Faces of the Noise
This series reaches past the surface of fame, revealing the inner world Matte senses within each musician and celebrity — the tension, vulnerability, ego, brilliance, or chaos that lives behind their public persona. Through airbrushed distortion and surreal emotional cues, he captures not just a likeness but an essence, creating portraits that feel psychologically exposed rather than merely observed. All of these works were later signed by the artists themselves, transforming them from portraits into authenticated cultural artefacts — rare, personal exchanges that affirm both the credibility of the work and the value of Matte’s unique vision.
Mark Brandon "Chopper" Read
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Chopper Original Painting 600mm wide x 900mm high Approx
A hyper‑detailed face stares outward with a rectangular opening in the forehead, revealing a barred chamber that turns the mind into a literal prison. The work reflects on psychological confinement, using realism and surreal symbolism to suggest how inner pressure, restraint, and unspoken thoughts can become structures that trap us from within.
AC/DC
AC/DC Original Painting 1600mm wide x 900mm high Approx.
Five elongated, blue‑toned faces float against a field of electric waves, their distorted features and red‑rimmed eyes forming a surreal, caricatured reinterpretation of a legendary rock lineup. The work amplifies the theatricality of identity, using exaggeration and repetition to explore how cultural icons mutate into mythic, almost otherworldly figures within collective memory.
Alice Cooper
Alice Cooper Original Painting 900mm wide x 1200mm high Approx.
A spectral portrait emerges from darkness, its glowing eyes and mouth transforming the figure into a luminous, other‑worldly presence. The work uses inversion and stark contrast to explore how identity can dissolve into pure atmosphere, blurring the line between human expression and ghostlike abstraction.
Ace Frehley - Kiss
Ace Frehley Original Painting 2400mm wide x 1200mm high Approx.
A lone guitarist surges forward in a burst of electric blue energy, their star‑marked face and futuristic armour amplifying the sense of raw, theatrical power. The work transforms performance into myth, using lightning, costume, and exaggeration to explore how music becomes a conduit for identity, spectacle, and larger‑than‑life transformation.
Slipknot
Slipknot Original Painting 2400mm wide x 1200mm high Approx.
Nine masked figures stand unified in their red suits, each mask carrying its own unsettling personality while collectively forming a single, imposing presence. The work uses anonymity, theatricality, and ritual‑like uniformity to explore how identity can dissolve into a powerful, shared force that is both eerie and magnetic.
Murderdolls
Murderdolls Original Painting 1200mm wide x 1200mm high Approx.
Five figures form a tight circular composition, their dark silhouettes and dramatic poses intensified by bold red lettering that cuts across the image. The work fuses monochrome portraiture with graphic aggression to explore collective identity as something theatrical, volatile, and charged with a shared, rebellious energy.
Keith Flint - Prodigy
Keith Flint - Prodigy Original Painting 900mm wide x 1200mm high Approx.
A pale face emerges from soft greys, its darkened eyes and bared teeth interrupted by two vivid red spikes that slice through the centre part of the nose. The work uses sharp contrast and intrusive colour to explore how pressure, performance, and inner volatility can surface as a charged, stylised expression.
Shirley Manson - Garbage
Shirley Manson Original Painting 1200mm wide x 1600mm high Approx.
A pale blue figure with stitched, bleeding eyes stands entangled in a web of purple and white tendrils, its red streaks and bleeding nose heightening the sense of tension and metamorphosis. The work uses bodily distortion and neural‑like structures to explore how vision, emotion, and identity can fracture and fuse within an overwhelming internal landscape.
Garbage
Garbage Original Painting 1600mm wide x 900mm high Approx.
Four stylised portraits emerge from a dark field, each figure rendered with exaggerated features and bold colour shifts that heighten their individual presence. The work blends airbrushed surrealism with band‑poster intensity, exploring how personality, performance, and mythmaking fuse into a single charged visual identity.
Henry Rollins
Henry Rollins Original Painting 1200mm wide x 800mm high Approx.
A luminous face emerges in inverted tones, its features glowing as though lit from within and dissolving softly into the surrounding darkness. The work transforms a simple portrait into an ethereal presence, using negative colour and inner radiance to explore how identity can shift into something dreamlike, suspended between visibility and disappearance.
Rammstein
Rammstein Original Painting 900mm wide x 1600mm high Approx.
Six pale, blue‑green heads float against darkness, each marked by red eyes and hair, while vivid orange beams cut through and connect them in a rigid geometric grid. The work uses repetition, piercing lines, and an eerie palette to explore how identity can be fragmented, multiplied, or held in place by unseen structures that bind individuals into a shared psychological frame.
