THE ALIEN SERIES 

Michael Matthews’ digital artwork, the Alien Series, is a fusion of botanical realism and surrealistic imagination, transforming familiar plants, alien to South Africa, and insects, mantis, into a vision of digital beauty. At its root, the series, it is an ironic commentary on migrants. Created using the 3D modelling software, Blender, and rendered as digital prints on photographic paper or canvas. Through meticulous digital craftsmanship and a bold aesthetic vision, this series invites viewers to reconsider the boundaries between the natural and the artificial.

The Alien Series is a meditation on perception, identity, and the transformative power of art. By recontextualising common plants and insects within a speculative, digital framework, Matthews encourages viewers to see the familiar with fresh eyes. The artworks resonate in an age where the lines between the natural and the synthetic are increasingly blurred. This piece stands as a testament to the potential of digital art to expand our imagination and deepen our connection to the living world. It is a metaphor for the growing xenophobia in a world that fears migrants. Thus, embracing a deeper, more resonant theme: the experience of displacement, belonging, and identity, particularly in relation to immigrants and their place in the world. At first glance, the title evokes a sense of otherness, the word ‘Alien’ immediately conjures ideas of foreignness, strangeness, and exclusion. Yet, when paired with plants and insects the metaphor deepens. This biological reality becomes a powerful allegory for the immigrant experience: one of adaptation, resilience, and quiet integration into a new ecosystem.

By placing the aliens in a dreamlike context, Matthews elevates them from botanical specimens to symbolic figures. The series thus becomes a meditation on belonging, not as a fixed state, but as an ongoing process of connection, adaptation, and redefinition. It speaks to the universal human desire to take root, to flourish, and to be seen not as an intrusion, but as an integral part of a larger, evolving ecosystem. In this way, the Alien Series transcends its digital origins to become a poignant commentary on migration, identity, and the quiet dignity of those migrants who grow in unfamiliar soil.

Alien - Cardiospermum grandiflorum  

Cardiospermum grandiflorum, commonly known as balloon vine or heartseed, not as a mere specimen of Earth’s flora, but an enigmatic lifeform from outside of South Africa. The title, balloon vine, though native to tropical regions and often considered a weed, has been elevated in status. The fusion of organic form with digital artifice also speaks to contemporary concerns about the relationship between nature and technology, questioning where one ends and the other begins.

The Cardiospermum’s signature balloon-like seed pods are rendered in high detail, their translucent, inflated forms catching the light in a way that suggests fragility and vitality. The surrounding foliage in the composition, the delicate leaves and slender stems, complements the central cluster of pods, creating a balanced yet dynamic composition that draws the eye inward, as if peering into the heart of an alien organism. The lighting enhances the three-dimensionality of the forms giving them a tangible presence. Shadows fall naturally across the surfaces, emphasising texture and volume, while highlights suggest a controlled, almost clinical illumination. The background, softly blurred and pixelated, evokes the visual noise of digital transmission or the static of a failing signal. This subtle detail reinforces the theme of the ‘alien,’ positioning the plant not just as a biological curiosity, but as a specimen observed through a technological lens.

Alien - Opunia Fulgida 

Alien - Opunia Fulgida is a mesmerising and densely layered composition that immerses the viewer in a world where the organic and the artificial blur into a single, pulsating entity. At first glance, the image overwhelms the senses: a tightly packed cluster of fleshy, bulbous structures in deep pinks and reds dominates the frame, their surfaces rendered with astonishing detail and lifelike texture. These forms, suggestive of both plant life and embryonic tissue, appear to swell, bud, and press against one another in a state of constant, urgent growth. The result is a visual field that feels simultaneously fertile and claustrophobic, teeming with life yet constrained by its own abundance. 

