“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.

‘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.

type: The Unfathomable… Artist – Electronic Version

‘type: The Unfathomable… Artist – Electronic Version’ [18th August 2020] – by Matt The Unfathomable Artist, dip nib pen using original iron gall ink recipe on A3 [180 gsm] Artist’s paper.

‘type: The Unfathomable… Artist – Electronic Version‘ is Basquiat inspired.

I would like to quote my own personal commentary regarding this new iron gall ink piece:

“Intellectually i’m really happy with this artwork. Only after did i think, ‘that’s why i put the jagged lines in‘ This is my first Basquiat style piece and i can honestly write i had no prior notions to make it a Basquiat in style until it happened 🎨❤” [bold italics added for emphasis].

The jagged lines top and bottom were added on the 14th August 2020 after I’d finished the central/vertical calligraphy.  Initially without the ‘black block ink and multiple lines’ you can see in the artwork photograph above – completed through impromptu ink work.

I literally didn’t know how to proceed with this artwork from thereon.  Actually thinking I might leave it as it was, adrift of any further inspiration or ideas.

After drying the piece for a few days I began spontaneously researching electronic circuit board diagrams with avid interest.  I’m familiar, decades past, with circuit diagrams through my Dad’s former occupation as a photocopier engineer and his [second generation] electronics expertise.

Electronic magazines featuring television and Hi-Fi circuitry, repair and assembly scattered all over the house.  Diagrams with capacitors, LED’s, transistors, LCD’s, transformers etc.  Viewing circuit diagrams is always a memorable and pleasant experience to me.  I laughed when I saw a multimeter photograph yesterday.  My Dad carried one of those around with him quite often.

For me, this artwork is a connection to the ancient and modern past, encapsulated with new hope for the future.

I’d like to share with you the electronic circuit diagram symbols used in my artwork including their relative placements:

fuse [rectangular box with zigzag lines – begins diagonally underneath the word ‘type’];

Anode/Cathode Solar cell Photodiode [line into circle with inner triangle-vertical-line and two ascending diagonally right-to-left down-pointing arrows – underneath the grammatical colon and letter ‘T’];

battery multi-cell [horizontal line with vertical line, vertical single dash line, vertical single dash line longer, vertical line with horizontal line – underneath the space between the words ‘The’ and ‘Unfathomable’];

dome light [horizontally represented domed light bulb with heart light element – underneath letters ‘n, f, a, t, h’];

tri-phase protective and neutral conductor [single line with ‘triple diagonal line’ ‘diagonal line with T line’ and ‘diagonal line with black dotted circle’ intersections – underneath letters ‘m, a, b, l, e . .];

solder bridge [two adjacent lines above-below with two split circles representing the solders – underneath the word ‘type’];

balanced terminals [two adjacent lines with two open circles – underneath and between the words ‘type’ and ‘The’];

electromagnetic shielding [large rectangle, shaped by line dashes – surrounding the word Artist];

constant current source or general transformer or obscured oscillator [line with filled black circle] and also [line with black circle with imperfect unfilled circle overlapping directly below – underneath letters ‘l, e’ ] – please note this latter symbol also has an unknown electronic meaning.

Reasoning is viewer-dependent, wherever conceptual plurality applies to positive and negative space.

Triple Seismic Waves with Oscillation #1

‘Triple Seismic Waves with Oscillation #1’ [July 2020] by Matt The Unfathomable Artist, dip nib ink pen on A3 180gsm paper.

Spontaneously sharing my latest dip nib ink pen artwork using iron gall ink entitled ‘Triple Seismic Waves with Oscillation #1’.

Electronic oscillation produces pleasing visual effects.  This artwork seeks to replicate the idea in drawing form using my free hand technique for the curved lines.  I love scientific art.  Curves, electronics, seismographs, oscillators, earthquakes, sound waves, along with the beauty of artistic courses.

For this artwork I use a nib that creates a double ink line due to the noticeably distant ‘tines’ of the metallic nib.  The flow of ink is important with dip nibs where one is wishing to produce a continuous line across a ‘decent measure of time’ once upon the paper.

The effect of oscillation can been seen vertically in this artwork.

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/

+++++++++++++++++++++++++++++++++++++++++++++++++

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

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:

‘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.

‘My Springboks, My Springboks’

‘My Springboks, My Springboks’ [Digital Artwork, 21st August 2019] by Matt The Unfathomable Artist, 4096 x 2160 pixels.

‘My Springboks, My Springboks’ [Digital Artwork, 21st August 2019] by Matt The Unfathomable Artist, 4096 x 2160 pixels.

I am for nurturing planet Earth like I am for ‘My Springboks, My Springboks’.

The ‘Me Want, We Want’ poem

‘Me Want, We Want’ [4th/7th June 2019, version two] by Matt The Unfathomable Artist, blue ink pen on A3 light textured paper.

Poem by Matt The Unfathomable Artist entitled ‘Me Want, We Want’:

‘Me Want, We Want’ [19th March 2020, digital version in Elephant font] by Matt The Unfathomable Artist.

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‘Me Want, We Want’ [4th/7th June 2019, version one] by Matt The Unfathomable Artist, blue ink pen on A3 light textured paper.

Inspired by a safari photo taken of wildebeest in the Masai Mara by a friend who lives in South Africa.  The photograph was published online 4th June 2019.

Upon viewing the photo I created the first draft of my new original poem.  Completing the poem’s compositional structure within the first of two versions we now see here on the 7th June 2019.

In version two I feel I’ve encapsulated the idea of conservationist urgency.  A free flowing style of writing.

‘Me Want, We Want’ is intended pragmatically.  Decorum.  Constructive.  My interest particularly is to represent the voice of children, younger people, in writing form.  To appeal to children through my poem in sharing ecological ideas in a way that is easily readable to young art enthusiasts.

To speak about the Earth.  How the animals feel.  How we feel regarding habitat destruction, negative climate change and environmental pollution.

Clearly children and younger people generally feel strongly about what is happening with climate change in this world they’re growing up within.

It’s their world too.

Their now and their future.

Inspiring younger people positively is one of the greatest gifts in making art.