Hayfield Oak Leaves #4

“Hayfield Oak Leaves – Original” [12th August 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B and 8B, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 2642 x 3116 pixels.

Following on from my previous series “Cluster of Oak Leaves” [CLICK link to see}, my new work entitled “Hayfield Oak Leaves – Original”, shown immediately above, is a digital Edition from a different pencil canvas composition than my ‘Cluster of Oak Leaves’ version.

The “Hayfield Oak Leaves” series you see on this blog page is produced from a photograph dated 1948hrs 3rd August 2022.

The photograph is from the same young Oak tree, yet different leaves. Additionally these latter series of works are in ‘Portrait’ rather than ‘Landscape’ as viewed on the canvas and photograph.

“Hayfield Oak Leaves – Green” [12th August 2022] by Matt The Unfathomable Artist, original drawing with H, HB, 4B and 8B, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 2642 x 3116 pixels.

“Hayfield Oak Leaves – Green” [12th August 2022], shown immediately above, is a digital Edition of my original pencil canvas version, in Green.

“Hayfield Oak Leaves – Mirrored” [12th August 2022] by Matt The Unfathomable Artist, original drawing with H, HB, 4B and 8B, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 2642 x 3116 pixels.

“Hayfield Oak Leaves – Mirrored” [12th August 2022] is a Mirrored digital Edition of my original pencil canvas artwork. The Original is shown at the top of this article.

‘Mirrored’ makes known the importance of conservation and reversal of manmade-climate-change/environmental-destruction for humanitarian reasons.

My favourite detail is the large leaf above my signature. In all three compositions this resembles a chameleon. This is pure chance. I did intentionally choose not to add further detail to this particular leaf, just because I liked it that way.

In ‘Mirrored’ this same leaf appears as four chameleons. For me I see moose, elephants, teddy bears and flying squirrels in ‘Mirrored’. All pure chance.

My artwork also has spiritual value. ‘Mirrored’ [unknowingly by me] is similar to slave-like symbology I have seen from the early 20th century. Signs used to help black Americans in the early 1900’s.

Therefore, to me, my artwork is directing us as human beings. Through nature itself – nature as a slave to mankind’s custodianship of Earth, to kindly provide it with safe passage from environmentally harsh human activities.

Here is the original photograph:

“Hayfield Oak Leaves – Photograph – unedited” [1948hrs 3rd August 2022] by Matt The Unfathomable Artist.

I loved this composition upon composing the arrangement within my camera. I knew I needed to sketch this. “Hayfield Oak Leaves – Original” is produced within one hour. These pieces are personally exploratory, experimentation with the ‘idea of oak leaves’ in an Impressionist style.

In my works I hope to provide layers of my thought streams with you.

Please enjoy.

Lavenders

“Lavenders” [7^th August 2022] by Matt The Unfathomable Artist, drawing with HB, 4B and 8B pencils, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3178 x 2694 pixels.

I made “Lavenders” within 50 minutes. Keeping the composition and drawing simple, yet beautiful on the canvas.

If you look very closely at the detail with a magnifying glass or zoom in on the artwork with a computer or smartphone, the pencil work looks superfine. I didn’t wish to add further detail to “Lavenders”. Primarily as the idea replicates dried flowers and plants pressings you see stored in horticultural books.

A dried pressings effect is exactly the way I wanted this artwork to look, having recently viewed same on social media.

Here is the photograph providing the inspiration:

“Lavenders – Photograph” [1st August 2022] by Matt The Unfathomable Artist.

The photograph is wonderful.

Another conceptualisation I like about “Lavenders” is this artwork could be wheat. Wheat, barley and maize, oh how I love these crops! Completely fascinated by their beauty and taste as a food. In likeness to how people delight at the scent of lavender.

If someone asked me to describe “Lavenders” in one word, I would say… delicious.

Hayfield Meadow in Summer

“Hayfield Meadow in Summer” [29th July 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B, charcoal stick and white paint-pen, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3215 x 2802 pixels.

