turquoise, gold and titanium-white—each practical dab contributing to a dense, fractal rhythm.
The central area of the canvas suggests a focal illumination or zone of heightened chromatic complexity. Silvery whites-creams emerge from the surrounding matrix. A compositional strategy draws the eye inward while retaining the all-over balance of action painting.
Easel #1 places itself within post-impressionistic abstraction, perhaps informed by Pollock’s non-linear gesturalism, textural buildup and discrete pigment groupings. The work may also be interpreted as poetic cartography—biological and/or terrestrial in implication—suggesting an unfixed terrain of consciousness or memory.”
“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.
“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.]
The Unfathomable Artist 