Mike Patton
Mike Patton Original Painting 900mm wide x 1200mm high Approx.
A blue‑skinned figure with red eyes and branching vein‑like markings emerges from a swirling field of warm colour, its stitched neck and shadowed features giving it an otherworldly, charged presence. The work blends surreal portraiture with visceral detailing to explore how transformation, pressure, and inner intensity can reshape the body into a symbolic, almost mythic form.
Tomahawk
Tomahawk Original Painting 1400mm wide x 800mm high Approx.
Four sepia‑toned figures stand side by side, their distinct expressions and attire framed by bold red lettering that slices across the composition with emblematic force. The work blends portraiture with graphic intensity to explore how individuality, authority, and collective identity can fuse into a single, iconic presence charged with tension and narrative weight.
Jet
Jet Original Painting 1600mm wide x 900mm high Approx.
Four reddish‑brown figures emerge from an organic, vein‑like backdrop, their exaggerated features and textured hair giving them a charged, almost molten presence. The work blends expressive portraiture with bold graphic forms to explore how collective identity can feel both tightly fused and on the verge of breaking into new, abstracted shapes.
Igor Cavalera
Igor Cavalera Original Painting 1200mm wide x 800mm high Approx.
A green‑blue figure with elongated features stares out beneath a dark cap, the drumsticks jutting from either side of the head sharpening its surreal, performative presence. The work fuses portraiture with fantastical distortion, exploring how identity can morph into a charged persona shaped by rhythm, intensity, and the theatrical energy of sound.
Fear Factory
Fear Factory Original Painting 900mm wide x 1600mm high Approx.
Fragments of blue‑toned faces rise from a textured yellow field, their cracked surfaces, swirling forms, and spiked adornments turning each figure into a shifting mask of transformation. The work uses distortion, colour contrast, and layered identities to explore how the self can splinter, mutate, and reform into new symbolic shapes under pressure and imagination.
Grinspoon
Grinspoon Original Painting 1600mm wide x 1000mm high Approx.
Four pale blue figures with elongated hands reach forward against a pulsating, brain‑like backdrop, their hollow eyes and clawed fingers giving them an otherworldly intensity. The work visualises psychic entanglement, using surreal anatomy and neural motifs to explore how thought, emotion, and shared mental states can bind multiple selves into a single charged field
Tim Rogers - you am i
Tim Rogers Original Painting 1200mm wide x 800mm high Approx.
A pale green face emerges from an interdimensional portal rendered as a dense, swirling lattice of blue energy, its stitched mouth and steady gaze intersected by sharp red rods that cut horizontally through the scene. The work uses piercing geometry and otherworldly distortion to explore how transformation, confinement, and inner resolve shape a self suspended between worlds.
Billy Connelly
Billy Connelly Original Painting 900mm wide x 1700mm high Approx.
A distorted face materialises from overlapping shadows, its red eyes and microphone forming a dual image that shifts between performer and creature. The work plays with perception and illusion, using layered forms to explore how identity can fracture, merge, and reform depending on the viewer’s gaze.
The Living End
The Living end Original Painting 1600mm wide x 1000mm high Approx.
Three stylised figures stand against a textured, organic backdrop, their exaggerated features and bold shading giving them a tense, graphic presence. The work uses distortion, colour contrast, and band‑poster theatrics to explore how identity and intensity fuse into a collective persona poised between decay, defiance, and transformation.
Frenzal Rhomb
Frenzal Rhomb Original Painting 900mm wide x 1200mm high Approx.
Four stylised skulls glow in blue‑green tones around the bold command CHECK YOUR HEAD, their cracked surfaces and handwritten markings giving them the presence of relics pulled from a chaotic inner world. The work uses punk‑inflected graphics and anatomical symbolism to reflect on introspection, attitude, and the raw, unfiltered thoughts that shape a band’s identity from the inside out.
Superjesus
Superjesus Original Painting 900mm wide x 1800mm high Approx.
Four pale blue figures with glowing red eyes appear entangled in branching, root‑like structures, their bodies and expressions held within a maze of shifting green and cream patterns. The work intertwines human form with organic circuitry to explore how connection, tension, and shared emotional currents can bind individuals into a single, living network.
Jeff Martin
Jeff Martin Original Painting 900mm wide x 1400mm high Approx.