I made “Hayfield Meadow in Summer” [29th July 2022] in approximately 50 minutes from start to finish.

Here is the photograph providing inspiration for my sketch:

“Hayfield Meadow in Summer – Photograph” [1218hrs, 6th July 2022] by Matt The Unfathomable Artist.

You can see the long grasses in the photograph (shown above) covering the lower-half of the composition. This is true of my sketch. Furthermore, I used ‘spatial-definition’ as a specific style, an artistic representation within “Hayfield Meadow in Summer” and in some of my other pencil works too.

Spatial-definition is wherever <blank canvas space> or <background monochrome> is used to purposely differentiate and/or amplify imagery within a composition.  For instance, this might be the sky shown as a blank void; or blank canvas space between grasses.

Would you like to know my favourite details within “Hayfield Meadow in Summer”?

In no particular order:

• I love the breezy looking grasses,
• the way the tall foremost mid-left grasses lean towards each other, almost in harmonious reverence either side of the ‘Y’ shadow shape, and,
• the dot-and-dash like leaves and bushes arrangements in the farground.

You know, I kind of feel this artwork is nothing yet everything. Not many individual objects, except for the tall grasses, have any real structure for being something specific. Yet, we look at the artwork and create a sense of what the landscape should look like.

Almost like a landscape we want it to be.

You can see ‘spatial-definition’ to a greater or lesser extent in the following works by me: “The Observant Squirrel”, “Second Mount Foremost Pathway“, “Rusted Cart of the Nature Reserve”, “Curved Tree at Wren’s Nest Pond – original”, “James I IV Oak – Autumn Landscape”, “Evening at Hay Meadow – Original”, “Cluster of Oak Leaves in Hayfield Meadow – third version”, “Entrance to Wildflower Meadow”, “James IV & I Oak of Meadows Midst” and “Hayfield Meadow in Summer” (shown in image).

Hope you enjoy.

Cluster of Oak Leaves

“Cluster of Oak Leaves in Hayfield Meadow – third version” [26th July 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B and charcoal stick, signed in black ink pen with blue chromatic halo effect on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3261 x 2812 pixels.

Sometimes I sit underneath this young Oak tree for shade from the midsummer sun. Third version took me approximately one and a half hours to produce.

I am very happy with this third version. First version, unsigned, second draft, is a Digital Artwork. In terms of quality I would be glad to include this as a Limited Edition print.

A new poem inspired from these Cluster Oak Leaf artworks:

“Bind yourself to the Twig,
Breathe your roots to the Fig,
Cluster Leaves to the Vine,
Sing your Way, sublime.

Dance your life to Peace,
Let beration cease,
Liberate wheated sheaf,
Happily half to Meet.

Tune your heart,
To Waterfalls beat,
Find the Love you seek,
Whence good you shall keep.”

– by Matt The Unfathomable Artist – Copyright © 26th July 2022.

“Cluster of Oak Leaves in Hayfield Meadow – first version – Digital Artwork Edition only” [20th July 2022] by Matt The Unfathomable Artist, digital Artwork image 3154 x 2745 pixels.

I really like “Cluster of Oak Leaves in Hayfield Meadow – first version – Digital Artwork Edition only” [20th July 2022] and would happily make limited print editions. Personally I believe, should I ever do so, official authenticated Print Editions of First Version will become as valuable as the canvas Third Version..

.. by reason that my First Version is irreparably damaged. The first and second versions are both canvas, unsigned partly-incomplete works. However, I would personally sign the First Version Limited Print Editions.

The second version is a quick study only, I was not happy with its proportion:

“Cluster of Oak Leaves – unfinished, second study” [25th July 2022] by Matt The Unfathomable Artist, digital image 3204 x 2730 pixels.

FInally, here is the original photograph for this series of artworks/studies:

“Cluster of Oak Leaves in Hayfield Meadow – Original Photograph” [1940hrs, 4th July 2022] by Matt The Unfathomable Artist.

