“The Fathomable Scream” [16th/18th May 2024] by Matt The Unfathomable Artist, acrylic paint on A4 250g mixed media paper, 4000 x 3000 pixels, with fabric background as photographed.
This piece is inadvertently inspired by Edvard Munch entitled “The Fathomable Scream” and made of approximately three drafts on two separate days with around three hours working. Beginning the work on lightly prepainted paper.
Here is the slightly premarked paper immediately below (11th May) to give you an idea of how the artworking area looked before I began:
The Fathomable Scream random premarked paint on paper 11th May 2024.
Minimal.
You can see entirely random palette marks made, immediately above, whilst working on another paper canvas. The premarked paper is unintended scrapes of my palette knife whilst I worked on “Cavernous Red Blue Abyss”.
Here is the first intended draft:
“GG” first draft, 0110hrs 16th May 2024, 45 minutes 03 seconds with iron gall ink writing in the underpainting.
In the first draft entitled “GG” we see the words ‘disguise’ and ‘covert’ in iron gall ink. The GG stood for good game, inspiration from an online Youtube video. I had no thought whatsoever to make the ‘GG’ into eyes, face and mouth as yet. Nor any idea regarding a Munch scream inspiration until the lower-right face formed.
Of the two faces to the right.. the lower-right face was first. Completely random in any likeness. HONESTLY. The paint was placed directly onto the paper. I used the palette to make face shapes. The mouth reminded me of a popular Oscar winning animation. However its sense of sadness, horror or anxiety appealed to me within the ideas of a developing artwork theme.
If you had observed how very randomly I moved the paint for the lower-right face over and over you would appreciate how odd it was to me when the chance likeness of someone famous appeared. Again.
From this I then thought of tragedies and musicians.. like Kurt Cobain, hence the blonde hair idea. Afterwards (days afterwards) I realised this artistic idea had another direct significance to ‘the likeness’ face!
By this time the top-right face could represent John Lennon, or anyone the viewer chose in the context of tragedy.
——-
It is good to note for the second draft I watched television at the time of painting the evening of 18th May. Usually I art work in quiet as I’m a very focused person. Although if I write songs I am often listening to music.
A particular sports commentary to know their general opinions.
The hair for the large left face is pure chance in that I never intended to actually paint hair! I thought of Andy Warhol by the time I made divers goggles around the eyes. It was also here I loved the way the unintended hair looked. I literally wanted a nice background as I paletted gold paint onto the canvas.
“The Fathomable Scream” [16th/18th May 2024] became an immediately recognisable, creative and unique Unfathomable Artist work.
Here it is to show the painting only:
“The Fathomable Scream” [16th/18th May 2024] by Matt The Unfathomable Artist, acrylic paint on A4 250g mixed media paper, 4000 x 3000 pixels.
“Face with Gold Mouth” [3rd May 2024, photographed at 2207hrs] by Matt The Unfathomable Artist, charcoal drawing & acrylic paint on A4 250g mixed media paper, 3761 x 5464 pixels.
Let’s start with my social media quotation:
“Face with Gold Mouth” began as charcoal lines in mostly abstract forms. Shapes primarily. The drawing took me about 20 minutes.
I photographed the drawing at 2101hrs immediately, deciding what to do next.
The entire acrylic painting was then finished in an incredible one hour fourteen seconds, timed. I quickly started photographing. The image you see here is from a photograph I selected at 2207hrs, the paint still gleaming wet.
I do feel it is a very unique artwork for one hour fourteen seconds of painting.”
Picasso and Van Gogh are my main influences here.
The ivory black paint around the outer area I kept very accurate to the drawing. There is no brushwork whatsoever. I decided to improvise with the actual painting. Only restoring the idea for eyes, mouth and nose ‘later‘ in my working.
later within the hour of course.
The dachshund shape is complete chance. This delighted me immediately after making the drawing. I knew I needed to retain this in the painting. With wet paint heavy on the paper I quickly referred to my photograph of the drawing to place the eyes and nose, stylistically.
I noted the triangular area looked wonderful for the mouth. So much fun to produce. Likewise the ivory black area, the etched lines my own Van Gogh emulation seen in a number of sketches (with pencils and/or ink) I’ve produced of trees.
After completing the piece I originally envisaged the title “Face with Dog Tree”! However two reasons I decided upon “Face with Gold Mouth”.
Firstly, my mother specifically commented ‘it has a gold mouth’. Also, I thought it would be interesting for viewers to see the idea of a dachshund/dog for themselves. Particularly as this element was unplanned.