A pale, vein‑lined face stares forward with piercing blue eyes, its features sharpened by a dark mustache and the small insects crawling across the skin. The work blends theatrical distortion with symbolic intrusion, suggesting a mind beset by inner tension and external pressures that blur the boundary between self‑possession and disturbance.
Butterfly effect
Butterfly effect Original Painting 1600mm wide x 900mm high Approx.
Four blue‑toned figures stand against a blazing orange backdrop, their cracked surfaces and stylised features giving them the presence of beings shaped by pressure, time, and transformation. The work uses bold colour contrast and fractured portraiture to reflect on how small shifts—emotional, relational, or cultural—can ripple outward, reshaping identity in ways both subtle and seismic.
Red Hot Chili Peppers
Red hot chili peppers Original Painting 2400mm wide x 1200mm high Approx.
Four stylised faces line up in a monochrome haze, each rendered with exaggerated contours that give the group a unified yet distinctly expressive presence. The work uses repetition, tonal contrast, and subtle distortion to explore how individuality and collective identity intertwine, forming a shared emotional rhythm across the composition.
Ben Folds Five
Ben Fold Five Original Painting 900mm wide x 1200mm high Approx.
A smiling performer emerges from a field of neon blue highlights, their expression sharpened by a single red beam shooting from the eye like a burst of charged intent. The work fuses portraiture with sci‑fi theatrics, using glowing colour and exaggerated energy to explore how charisma, power, and self‑projection can transform a simple gesture into something almost mythic.
Superheist
Superheist Original Painting 1200mm wide x 800mm high Approx.
Five blue‑tinted faces with glowing eyes emerge around a swirling vortex, their features marked by vein‑like patterns that heighten their uncanny presence. The work blends surreal portraiture with kinetic, graffiti‑like inscriptions to explore transformation, collective energy, and the charged momentum of a moment suspended between myth and event.
Bernard Fanning
Bernard Fanning Original Painting 900mm wide x 1400mm high Approx.
A singer leans into the microphone mid‑phrase, their form rendered in warm sepia tones as floating spherical shapes orbit around them like distant planets. The work blends performance and surrealism, suggesting how emotion, memory, and inner turbulence can spill beyond the body and reshape the space around a voice.
Kyuss - QOTSA
Kyuss - QOTSA Original Painting 800mm wide x 1000mm high Approx.
Two grayscale faces appear suspended in tension, each pierced by vertical purple rods that pass cleanly through their heads and necks, their hollow eyes and strained expressions echoing one another across the composition. The work uses mirrored distortion and intrusive structures to explore how pressure, legacy, and transformation can bind two identities within a single charged continuum.
Kyuss
Kyuss Original Painting 1600mm wide x 1000mm high Approx.
Four monochromatic portraits sit side by side, each rendered with careful shading that highlights their distinct expressions, textures, and presence. The work reads as a unified tribute, using realism and tonal harmony to explore how individual identities can collectively form a shared narrative of character, memory, or musical influence.
John Garcia
John Garcia Original Painting 800mm wide x 1000mm high Approx.
Four monochromatic portraits sit side by side, each rendered with careful shading that highlights their distinct expressions, textures, and presence. The work reads as a unified tribute, using realism and tonal harmony to explore how individual identities can collectively form a shared narrative of character, memory, or musical influence.
Jinjer
Tatiana - Original Painting 800mm wide x 1000mm high Approx.
A pale face with vivid red eyes and sharply defined lips emerges from soft airbrushed shading, its expression caught between intensity and theatrical poise. The work heightens contrast between monochrome form and electric colour to explore how emotion can be stylised into a charged, almost performative mask of presence.
Steve Waugh
Steve Waugh Original Painting 600mm wide x 900mm high Approx.
A stylised portrait presents a steady, weathered face beneath bold metallic lettering, its cracked textures and controlled shading giving the figure an almost sculptural gravity. The work treats the subject as an emblem of endurance, using surface fracture and iconic framing to explore how public identity is shaped through pressure, legacy, and myth‑making.
Mark Waugh
Mark Waugh Original Painting 600mm wide x 900mm high Approx.
These painting I know I met them and yes they did Autograph them. But I don't have the photo to prove it. Hard when they just spend 5 seconds signing it then gone.
A softly rendered portrait presents a calm, steady gaze beneath metallic lettering, the face emerging with subtle shading that gives it a quiet, grounded presence. The work treats the figure as an emblematic persona, using restrained realism and graphic framing to explore how recognition, memory, and identity can be distilled into a single iconic image.