For photographers viewing this image – F1.9 1/313s 3.60mm ISO 40 from my smartphone camera. Nice depth of field, with wonderful macro detail.

Interestingly, I made the ‘lower stalk’ part of the composition for the third version (below the leaves, mid-lowest centre in the photographic image). In fact, the two foremost lowest leaves you see are actually at the very end of its branch. The branch itself is at the mid-upper-centre of the image, vertically represented.

To my knowledge this is a young Quercas Robur [English Oak], approximately some twelve to fifteen feet tall. Its tree trunk is not even to that of a mature elephant, I should say. Quite in contrast to its mighty James I IV Oak in nearby field proximity, link to photographs of the latter, larger Oak here Conservation – Local Nature Reserve.

Cloud Bloom

“Cloud Bloom” [15th July 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B and charcoal stick, signed in white paint pen on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3086 x 2657 pixels.

“Cloud Bloom” is a subtle canvas cloudscape using pencils and charcoal stick. Inspired by Van Gogh’s “The Starry Night” I made use of yellow and blue tones to create a ‘3D’ swirling night sky.

Magenta appeared naturally whilst making the clouds, adding depth to the troposphere. This occurred through my art process, blending the yellow, blue and pencils work together.

The clouds performed a show for us with “Cloud Bloom”. I chose the title to highlight the destructive effects of manmade climate change.

Here is the original photograph for “Cloud Bloom”:

“Cloud Bloom – Photograph” [2111hrs, 15th July 2022] by Matt The Unfathomable Artist.

As you will see from the time I photographed this image [2111hrs], I made this canvas artwork, literally, whilst day became night, late evening. The cloud arrangement is truly theatrical.

On the canvas “Cloud Bloom” is magnificent. One of those pieces you want to sit there and view from a comfortable sofa chair.

I thought I would also make two different versions for lovers of my blog to enjoy.

Here is the Collage version:

“Cloud Bloom – Collage” [18^th July 2022] by Matt The Unfathomable Artist, 300dpi, 3133 x 2114 pixels.

“Cloud Bloom – Collage” is made of twenty images, alternating between one colour and one black/white digital photograph, 300dpi, 3133 x 2114 pixels in image.

“Cloud Bloom – Collage” is a Pop Art Landscape piece in Warhol modernist style. This piece follows a tradition I have with, at the very least, my oil paintings. A distinctive feature either purposed or by pure chance, known to those that study my works greatest.

Where would “Collage” be without the full Black/White edition?

Here is “Cloud Bloom – Black & White”:

“Cloud Bloom – Black & White” [18^th July 2022] by Matt The Unfathomable Artist, digitally edited image 3086 x 2657 pixels.

I really love this version equally as much as the other digital/print editions.

“Cloud Bloom – Black & White” is a digital/print version from the original colour artwork.  My ‘Black & White’ edition is one officially authenticated digital edition and a set of three individual print versions only.

I carefully balanced the shadows to create a uniquely dramatic version.

On the day I first published these photographs online [18th July), Europe and the UK experienced cataclysmic manmade weather. A large-scale heatwave exceeded 35 degrees Celsius in many areas.

Wildfires have ravaged thousands upon thousands of hectares of land in many countries, such as France, Greece, Portugal and Spain – https://www.bbc.co.uk/news/world-europe-62210116

I feel my artworks in this blog article draw attention to the blight of our climate through a persistently unsustainable ecological mechanotide.

“Mechanotide” – any human activity involving machinery whereby its usage grossly damages a habitat, the environment, climate, other biological systems and/or organisms. In a commercial sense “mechanotide” is usually wanton, sustained and destructive actions prior to appropriate, properly enforced legislation and countermeasures to reverse their damaging effects.

For instance, we could include some cryptocurrencies technological resources methodology (excessive, unnecessary electricity grid usage), certain fracking techniques (earthquakes) and as yet unmitigated heavy use of transportational fossil fuels (air pollution) in towns and cities as examples of modern “mechanotide”.