The ‘mouth teeth‘ at the top is the original charcoal from the drawing. It was pure spontaneity. Immediately it reminded me of a music industry friend.
You can even see a charcoal line did not get overpainted on the head above the eyes too.
Here is the charcoal drawing:
“Charcoal Drawing for Face with Gold Mouth” [3rd May 2024, photographed at 2101hrs] by Matt The Unfathomable Artist, charcoal drawing on A4 250g mixed media paper, 4095 x 5841 pixels.
I never viewed this as a self portrait then or now. The abstract face was made without any thought to resemble or represent anyone in particular.
Some days later reading the earliest introduction of this [portrait] person’s life.. I knew it would be ridiculous for me to pretend this painting could be of any other person.
It’s strange a randomly made abstract-like painting could become a certain, unique human being. Unique enough for others to intellectualise.
By the way, I thought you might like to see the timer for this painting work:
Stopwatch timer photograph for “Face with Gold Mouth”.
“Cyan Palette Nebulae” [4th April 2024] by Matt The Unfathomable Artist, acrylic fine art painting on 24cm x 24cm canvas board, 4167 x 4174 pixels.
I made three miniature canvas artworks on the same draft evening session the 4th April. This cyan liquid paint drip and palette knife working is the second piece, completed in literal minutes.
Artistically placing liquid mixed dripped paint then very carefully applying my favourite palette knife.
As with “Yellow Gold Rectangular Masterpiece” this artwork “Cyan Palette Nebulae” just happened to present beautifully upon the canvas to my exquisite delight.
I do not think there is a painting I ever made with so few palette knife motions. “I love this painting’s complex simplicity“
Then some days later whilst viewing this artwork on display I noticed an almost ‘alien-like woman’, herself appearing to view the extraordinary.
If this is difficult to fathom.. there is also a believable lion’s face in my “Cyan Palette Nebulae”. Definitely extraordinary for an artwork taking me not twenty minutes or thereabouts with completely random paint drips and quick palette work on the wet canvas.
The ‘lion’s mane‘ of the nebulae took the longest. Please appreciate I constructed this piece as a 100% abstract. I had no objects, faces or people in mind whatsoever. Not even nebulae! I only named this piece afterwards for how I believed it could reasonably be titled.
As a nebulae.
It was days after seeing the ‘alien-like woman’ I then incomprehensibly discovered the ‘lion’s face‘ with a robot-like eye.
Its left eye (as we view the piece), nose, jaw, mouth and mane now recognisable to a viewer.
The strangest thing about these now discernible phenomena is knowing I had not planned, envisaged or conceived of any such idea whilst painting! Honestly. True.
It is definitely unfathomable.
To give you an idea of my process. I dripped the thinnest, wettest paint first. A watery mixture from the same singular batch. The top liquidy layer from the petri dish-like glass container I mixed the paint in. As an artist making an abstract my focus was purely upon contrast. Lights, darks, interesting swirls for this piece.
I remember being very definite about this. Moving the palette until I was happy. I took perhaps no more than ten minutes for the first paint layer. Time goes Dali when painting, believe me. This is why I often stopwatch my sketches to be accurate with times for speed drawings over drafts.
Generally I do not time oils and acrylics. Although I have kept a look at my watch when starting acrylics very recently.
Anyway let’s explain the second heavier alla primatop layer where we now see the woman’s face and lion. It is here I literally made so few palette movements as to be near impossible in creating such masterful depictions.
How else am I supposed to write this?
If I tried to make these complex, beautiful depictions it would actually take me more time. The ‘woman’s eyes‘ were made in two palette motions entirely. At first I thought to myself ‘Gosh, that’s heavier than I intended’. Strangely though I decided not to rework those two palette lines [‘eyes‘] for a second time.
How glad I am about that!
Every element about the lion’s face is rather unexplainable.
“The nose of a lion, is the mouth of a woman“. An ancient riddle? The canvas 100% abstract in shapes to me whilst painting. For days afterwards too.
Contrasting, attractive. A nebulae.
Personally I feel this abstract piece is a pure chance masterpiece. I am pleased to write of the artwork in this way.
“Green Umber Gold Rectangular – Solar Landscape” [5th April 2024] by Matt The Unfathomable Artist, 100% Digital Artwork, 4695 x 3541 pixels.
I made two digital Editions of Green Umber. “Green Umber Gold Rectangular – Solar Landscape” shown above.