Opuntia Fulgida, references a species of cactus known for its radiant blooms, but Matthews’ interpretation is far from literal. Instead, he uses the botanical name as a springboard into a more abstract and symbolic realm. What defines this piece most profoundly is its crowded composition. Unlike the minimalist works in the series, Opuntia Fulgida feels almost invasive in its fullness. Forms overlap, merge, and crowd the visual plane, leaving little room for breath or negative space. This congestion is not merely aesthetic; it is conceptual. It evokes the overwhelming nature of growth, reproduction, and existence under pressure. There is a sense of urgency in the way the structures push against one another, as if competing for space, light, or survival. This can be read as a metaphor for overpopulation, ecological strain, or even the emotional weight of living in densely interconnected societies. The piece becomes a meditation on the limits of space and the consequences of unchecked expansion, where beauty and discomfort coexist. The text, fragmented and indecipherable, suggests data, code, or memory, traces of the virtual world from which the image emerged. It creates a quiet tension between the biological and the digital, as if nature is being encoded, simulated, or perhaps even consumed by the very tools used to represent it. 

Alien - Orobanche Minor  

Orobanche Minor, the second in the series, refers to a parasitic plant species known for its unusual appearance. This botanical inspiration serves as the foundation for Matthews' creation, but he takes it far beyond mere representation. The image depicts what appears to be a blooming flower or seed pod, rendered in soft, pastel hues of pink and white. The organic forms are intricate, with delicate layers and textures that evoke both fragility and complexity placed on an illegible texted background that has a linear geometric foundation where the shadow of the plant becomes a powerful negative image.

The title, Alien - Orobanche Minor, suggests a dual meaning: the plant is both alien in its appearance and rooted in the real-world species Orobanche. This duality invites viewers to contemplate themes of adaptation, evolution, and the boundary between the natural and the artificial. The artwork could also be seen as a reflection on the transformative power of digital art, where traditional subjects are reimagined and reinvented through a technological means. By presenting the plant in such a strange manner, Matthews encourages viewers to see the familiar in a new light, prompting questions about the relationship between nature and human creativity.

The asymmetrical arrangement of the plant elements adds movement and energy, as if the plant is growing or pulsating. The slight tilt and overlapping layers create a sense of fluidity, enhancing the impression of transformation. The stark, clean background serves to isolate the subject, allowing it to stand out boldly against the void. This minimalist approach ensures that the focus remains solely on the intricate details of the plant, inviting viewers to examine it closely and appreciate its textures and complexity. 

Alien - Jacaranda mimosifolia 

Jacaranda mimosifolia, the third in the alien series, is a captivating exploration of the intersection of nature, technology, and emotion. The artwork’s striking resemblance to foetal forms adds a layer of emotional depth, prompting reflections on themes of growth, vulnerability, and transformation.

The title refers to a species of flowering tree known for its vibrant purple blooms. However, in this context, the name takes on a more symbolic meaning. By choosing a botanical reference, Matthews grounds the artwork in the natural world, yet he transforms it into something entirely surreal. The ‘alien’ aspect of the title underscores the piece’s departure from conventional representations of flora, suggesting that the plant has been reimagined through a lens of imagination and digital artistry.

The central subject and twin side on views, depict a plant-like structure resembling a blooming flower, that stands out against a minimalist background filled with faint, pixelated text. This juxtaposition creates a sense of depth and mystery, drawing the viewer’s eye to the intricate details of the central form. The plant appears organic, with delicate layers and textures that evoke both fragility and complexity. Its organic curves and folds are rendered as if frozen in liquid. The pink hues further enhance this association, evoking notions of innocence, vulnerability, and new beginnings.

The subtle resemblance to foetal forms imbues the artwork with a profound emotional charge. The rounded, bulbous shapes and the way they seem to emerge from a central core create an uncanny connection to early stages of life. This visual parallel adds a layer of emotional resonance, evoking themes of growth, emergence, and the delicate balance between existence and non-existence. The plant’s delicate appearance, coupled with its human qualities, suggests a state of suspended animation; a moment of transition where something is neither fully formed nor completely dissolved. This ambiguity resonates with experiences of change, growth, and adaptation, whether in the context of personal development or a broader existential question.

Alien - Opunia Fulgida

Alien - Opunia Fulgida is a mesmerising and densely layered composition that immerses the viewer in a world where the organic and the artificial blur into a single, entity. At first glance, the image overwhelms the senses: a tightly packed cluster of fleshy, bulbous structures in deep pinks and reds dominates the frame, their surfaces rendered with astonishing detail and lifelike texture. These forms, suggestive of both plant life and embryonic tissue, appear to swell, bud, and press against one another in a state of urgent growth. The result is a visual field that feels simultaneously fertile and claustrophobic, teeming with life yet constrained by its own abundance.