I do hope you love my artworks.

Evening at Hay Meadow

“Evening at Hay Meadow – Original” [13th July 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B, charcoal (m) pencil and charcoal stick, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3282 x 2807 pixels.

“Evening at Hay Meadow – Original” (shown above) took me around one hour in two sessions. The first session of approximately 35 minutes was made whilst sitting by the metal gate in Hay Meadow.

Literally viewing the composition you see in this sketch.

I took a photograph to continue working on a second draft session later that evening. Using charcoal stick, HB and medium charcoal pencils for around 25 minutes.

Upon completing the canvas artwork that late evening, I am very happy with this work. The differentiation between light and dark tones, just as the sound and silence intervals in music, makes for a very pleasing composition here.

“Evening at Hay Meadow – Sepia” [14th July 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B, charcoal (m) pencils and charcoal stick, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3282 x 2807 pixels.

‘Sepia’ (shown above) represents ye olde days prior to the modern Industrial Age (1760 onwards) when all global [agricultural] land was largely unpolluted, vigorous and pure. 

“Evening at Hay Meadow – Sunshine” [14th July 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B, charcoal (m) pencils and charcoal stick, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3282 x 2807 pixels.

For this ‘Sunshine’ artwork (shown above) I digitally added the Sun and sunflare you see beautifully radiant hovering over the treeline.
Viewing my ‘Sunshine’ version we can see the idea for the passing of time, interconnective to the Sepia style of photography.

Astronomers write that it takes over eight minutes for the light from our nearest star, the Sun, to reach Earth.

Therefore could we say there is a certain nostalgia to the hue we see representing time?

Look at how colour influences our perception of age. From sepia colours in photographs, to the aged reddish-rust we see upon once silvery shining metals.

“Evening at Hay Meadow – Green” [14th July 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B, charcoal (m) pencils and charcoal stick, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3282 x 2807 pixels.

‘Green’ (shown above) represents the colour of grasses and leaves attractively highlighting the beauty of nature in this artwork.

I really love every one of these new artworks. The clouds are understated yet substantive. There are three layers of darker tones, lower, mid and mid-upper in my composition. We see vagueness afar, whilst definition is somewhat clearer in the nearer foreground grass stalks. Although even with the latter I have tried to produce movement, as if the tall grasses are swaying.

I visually measured the grasses surrounding me in the field, that very evening. Certainly over four feet in least trodden areas nearer the ‘Ridge Willow’ fence, even nearing five feet tall!

“Where rabbits and insects are my friends”.

“Evening at Hay Meadow – Collage” [cropped – 14th July 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B, charcoal (m) pencils and charcoal stick, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3264 x 3264 pixels.

For my ‘Collage’ artwork (shown above) I brought together ‘Original’, ‘Sepia’, ‘Green’ and ‘Sunshine’ into a slightly cropped collage of nine photographs. Visually repeating the artworks in Warhol style for dramatic artistic effect.

Please note my ‘Sepia’, ‘Sunshine’, ‘Green’ and ‘Collage’ artworks are all individual digital artworks. “Evening at Hay Meadow – Original” is a sketched canvas artwork, and a digital artwork too.

For those interested here is the photographic composition by myself from where my “Evening at Hay Meadow” series of artworks has derived:

“Evening at Hay Meadow – Photograph” [2010hrs, 13th July 2022 – unedited digital] by Matt The Unfathomable Artist.

This lovely photograph is taken whilst sitting directly in front of the metal gate adjoining Wren’s Nest Pond.

Hope you enjoy.

Geese and Ducks in Moonlight

“Geese and Ducks in Moonlight” [25th/28th June 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B and charcoal (h) pencils, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3297 x 2807 pixels.

“Geese and Ducks in Moonlight” took me thirty-five minutes from start to finish.

First drawing session within ten minutes for the water on the 25th. Second session for the geese and ducks with a few adjustments to the water in twenty-five minutes.