This particular Solarscape (as I term this type of digital work) is quite nebula-like. Always interests me how my brushstrokes and palette work converts attractively into a digital representation. From there I make finite adjustments to arrive at a unique piece.
Next, I have a Portrait Edition, fine tuned today:
“Green Umber Gold Rectangular – Monochrome Portrait” [18th April 2024] by Matt The Unfathomable Artist, 100% Digital Artwork, 2252 x 2987 pixels.
“Green Umber Gold Rectangular – Monochrome Portrait” bursts through with lightin a vertical edition, similar to the Original abstract painting itself.
Businesses use technology constantly to communicate directly to an audience.
The use of technology helps artists achieve much greater exposure to viewers than ever before. For me the creative elements within technology offers new scope for making art.
I do feel these two digitals are valid artworks in their own way. In my early digital experimentations I made some artworks in an explorative manner only, merely to share with you.
Pieces like these in this article would certainly look super printed and installed in any suitable setting.
I think I am saying some pieces are for online enjoyment and personal exploration. Whilst I feel most of my digital artworks are potential installation pieces.
I would love to create an art museum of my works for your enjoyment.
“RAW OME – Original” [16th April 2024] by Matt The Unfathomable Artist, Iron Gall Ink drawing on A4 250g mixed media paper, 4189 x 5814 pixels.
I made “RAW OME – Original” within approximately half an hour, completely spontaneously without any preconceived ideas. It should be noted this was done with a dip pen with a sharp flat metal nib.
Every line, rounded shape, written word and iconography required repetitive ink dipping to create the stark, clean workpersonship you see here. I use an original boutique made recipe in good reference to an oak gall ink by Giovambattista Palatino from the mid-1500’s.
In addition to the Original ink edition I made two digital versions ‘Silver Bullet’ and ‘Brimstone’ shown below which feature black backgrounds. These digital artwork titles play on menthinking of divine retribution to manmade problems, like manmade war.
“RAW OME” incorporated some of my Galaxies Reverberation symbology in its [subconscious] construction [G.R. #7 #8 & #9 featured]. nb see also Galaxies Reverberation #1 & #2 and Galaxies Reverberation #6 whose titles all reference <cause and effect> and <chaos theory>. ‘Chaos’ Theory in the way I understand this. That is to say an occurrence can, at certain times, be interconnected to another.
In this intellectual reasoning therefore both cause and effect and chaos theory have pertinence with my latest artwork, “RAW OME”.
Yes, this is 100% derived from topical international news. It is genuinely ‘completely spontaneously without any preconceived ideas’ in that I just drew lines and shapes. Becoming the news as I did so, now in my thoughts. After completion I myself realised the ‘squiggles with DEMOLITION’ area of the paper actually represented something specific!
Humanity.
This sliver of ink itself not conceived as an idea in any way whilst drawing, aside from the obvious connection to war generally.. demolition. An overt movie reference.
I leave no ambiguity with some things. RAW OME is quite simply ‘WAR MEMO’.
A diplomatic capacity.
Last night I looked up the word OME. I had no prior idea it was even an individually recognised word or words in any connotation or scientific meaning whatsoever. This formula to obscure word or words is entirely Basquiat inspired.
SAMO is merely a play on words only.. to sound–like ‘same old’.
Noxbuilds upon hierarchical mens inability to appreciate their wanton ruinous Earth-wrecking actions.
The aghast hands parody their critical analysis of the situation.
Other hierarchy must be evil. They cannot possibly believe how their enemies could react so co-equally recklessly also.
This artwork is not about good or righteous actions. It’s about recklessness. Recklessness sharpening missiles against recklessness.
Cause and effect.
A business in cunningly orchestrated war at the detriment of national debts, cost of living, your personal well-being, safety and security.
50 + 50 + 50 = DStM.
“RAW OME – Brimstone” [16th April 2024] by Matt The Unfathomable Artist, 100% Digital Artwork, 4189 x 5814 pixels.
As already mentioned “RAW OME – Brimstone” is all about the onerous thinking that God wants to eliminate co-competing nations or their peoples. Some or all of whose people will believe in God. Some of whose people will not.
That is free will.
“RAW OME – Silver Bullet” [16th April 2024] by Matt The Unfathomable Artist, 100% Digital Artwork, 4189 x 5814 pixels.
“RAW OME – Silver Bullet” leaves the option of simpler solutions to complex problems.