Opuntia Fulgida, references a species of cactus known for its radiant blooms, but Matthews’ interpretation is far from literal. Instead, he uses the botanical name as a springboard into a more abstract and symbolic realm. Unlike the minimalist works in the series, Opuntia Fulgida feels almost invasive in its fullness. Forms overlap, merge, and crowd the visual plane, leaving little room for breath or negative space. This congestion is not merely aesthetic; it is conceptual. It evokes the overwhelming nature of growth, reproduction, and existence under pressure. There is a sense of urgency in the way the structures push against one another, as if competing for space, light, and survival. This can be read as a metaphor for overpopulation, ecological strain, or even the emotional weight of living in densely interconnected societies. The piece becomes a meditation on the limits of space and the consequences of unchecked expansion, where beauty and discomfort coexist. The text, fragmented and indecipherable, suggests data, code, or memory, traces of the virtual world from which the image emerged. It creates a quiet tension between the biological and the digital, as if nature is being encoded, simulated, or perhaps even consumed by the very tools used to represent it.

Alien - Mantis I 

Alien - Mantis I stands as a fusion of mechanised pattern, digital manipulation, and conceptual depth, capturing the viewer’s imagination through its minimalist yet intricate design. The artwork, part of the broader Alien - Mantis Series, presents a striking figure, a mantis form rendered entirely in negative wireframe lines, suspended against a deep, immersive blue background. The off centred mantis form, born from a 3D model in Blender and later transformed through digital inversion and refinement in Illustrator and Photoshop, embodies a seamless marriage of organic inspiration and technological execution. The result is a piece that feels simultaneously alien and familiar, mechanical yet alive, existing at the intersection of nature and digital abstraction.

The mantis, with its segmented body, elongated limbs, and poised, alert stance suggests a creature both predatory and intelligent, evoking the real-world mantis while transcending it into the realm of speculative biology. The wireframe aesthetic strips away surface detail, leaving only the essential structure, a skeleton of lines that outline form and movement. To the right of the mantis, a series of vertical stripes in white, black, red, and green that cut through the composition like a rhythmic pulse. These bands introduce a structured counterpoint to the fluid complexity of the wireframe figure, suggesting data streams, frequency patterns, or even an alien language. Their presence adds a layer of narrative ambiguity. They are a signal or a code. This ambiguity is intentional, inviting the viewer to project meaning onto the work, to wonder about the unseen world from which this creature emerged. The colours, though limited, bring warmth and variation to an otherwise cool-toned piece, subtly disrupting the monochrome tension and adding visual rhythm.

Alien - Mantis II 

Alien - Mantis II, part of this broader Alien - Mantis Series, is a powerful meditation on scale, presence, and the interplay between form and emptiness. The artwork presents a towering, closeup of a wireframe mantis-like creature, rendered in negative lines against a deep field of blue. Its massive, elongated form dominates the composition, not merely occupying the canvas but overwhelming it, stretching from edge to edge, its limbs extended as if testing the boundaries of the frame itself. This deliberate sense of scale transforms the figure from a mere subject into an imposing presence, evoking both awe and unease. The mantis does not simply exist within the space; it commands it, asserting a dominance that feels both physical and psychological.

What makes this dominance more compelling is the way Matthews manipulates the relationship between positive and negative space. The mantis, though constructed from thin, skeletal lines, becomes a dense network of geometric forms that fragment the surrounding void. Its body, composed entirely of interconnected lines, creates countless small pockets of negative space within itself; gaps that echo the vast emptiness around it. This recursive play between filled and unfilled areas blurs the boundary between the figure and its environment, suggesting that the alien is not separate from the void but an extension of it. The deep blue background, uniform and infinite, acts as a cosmic abyss, amplifying the creature’s isolation while simultaneously absorbing its silhouette into a greater, unknowable whole.