Here is my photograph providing the inspiration for this drawing:

“Geese and Ducks in Moonlight – Photograph” [21st June 2022] by Matt The Unfathomable Artist.

As you can see, I made artistic choices with the geese I chose to draw. For the purpose of imagination, I entitled this ‘geese and ducks’ for the viewer to decide the waterfowl they envisage in the sketch.

I feel this artwork strongly resonates peace and calm.

Hope you enjoy this.

James I IV Oak – Autumn Landscape

“James I IV Oak – Autumn Landscape” [27^th June 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B and charcoal (h) (m) pencils, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3395 x 2874 pixels.

I took three photographs on 15^th November 2021. Two photos of the James I IV Oak, and one overhead shot of a beautiful wild mushroom growing in the meadow amongst the green grass.

At 1247hrs of that day the photographic composition for the original sketch you see immediately above was produced. This is my favourite of the two Oak photographs for that Autumn day.

“The Oaken King, verily standing, arrayed in Autumnal finery, imposing amidst the treeline, magnificent, powerfully watchful.”

The “James I IV Oak – Autumn Landscape” took me within forty-seven minutes from start to finish.

Here is the original photographic composition inspiration for my sketch:

“James I IV Oak Autumn Landscape – Photograph” [1247hrs, 15th November 2021] by Matt The Unfathomable Artist.

Upon completing my sketchy style drawing, I was quite surprised at how the minutes had speedily flown by. I used a stopwatch to note the time elapsed for this artworking. 47th minute for the photograph, 47 minutes to finish the sketch.

Quaint, for an Oak tree that has lived since 1612.

Leafy Hollow

“Leafy Hollow” [25^th June 2022] by Matt The Unfathomable Artist, drawing with H, HB, 4B, 8B and charcoal (h) (m) pencils, signed in black ink on 280gsm 250mm x 300mm gesso primed canvas [pad], digitally edited image 3148 x 2704 pixels.

As I walked the steps at the entrance to the rope plateau, as I shall call this, I took a photograph pointing downwards.  This revealed the micro-vista you see here in my sketch above.

“Leafy Hollow” took me within thirty-five minutes from start to finish.

The photograph itself was taken on 12^th May of this year 2022, specifically for the purpose of creating an original sketch. 

Here is the photograph:

“Leafy Hollow – photograph” [12th May 2022] by Matt The Unfathomable Artist.

“Sunlight beamed through the hollow, legs of iron nearby strong.”

Please enjoy my artworks.

Galaxies Reverberation #7 #8 and #9

“Galaxies Reverberation #7” [30th May 2022] by Matt The Unfathomable Artist, drawing in H , HB, 4B and 8B pencils with charcoal (s) (h) pencils for contrasted detailing, signed in black ink on A3 250g/m² mixed media paper, digitally edited artwork image  3648 x 2606 pixels.

These artworks are Galaxies drawings, including galactic reverberation 📢.  The above piece features accentuated charcoal galaxial maelstrom-eyes with multi-diverse solar winds.

“Galaxies Reverberation #8” [30th May 2022] by Matt The Unfathomable Artist, drawing in H , HB, 4B and 8B pencils with charcoal (s) (h) pencils & sticks for contrasted detailing, including ‘da Vinci’ overdrawn geometric lines in (H) (HB) pencils, signed in black ink on A3 250g/m² mixed media paper, digitally edited artwork image  3614 x 2622 pixels.

This piece immediately above features accentuated charcoal galaxial wormholes with non-time-dilation.

“Galaxies Reverberation #9” [15th June 2022] by Matt The Unfathomable Artist, drawing in H, HB, 4B and 8B pencils (including HB accelerated overdrawing) with charcoals (s) (h) for contrast detailing, signed in black ink on A3 250g/m² mixed media paper, digitally edited artwork image  3736 x 2657 pixels.

The piece shown immediately above features accentuated charcoal audio-galaxial resonations with output harmonics.