Of course, we do not live in a perfect world where everyone will chat nicely to solve bitter disagreements amicably with a cup of tea.
Unreasonableness is a problem.
Evil is a problem.
Without selfish unreasonableness the global manmade climate damage problem would be much further along its most timely reversal.
I wrote this impartially without prejudice for all people.
“Gold & Blue Abstract after Rothko” [April 2024] by Matt The Unfathomable Artist, acrylic fine art painting on 24cm x 18cm canvas board, 3534 x 4794 pixels.
Quotes #1 and #2:
#1 [ these two art made (*1a) tonight. the gold one was very difficult to make. i tonked it after the second (yet first) draft. then i made it (even more) perfect again. it was originally two squares. the blossom one was an instant joy over two drafts. both i shall gift. one i know to whom, for difficulty became joy. the other i am as yet not knowing to whom. ] – April 2024.
#2 [ The central two squares I am referring to looked like my digital artwork “Dusty Glass Greenhouse” [see next image for this artwork (*1b) yet in gold and yellow ochre. After I finished “Gold & Blue Abstract after Rothko” I knew I had made an artwork to be very happy with.
A strong happiness having achieved my first 100% Rothko style!
For those interested in my process I became immensely focused with every single palette knife movement, the canvas textures and uniformity of the entire piece.
Please note I have included the natural light cast upon the canvas at the time of photographing for you to enjoy the gallery experience of seeing a physical canvas. ] – 2nd April 2024.
(*1a) these two art made refers to “Gold & Blue Abstract after Rothko” and “Cherry Blossom Abstract after Rothko”.
“Gold & Blue Abstract after Rothko” exhibits a handsome man’s face in the manner of a Greek god (Apollo perhaps?) or even Christ! Pure chance, 100%. It is best at approximately 10 to 30 degrees left of the image, in my opinion, to see this in a specific lighting effect. Hence somehow not yet fully understanding why.. I managed to title this as a Rothko.. in style of course!
The beautiful face.
Some kind of abstract genius to the work.
It really is very beautiful with a strong nose in a stylistic representation you appreciate. Not until in Pagani-like viewing of this work did I notice on that evening with my reading lamp on. True.
The shadow in my photograph above casts a shadow upon the face itself. With the correct light whilst viewing it adds further detail to the face. Quite extraordinary.
If this is difficult to fathom.. there is also a believable lion’s face in my “Cyan Palette Nebulae” in addition to an ‘alien-like woman’ face. Yes, freakeh for a certainty with both artworks. The latter probably took me not twenty minutes with completely random paint drips and quick palette work on the wet canvas.
(*1b) by the way is one of my “Dusty Glass Greenhouse” digital artworks here:
“Dusty Glass Greenhouse – City 3D” [digital Art, 7th September 2023] by Matt The Unfathomable Artist, 100% digital artwork, 1920 x 1080 pixels.
For Variations of my “Dusty Glass Greenhouse” series works I have included these after the abstract acrylic paintings in this article, see further below. Please do click on images to see close-up details.
Next is abstract acrylic painting “Yellow Gold Rectangular Masterpiece”:
“Yellow Gold Rectangular Masterpiece” [4th April 2024] by Matt The Unfathomable Artist, acrylic fine art painting on 24cm x 18cm canvas board, 3000 x 4058 pixels.
Quote:
[ I made three miniature canvas artworks (*2) on the same draft evening session. This yellow gold work is the first piece, completed in minutes to be honest.
The second piece was also completed in minutes, whilst the third is still in the decision making process.
The third artwork has two exceptional digital works derived after its second draft session of 5th April. It looks like an abstract bank note I guess, unpublished for now.
As for “Yellow Gold Rectangular Masterpiece”.. it is so perfect it’s difficult to believe how quickly I made it.
A genuine love at first sight artwork in every way. ] – 5th April 2024.
The framing area of this artwork was delicately intricate for me to do. As for the palette knife work, like “Cherry Blossom Abstract after Rothko” the palette work was quite effortless really. Everything just placed nicely.
It might sound silly to some, I was ecstatic after “Yellow Gold Rectangular Masterpiece” in all soberness. Holding the artwork, as I have just now whilst writing, I love the piece so much. With this and “Gold & Blue Abstract after Rothko” I feel I made genuine ground with depth in the spirit of his style.
I have viewed all these acrylic abstracts every day to-date since making them.