Positioned slightly off-centre, the mantis is counterbalanced by a vertical column of coloured stripes on the far right, white, red, and green bars aligned like a cipher or a frequency readout. The stripes introduce a subtle narrative tension. Their rigid geometry contrasts with the fluid complexity of the mantis, offering a sense of order amidst the vast, open composition. Yet they remain cryptic, refusing to yield meaning, much like the creature itself. This deliberate ambiguity enhances the work’s enigmatic quality, transforming the canvas into a site of quiet speculation rather than definitive statement.

Alien - Mantis Series an exploration of digital artistry, cultural symbolism, and the intersection of mythology with modern technology. In Alien - Mantis III, the artist delves into the rich tapestry of meaning surrounding the praying mantis, known as IKaggen, a god in San and Bushman cultures. This piece not only showcases Matthews’ technical mastery but also weaves together themes of reverence, transformation, and the mystical power of symbolic imagery.

The mantis’s form is both intricate and dynamic, capturing its unique posture, a key aspect of its identity as a divine messenger and trickster deity. The wireframe aesthetic lends a futuristic, almost holographic quality to the creature, suggesting a blend of organic life and digital abstraction.

The praying mantis is not worshipped as a god but is seen as a divine messenger, a trickster deity, and a bringer of blessings. These symbolic elements are subtly woven into Alien - Mantis III. The mantis’s posture, often associated with patience and vigilance, reflects its role as a guardian and communicator between the human world and the divine. Its ability to change form symbolises adaptability, transformation, and the fluidity of existence; qualities that resonate deeply with the concept of a trickster deity. Matthews captures these symbolic aspects through the mantis’s pose and the overall composition. The creature’s stance suggests readiness and intelligence, embodying the qualities of a messenger who navigates between realms. The wireframe design further enhances this sense of duality, as the mantis appears both tangible and ethereal, existing simultaneously in the physical and spiritual worlds.

The artwork challenges viewers to consider how traditional symbols can be reimagined through modern mediums, creating new narratives that resonate across time and culture. The piece also evokes a sense of wonder and reverence. The mantis, though depicted as a wireframe, retains its mystique and power. Its presence is commanding yet enigmatic, inviting contemplation rather than explanation. The vertical stripes on the right side of the composition further enhance this sense of mystery, suggesting hidden meanings or messages that lie just beyond our grasp. This ambiguity is intentional, encouraging viewers to project their own interpretations onto the work and engage with its layered symbolism.

Alien – By Numbers I 

Alien – By Numbers I, part of the broader Alien - Mantis Series, a compelling meditation on the nature of art, completion, and interpretation. At first glance, the work appears to be a digital print rendered in the familiar style of a paint-by-numbers kit, its surface divided into numbered sections filled with flat, vibrant colours. Yet, upon closer inspection, it becomes evident that the artwork is only partially completed. Large portions of the composition remain untouched, their white spaces stark against the patches of colour that have been filled in. This deliberate incompleteness is central to the piece, a conceptual pivot that transforms the work from mere illustration into a profound inquiry into the boundaries of artistic creation and perception.

The irony of presenting an unfinished painting as a finished artwork is both subtle and powerful. Paint-by-numbers kits are typically associated with accessibility, routine, and mechanical reproduction, endeavours where the goal is to follow instructions and arrive at a predetermined, complete image. Matthews subverts this expectation by halting the process mid-way, effectively asking the viewer to reconsider what it means for a work of art to be ‘done.’ Is completion a technical state, or is it a psychological threshold crossed when meaning is perceived? By leaving sections blank, the artist invites the viewer to participate in the act of completion, not through brushstrokes, but through imagination and interpretation. In this way, the artwork becomes a collaborative experience, its full realisation dependent on the engagement of the observer.

The subject of the image, a mantis-like alien figure, adds another layer of resonance. Mantis creatures, with their elongated limbs, watchful eyes, and predatory stillness, have long occupied a space between the natural and the uncanny. Rendered here in a fragmented, almost digital aesthetic, the alien form seems to emerge from a liminal space between worlds: organic and synthetic, known and unknown. Its segmented body, composed of discrete colour fields, echoes the very structure of the paint-by-numbers method, reinforcing the idea that identity and form are constructed from discrete parts, assembled into a coherent whole. Yet, because the image is incomplete, so too is the creature—suggesting that understanding, whether of art or of life, is always partial, always in process.