(*2) the three miniature canvas artworks quoted on the same evening are “Yellow Gold Rectangular Masterpiece”, “Cyan Palette Nebulae” [as yet unpublished to WordPress] and “Green Umber Gold Rectangular Abstract” see image immediately below:
“Green Umber Gold Rectangular Abstract” [4th/5th April 2024] by Matt The Unfathomable Artist, acrylic fine art painting on 24cm x 18cm canvas board, 2252 x 3000 pixels.
Quote:
[ It took some time for me to be happy with the canvas appearance for this green umber gold work.
Interestingly I painted with the gold to the left in landscape situ (prior to adding the gold of course!). I prefer the way it is displayed here in portrait with the gold at the top, although I do like the landscape view also.
The gold was added after the green and umber was first defined due purely to aesthetic canvas spacing.
The painting has a deep affect through its harmony of paint layers. ] – 6th April 2024.
nb I painted this in landscape situ also after the gold line was added.
It’s a love or loathe artwork I guess?
Like or dislike it actually received the most working hours by me! Particularly since the other two abstract acrylic artworks of the evening took minutes, being happily finished in an evening.
You will most likely love this artwork if you see the physical canvas, just like “Gold Squared Green/Gold Tile” (btw as regards Gold Squared it needed that further draft, honestly, ‘If so‘ you preferred the first draft of the latter).
I worked on “Green Umber Gold Rectangular Abstract” the next day (5th April).
< Can I just say it’s 0230hrs UK. Three hours ^^ since beginning to write/produce this article, non-stop. The rest of the article is already written and in the edit. I am writing these <> words whilst proof-reading, quite tired. My half glass of a vintage 2020 grape wine variety has long gone. Yes, I want another half or full glass even. However it’s far too late, I need to sleep. Obviously. Drank from my heavy crystal decanter glass gifted years ago by my Nan and Grandad, both passed. >
Every worthwhile artist who is reading this knows we must be happy with our artistic work. A finite orangey rectangle was added around the green, after the (now top) gold line. Smattering of gold paint is added into the central canvas too. In approximately three or four areas. Blended-in, all except one (lower-left in portrait image).
Having reviewed the piece.. it.. needs.. light.. to make it come alive. Most all my works do.
I set out to be a master of light. Modestly I write.
The central gold is very subtle. I was sort of obsessed getting it ‘correct’ to be honest. In terms of paint layering technique this one is likely closest to the way Rothko built his individual canvases, I would guess.
The layering is sophisticated.
I do not view “Cyan Palette Nebulae” as Rothko in style whatsoever.
My own works in the Rothko style refer to colour theory and spiritual sense over exactly emulating his canvases. I do play on the rectangular shapes though, as we see in my next newly WordPress published piece:
“Cherry Blossom Abstract after Rothko” [April 2024] by Matt The Unfathomable Artist, acrylic fine art painting on 24cm x 18cm canvas board, 6258 x 8383 pixels.
“Cherry Blossom Abstract after Rothko” is all about colour theory and emotion.
I have seen and you can think its mad if you like..
An elephant with its trunk
A heart (of the emoji and classical symbol shape)
A bushbaby
An ‘M’. LAUGH please. I see an ‘M’ in practically everything as you probably all know by now (*3)
Do click on the image for yourself.
(*3) btw I actually took a photograph late afternoon 14th April of an ‘M’ in the fabric of my cargo pants. LAUGH. Oh gosh.. louder than that please haha.
Anyway, I made Cherry Blossom quite quickly without any abstract shape ideas whatsoever. Stick your tongue out if you want, if you feel I write like a kid.
Please believe me. I only concentrated upon colour contrasts. In this I was very happy with the result.
Next up, roll up, we have:
“Dusty Glass Greenhouse – Burgundy Red 3D” [digital Art, 7th September 2023] by Matt The Unfathomable Artist, 100% digital artwork, 1920 x 1080 pixels.
“Dusty Glass Greenhouse – Burgundy Red 3D”.. cool digital art, you agree?
This one is the Original digital artwork, the first. I posted City 3D to Instagram for its dynamic colour range. It’s style is part of a theme I had/have for microscopic organisms.
I will feature the original “Painted Organism #1” with its Variants at the earliest. Having made such a prolific number of 100% digital artworks at that time I just couldn’t publish everything immediately.
Please let me know how I did with my proof-reading, grammatical construction and interconnectivity.
“M Gold Eight – Original” [19th March 2024] by Matt The Unfathomable Artist, Pop Art acrylic painting on A3 300g mixed media paper, 3000 x 4318 pixels.