The flat planes of colour and geometric-like segmentation recall early computer graphics and pixel art, evoking the digital infancy of the late 20th century. This aesthetic choice is fitting, as it mirrors the transitional state of the artwork itself—caught between analogue tradition and digital possibility. The muted yet deliberate palette—greens, greys, ochres—lends the piece a quiet, almost clinical tone, enhancing its sense of ambiguity. There are no dramatic flourishes, no attempt to distract; instead, the simplicity of the composition focuses attention on the central question: what does it mean to finish something?

Alien – By Numbers II 

Alien – By Numbers II deepens the conceptual inquiry begun in the earlier work of the Alien - Mantis Series by shifting the viewer’s attention not to the painted portions, but to what remains unseen, the expanses deliberately left blank. Where these pieces hover ambiguously between completion and incompletion, leaning fully into absence, allowing the unpainted, negative, areas to dominate the composition and, in doing so, reframe the entire experience of the artwork. These voids are not passive or incidental; they are active, charged, and essential, functioning not as omissions but as declarations. They assert that silence, emptiness, and uncertainty can be as expressive as colour, form, and detail.

The alien mantis, partially rendered in vivid, segmented hues, appears to be emerging from or dissolving into the white numbered ground of the canvas. Its limbs stretch into open space, its thorax half-defined, its eyes intensely detailed and piercing, seeming to gaze directly at the viewer, even as the rest of its body remains unrealised. This selective visibility creates a sense of instability, as though the creature exists in a state of becoming, caught between manifestation and disappearance. The unpainted areas do not simply frame the figure; they envelop it, suggesting that what is unseen may be just as significant as what is shown.

Alien – By Numbers III 

Alien – By Numbers III, part of the Alien - Mantis Series, a profound exploration of abstraction and design, where the mantis figure is reduced to its most essential forms. This piece continues the artist’s investigation into the tension between completion and incompleteness but takes a bold step further by emphasising pattern, colour, and structure over representational imagery. In doing so, it transforms the mantis from a recognisable subject into an abstract composition that invites viewers to engage with the artwork on a purely visual and conceptual level.

The most striking aspect of Alien – By Numbers III lies in its deliberate reduction of the mantis to a series of geometric shapes, colours, and patterns. The traditional boundaries of form are blurred as the creature dissolves into a mosaic of segmented blocks; each filled with vibrant hues that evoke both organic life and digital precision. This approach aligns with the paint-by-numbers aesthetic, where the emphasis is on the process of filling in predetermined areas rather than creating a cohesive, realistic image. Matthews pushes this concept further, using the organic structure as a foundation for pure abstraction.

One of the key abstract elements at play is the relationship between the positive and negative spaces. The unpainted white areas serve as a counterpoint to the filled regions, acting as breathing spaces that prevent the composition from feeling overcrowded. These blank sections also highlight the edges of the painted shapes, emphasising their geometric clarity and reinforcing the overall sense of structure. The contrast between the filled and unfilled areas is not merely visual; it is conceptual, inviting viewers to consider the role of absence in defining presence.

As the mantis is reduced to pattern, design and a web of lines and numbers, it becomes less about representation and more about the interplay of possibilities. The segmented body of the mantis is no longer a literal depiction but a series of interconnected lines or painted shapes. The long, slender limbs are rendered as elongated rectangles, their pointed tips hinting at the creature’s predatory nature without explicitly spelling it out. Similarly, the head and thorax are simplified into broad, angular shapes, their details obscured in favour of broader shapes.

This reduction to pattern and design is reminiscent of contemporary art movements, where artists strip away extraneous detail to reveal the essence of their subjects. Here, the mantis is distilled into its fundamental components: lines, angles, and blocks of colour. Yet, unlike many abstract works that abandon all connection to the real world, Alien – By Numbers III maintains a subtle link to its source material reinforced by the title. The fragmented shapes still evoke the mantis’s characteristic form, a testament to the power of suggestion in art. Even in its abstracted state, the mantis remains identifiable, albeit through a lens of ambiguity and interpretation.