Well there you go “M Gold Eight – Original” is the actual acrylic painting originating all the Variations digital works I made from this.
It features real 24k gold leaf in two fashioned squares. The eight is not a planned number reference. It is purely chance through my amalgamating the two gold squares. It was made in portrait over landscape from the beginning.
Yellowish painted ‘track‘ lines were added in whimsical focus. ‘Must make it beautiful.. must make it nice’ went my robot thoughts, possibly, haha. I literally went around the eight track with the brush multiple times in my own tranquil art world.
Lots of fun.
I was like, ‘everyone is going to think this is an 8!’ So I titled it with an eight to go along with perceived perception. Is that even a thing perceived perception?
The M at the top completed the piece. One to fill canvas space. Two since I believed it would look awesome, particularly including my own version of Basquiat famed iconography. Which as an artist I cannot write enough regarding my admiration for their secular achievements and natural artistic abilities.
I let light onto the canvas for this photography shot (above).
Today, following my up-to-date photography of the piece I noticed a Frankenstein-like head in the lower gold ‘square’. A humanoid figure to its right can also be imagined. Pure chance I promise. Especially as I only noticed these today lol.
The shapes only occurred through the process of varnishing. A quick indoor photograph (unpublished) on the 18th March shows the two gold leaves near intact upon the canvas.
I put so much effort into professionally cleaning this piece of loose brush bristles from my heavy varnishing. Awake through the hours so I was. Early up working at not much past 0430hrs cleaning into 0705hrs having worked on the piece after midnight (19th March) prior with the varnishing itself!
Necessary since the varnish would dry solid.
Sacre bleu..
.. then joyful after meticulous canvas brush bristle cleaning and daytime working to add the black and green around the ‘eight’ for strong visual definition.
The earlier opaque light paint (to the black and green) surrounding the ‘eight’ was primarily palette knife work by the way. Calming the overall Pop Art piece to how I envisaged it.
Stylistic.
“M Gold Eight – Monochrome” [11th April 2024] by Matt The Unfathomable Artist, Digital Pop Art, 3000 x 4318 pixels.
“M Gold Eight – Monochrome” now makes for the seventh Digital Variant.
Namely (1) “M Gold Eight – Collage of Four” (click to see the other Variants), (2) “M Gold Eight – Blue/Red”, (3) “M Gold Eight – Goldish-Brownish/Cyan”, (4) “M Gold Eight – Black/White Sketched”, (5) “M Gold Eight – Green/Magenta”, (6) “M Gold Eight – Burgundy/Bright Green” and this latest version here (7) “M Gold Eight – Monochrome”.
I know, I know, they art all freakeh! Probably love all these as much as any of my other Painted or Digital works.
Am I layering movie themes into the wordology of this article? Yes.
“Monument Totem Abstract – Four Paintings” [31st March 2024] by Matt The Unfathomable Artist, acrylic abstract art painting on A3 300g mixed media paper, 1326 x 3000 pixels (Original background effect, previously squared for Instagram).
A fun project featuring “Gold Squared Green/Gold Tile” (top of totem), “Rectangular Monument Abstract [Blue/Gold]” (second top), “Pink Monument Abstract” (third from top) and “Pseudo Purple with Gold Frame” (base of totem).
Please note the latter is not actually purple. It has a green/blue background with gold rectangular frame without a monument at the centre. So named since I mixed blue and red for purple and got green. I made two paintings* with that mix the same evening.
I realised the four paintings would compliment each other in a totem monument after I made “Pink Monument Abstract” and “Pseudo Purple with Gold Frame”.
A completely spontaneous work of art whereby I arranged works on the garden pavement floor to decide upon the best arrangement for the totem.
Here is the originating cropped photograph prior to my editing:
“Monument Totem Abstract – Four Paintings on Stone” [30th March 2024 at 1240hrs] by Matt The Unfathomable Artist prior to editing.
My dream art idea here would be to make the Totem into a four sided standing Totem with a painted steel or aluminium pole base. The head would feature different colours of the gold (see versions below). So too with the three rectangular pieces.. different colour versions (as yet produced I might add).
The sculpture could be oil paint printed onto aluminium or copper. Oh gosh, copper would be a total dream artwork for anyone understanding my idea here.
What height would we make it?
Several feet at least I hope.
Next we have the ‘head’ of the Totem:
“Gold Squared Green/Gold Tile” [27th March 2024] by Matt The Unfathomable Artist, acrylic fine art painting on 24cm x 24cm canvas board, 3558 x 3649 pixels.
“Gold Squared Green/Gold Tile” shown immediately above was made in one draft immediately after I began “Rectangular Monument Abstract – Painting” [the latter its first draft prior to the dappling effect].
The grey painted square within the green was added to balance the piece. I felt the green was just a little too harsh within the gold. I became immensely focused whilst painting the (finely mixed) opaque grey, enjoying its balancing effect upon the tile.
A eureka sort of experience.
I made a variety of super delicious digital versions I am sharing with you here:
“Gold Squared Green/Gold BLUE Tile” [28th March 2024] by Matt The Unfathomable Artist, Digital Art, 3558 x 3649 pixels.
The beauty of digital works like “Gold Squared Green/Gold BLUE Tile” is that at some time I can make a Pop Art Poster collage version to compliment the various hues :]
“Gold Squared Green/Gold RED Tile” [28th March 2024] by Matt The Unfathomable Artist, Digital Art, 3558 x 3649 pixels.
“Gold Squared Green/Gold RED Tile” is bold and bright.
“Gold Squared Green/Gold MONOCHROME Tile” [28th March 2024] by Matt The Unfathomable Artist, Digital Art, 3558 x 3649 pixels.
“Gold Squared Green/Gold MONOCHROME Tile” is quite understated for one of my monochrome works. For me this makes it somewhat unique.
“Gold Squared Green/Gold GREEN Tile” [28th March 2024] by Matt The Unfathomable Artist, Digital Art, 3558 x 3649 pixels.
“Gold Squared Green/Gold GREEN Tile” continues to show the palette knife work at the centre.
“Gold Squared Green/Gold ORANGE Tile” [28th March 2024] by Matt The Unfathomable Artist, Digital Art, 3558 x 3649 pixels.
“Gold Squared Green/Gold ORANGE Tile” is such a lovely colouration I think. I made them in order as follows: Monochrome, Blue, Orange, Red and Green. Interestingly I had tried two digital versions from the original gold tile before returning to make these ones I am very happy with!
Quality really is everything to me as an artist.
Actually I haven’t fully photographed “Pink Monument Abstract” or “Pseudo Purple with Gold Frame” outdoors individually yet due to very rainy days. There were other technical reasons too. Flatness of canvas paper! The paintwork was quite heavy so I needed to remedy this too.
Looking forward to photographing these Rectangles so you can see ultra close up details. Although peering at the Totem just now, even I can see new things in the piece I hadn’t realised before. I will share what I see in a later blog article for you. It will also be interesting if anyone else thought the same.
By the way whilst I’m thinking and writing I can let you know a wonderful thing about “Cyan Palette Nebulae” (yet to be published on my WordPress although you can view this on my Instagram)..
.. it has a face! I didn’t notice this until four days after, whilst (self) admiringly looking at the piece. I literally laughed wondering how I had not noticed this earlier lol.
A similar pure chance happened with “Gold & Blue Abstract after Rothko”! Again, more about this when I write the article for that piece. I made miniature abstracts so quickly I am catching up with my blog writing waiting for less rainy days.
“Pressed Gold Flowers – Painting #1” [25th March 2024] by Matt The Unfathomable Artist, gold, green, yellow ochre, phthalo blue, mild yellow and black acrylic fine art painting on A3 300g mixed media paper, 3000 x 2123 pixels.
“Pressed Gold Flowers – Painting #1” was situated on the right firmly into the pad. The reverse side of the canvas paper (like the reading of a book) was affixed to the pad on the left. I brought the left paper canvas down toward the right, pressing neatly and uniformly over the entire surface.
Then I carefully peeled the A3 paper one from the other to reveal all the textures, shapes and patternisation you see. This process was repeated individually for additional gold and to add black, red, blue, yellow ochre approximately five times from the first pressing. The painting began with gold and green paint.
Here is the duplicate Painting #2 (image immediately below) with slight differences to the original beyond cropping (above image):
“Pressed Gold Flowers – Painting #2” [25th March 2024] by Matt The Unfathomable Artist, gold, green, yellow ochre, phthalo blue, mild yellow and black acrylic fine art painting on A3 300g mixed media paper, 3000 x 2123 pixels.
Both physically pressed canvasses art more beautiful than these painted images can convey.
That being said the digital artworks are no less extraordinary in my opinion:
“Pressed Gold Flowers – Solarscape #2” [26th March 2024] by Matt The Unfathomable Artist, Digital Art, 3000 x 2123 pixels.