Alien – By Numbers IV 

Alien – By Numbers IV, a striking evolution within the Alien - Mantis Series, where the mantis figure undergoes a profound transformation, shedding its innocence and taking on a sinister gender role. The mantis in this piece has been stripped of its traditional associations with aggression and camouflage, instead adopting a softer, more ambiguous identity. The colour palette is dominated by muted tones of pinks, browns, and greys evoking vulnerability and unease. These colours are applied in a fragmented, almost blurred manner, creating a sense of delicateness that contrasts sharply with the predatory nature typically associated with the mantis. This deliberate reduction of the mantis to a humanised, feminised form challenges conventional notions of power dynamics, inviting viewers to reconsider their perceptions of strength and weakness.

The loss of innocence in Alien – By Numbers IV is palpable. Unlike earlier works in the series, which maintained an abstract quality that allowed for ambiguity, this piece feels weighted by a sense of foreboding. The soft hues and blurred edges create a dreamlike atmosphere, but they also amplify feelings of isolation and vulnerability. The mantis’s fragmented form, scattered across the canvas, suggests a shattering of innocence in a metaphor for how purity can be eroded through subtle shifts in context or perspective. The blank spaces around the mantis no longer serve as placeholders for imagination; instead, they feel like voids of emptiness, reinforcing the theme of loss.

By humanising the mantis and imbuing it with feminine traits, Matthews subverts expectations about gender and power. The mantis is not depicted as weak or passive but rather as menacing in its vulnerability. Its softness becomes a source of tension, suggesting a predatory allure that relies on subtlety and suggestion rather than overt aggression. This duality, the juxtaposition of vulnerability and menace, is central to the artwork’s impact, reflecting the complexities of human relationships and the ways in which power is negotiated through nuanced interactions.

Symbolically, Alien – By Numbers IV resonates deeply with contemporary discussions about gender, power, and the erosion of innocence. The mantis, once a symbol of nature’s harsh realities, now becomes a metaphor for the ways societal norms and expectations can distort our understanding of vulnerability and strength. The piece invites viewers to consider how innocence can be lost. It also speaks to the broader theme of perception, challenging us to look beyond surface appearances and question how identities are shaped by context and individual perspective.

Alien – By Numbers V 

Alien – By Numbers V, a powerful culmination of the Alien - Mantis Series, where the mantis figure is fully realised, yet the background remains strikingly incomplete. This digital artwork masterfully balances completion and incompleteness, creating a dynamic tension that invites deep reflection on themes of focus, context, and perception.

The mantis in this piece emerges as a vivid, almost lifelike presence against the stark white numbered backdrop. Unlike earlier works in the series, which explored abstraction and fragmentation, the mantis here is rendered with remarkable clarity and detail. Its front on body is filled with vibrant hues that evoke both organic life and digital precision. The creature’s form is complete, its limbs extended out of the frame, and its head turned slightly to one side, giving it an alert, watchful quality. The eyes, rendered in contrasting colours, are particularly striking, drawing the viewer’s gaze and adding a sense of personality to the otherwise abstract figure.

This semi completed mantis marks a significant departure from previous pieces in the series, where the creature was often fragmented or reduced to patterns and designs. Here, the artist has chosen to fully realise the mantis, presenting it as a cohesive, identifiable entity. This decision shifts the focus away from the mantis itself and toward its relationship with its surroundings; a relationship that becomes increasingly complex due to the incomplete background. The absence of a defined environment amplifies the mantis’s presence, making it the sole point of focus and emphasising its autonomy.

The incomplete background can be seen as a metaphor for the human condition. Just as the mantis is surrounded by emptiness and abstraction, so too are we often faced with uncertainty and the unknown. The blank spaces remind us that reality is not always neatly defined, and that meaning is often constructed through our interactions with the world. We need to paint the world in so to speak. Matthews challenges viewers to consider the role of context in shaping perception and the role of the viewer to see the artwork as complete of unfinished.