It should be noted each digital artwork is derived from the correctly aligned painting, exactly as you see these here. There are slight yet discernible differences between paintings #1 and #2. This is not a matter of flipping the painting around 180 degrees.
What I love about my digital Editions is their taking on depth and colour field interest. I wouldn’t be surprised if this looks something like a human female womb by the way!
Pure chance.
“Pressed Gold Flowers – Monochrome #2” [26th March 2024] by Matt The Unfathomable Artist, Digital Art, 3000 x 2123 pixels.
With “Pressed Gold Flowers – Monochrome #2” I emulated the exact parameter values technically with “Pressed Gold Flowers – Monochrome #1″.
These values are Red 15; Yellow 50; Green 30; Cyan 115; Blue -12 and Magenta 300 to make the balanced monochrome tones you see in both, equally. Brightness is increased 50%.
Every new digital artwork is different of course. Requiring varying parameters.
“Pressed Gold Flowers – Solarscape #1” [26th March 2024] by Matt The Unfathomable Artist, Digital Art, 3000 x 2123 pixels.
“Rothko x Basquiat Gold/Cerulean Blue” [22nd March 2024] by Matt The Unfathomable Artist, acrylic & 24k Gold Leaf Abstract fine art painting on A3 300g mixed media paper, 4967 x 7083 pixels.
“Rothko x Basquiat Gold/Cerulean Blue” is made within 1 hour 45 minutes including Gold Leaf installation to canvas, matte finish varnish (partially to cover central canvas area for textural effect), intricate palette knife and fan brush working, paper card spreading the varnish carefully to create disrupted gold effect, make a gold seal, produce opaque and transparent overlay.
For my previous work “M Gold Eight” (also 24k Gold Leaf) I used 17 brushes (and one palette knife) due to innumerable changes I made throughout drafts. Original as yet unpublished btw.
With “Rothko x Basquiat Gold/Cerulean Blue” I used one palette knife (my favourite one from decade past oils) and one fan brush! A piece perfected from start to finish, joyful. “M Gold Eight” presented technical challenges until I was thoroughly pleased with the result.
I began “Rothko x Basquiat Gold/Cerulean Blue” entirely as a Rothko inspired piece. Whereas the canvas turned into a sort of 50/50 inspiration between Rothko and Basquiat, hence the title.
I could have made the decision to include a robot face into this one. I just didn’t feel this would be true to its Rothko intended beginning. Anyway, since Warhol and Basquiat collaborated I felt why not Rothko and Basquiat!
Yellow ochre outer rectangle. Gold rectangle. Cerulean Blue rectangular window at centre. Four 24k gold leaf squares fanned gently with paper card over matte varnish. 100% pure chance gold leaf imagery.
All four additional unique and individual digital works (shown below) took within 27 minutes to complete – Red, Monochrome, Blue and Pastel Furnace.
Love!
“Rothko x Basquiat Digital Red” [23rd March 2024] by Matt The Unfathomable Artist, Digital Art from original acrylic & 24k Gold Leaf Abstract fine art painting, 3000 x 4278 pixels.
Above is “Rothko x Basquiat Digital Red” – funny <monkey covers eyes> emoji.
“Rothko x Basquiat Digital Monochrome” [23rd March 2024] by Matt The Unfathomable Artist, Digital Art from original acrylic & 24k Gold Leaf Abstract fine art painting, 3000 x 4278 pixels for WordPress.
“Rothko x Basquiat Digital Monochrome” – thought inflection. Oooh. Aaaah.
“Rothko x Basquiat Digital Blue” [23rd March 2024] by Matt The Unfathomable Artist, Digital Art from original acrylic & 24k Gold Leaf Abstract fine art painting, 3000 x 4278 pixels for WordPress.
“Rothko x Basquiat Digital Blue” – peaceful. Hammock on the beach with coconut trees.
“Rothko x Basquiat Digital Pastel Furnace” [23rd March 2024] by Matt The Unfathomable Artist, Digital Art from original acrylic & 24k Gold Leaf Abstract fine art painting, 3000 x 4278 pixels.
“Rothko x Basquiat Digital Pastel Furnace” – hot coals with cabbage.
*LAUGH* lol.
Hopefully you do feel I have captured the Rothko and Basquiat style through this original acrylic canvas. Please happily click on the individual images for further interest. Enjoy.
The Unfathomable Artist 