Matt Griffin: An Architect of Mythic Worlds in Contemporary Art and Literature
I. Introduction: The Multifaceted World of Matt Griffin
A. Defining the Subject: An Irish Multimedia Artist and Author
Matt Griffin stands as an internationally recognized, award-winning multimedia artist and author from Ireland, distinguished for his profound contributions to the realms of fantasy and science fiction.1 His creative endeavors are remarkably expansive, encompassing evocative illustration, compelling literary works, dynamic animation, atmospheric music, and ambitious, immersive world-building projects.1 This report aims to provide an in-depth exploration of Griffin's career, his distinct artistic vision, pivotal works, and the philosophies that underpin his diverse and evolving creative output, drawing upon available information to illuminate the practice of this significant contemporary figure.
B. Navigating Namesakes: Clarification of Identity
In contemporary research, particularly within the digital sphere, the recurrence of names can present a challenge to precise subject identification. It is therefore crucial at the outset to distinguish the focus of this report—the Irish artist and author Matt Griffin, primarily associated with the online portal www.mattgriffin.art—from other talented individuals who share a similar name. The proliferation of creative professionals named Matt Griffin or Matthew Griffin across different geographical locations and artistic specializations highlights the necessity for careful delineation to ensure clarity and accurate attribution of works and achievements.
One such individual is Matt Griffin, a New Zealand-based contemporary artist. This artist specializes in realism, employing mediums such as oil, charcoal, and aerosol spray paint, and is known for significant public art commissions, including murals at Eden Park featuring Travis Scott, the Moa, and the Māori warrior Wahaakiaki.4 His work, showcased at www.mattgriffinsart.com, is distinct in style and thematic concern from the subject of this report.6
Another artist, Matthew Griffin, is based in Australia and engages with a different spectrum of artistic media, including sculpture, photography, video, installation, and collage. His exhibition history includes events such as "52 ACTIONS".9 Furthermore, a Matt Griffin is noted as the Senior Manager of New Media Communications at the University of Pennsylvania, operating in an entirely different professional field.10
This report will focus exclusively on the Irish artist and author Matt Griffin, whose oeuvre is characterized by its deep engagement with fantasy and science fiction themes, intricate illustration, and narrative depth. The presence of these namesakes serves not as a diversion, but as a pertinent reminder of the complexities of digital identity. In an interconnected world, establishing and researching a unique artistic identity requires precision. An expert-level analysis must proactively address such potential ambiguities to maintain credibility and offer a focused, accurate portrayal of its subject.
II. Biographical Landscape and Career Trajectory
A. Early Life and Formative Experiences
Born in Dublin, Ireland, Matt Griffin now resides in Ennis, Co. Clare, with his wife and three children.1 (While an earlier source mentions two daughters 11, more recent information from his official website indicates three children 1, suggesting this is the current family structure). His passion for the creative arts, particularly drawing and imaginative content found in books, films, and music, was ignited at a very young age.3 Indeed, he describes an obsession with drawing, an activity he likely engaged in daily from the moment he could hold a crayon.3 This early immersion in worlds of fantasy and science fiction laid a foundational bedrock for his future artistic endeavors.
Griffin's initial aspirations leaned towards becoming a fine artist. He attended art college for a year but ultimately dropped out, admitting a lack of full understanding at the time of what constituted a commercial or fine artist.3 This early departure from formal art education hints at a path that would be self-directed and shaped more by personal exploration and practical experience than by conventional academic trajectories.
B. A Non-Linear Path to a Creative Career
Griffin's journey into a full-time creative career was not direct. Before dedicating himself to art, he worked in diverse fields, including construction and bars, experiences that likely offered a contrasting perspective to the imaginative realms he would later professionally inhabit.3 A significant chapter unfolded when he moved to London. There, he spent five years at Sky Sports, initially in a non-creative capacity before "moonlighting" in their creative department, where he gained experience in storyboarding and using Photoshop. Subsequently, he worked for Channel 4 Music & Entertainment for two years, a role that involved interviewing pop stars, reviewing gigs, and designing T-shirts and graphics.3 During his time at Sky Sports, Jamie East, his boss and a former designer, served as a mentor and later hired him at Channel 4, providing valuable industry exposure.3
In 2008, Griffin made the pivotal decision to return to Ireland and pursue a career as a freelance illustrator. This bold move unfortunately coincided with the global recession, rendering his initial years as a freelancer particularly challenging.3
C. Building a Freelance Career: Perseverance and Breakthroughs
Despite the formidable economic headwinds of the 2008 recession, Griffin was "extremely determined" to forge his path as an illustrator.3 He began by taking on odd, low-paying gigs, which gradually became more frequent. Through sheer persistence and a slow, steady accumulation of work, he built a stronger portfolio, leading to an increase in the frequency and stature of his jobs.3 He credits a few "lucky breaks" that provided him with the space to experiment, hone his skills, and eventually secure an agent and a consistent flow of work.3 Throughout his journey, Griffin has emphasized the importance of diligent effort, unwavering dedication, and the continuous demonstration of improvement and potential as key ingredients for success in the creative field.15
Griffin's career trajectory is a compelling illustration of the resilient, self-made artist. He did not emerge from a traditional art school-to-professional pipeline but instead navigated a circuitous route, driven by an innate passion that persevered against considerable odds. His initial foray into freelance illustration during a severe economic downturn speaks volumes about his tenacity. This narrative underscores that while artistic talent is a prerequisite, it must be powerfully complemented by an unwavering resolve, adaptability, and a proactive approach to skill development and opportunity creation. His success is a testament not only to his artistic skill but also to a robust entrepreneurial spirit.
Furthermore, a closer examination of Griffin's biography reveals a recurring pattern where his personal passions have often, sometimes serendipitously, paved the way for significant professional opportunities. His lifelong engagement with drawing and imaginative content, his "moonlighting" in creative roles driven by interest, the genesis of The Ayla Trilogy from a publisher recognizing his affinity for Irish mythology, and the prestigious Dune cover project originating from a personal piece of art shared online—all point to a career deeply rooted in authentic interest rather than purely commercial calculation.3 This symbiotic relationship between personal exploration and professional advancement suggests that Griffin's most impactful career moves were often catalyzed by his pursuit of genuine interests, which subsequently attracted external recognition and commissions. This offers a powerful narrative about the potential for authentic personal work to serve as a potent catalyst for professional growth in the creative industries.
III. The Visual Alchemist: Artistic Works and Style
Matt Griffin has established himself as a prominent visual artist, particularly renowned for his contributions to the fantasy and science fiction genres across various media. His distinctive style and ability to evoke profound moods have garnered international acclaim and a diverse, high-profile clientele.
A. Commercial Illustration and High-Profile Clientele
Griffin's primary specialization lies in creating art for the publishing and film industries, where his work has adorned book covers, interiors, and promotional materials for some of the most recognizable names in speculative fiction and entertainment.1 His extensive client list is a testament to his standing in the field, featuring industry giants such as Disney, Lucasfilm, Warner Bros, Universal, Penguin Random House, The Folio Society, HarperCollins, Amblin Entertainment, Wired, Electronic Arts, Arrow Films, The Boston Globe, LA Weekly, Macmillan, Tor Books, Hachette, and Simon & Schuster.1
Among his most celebrated projects are the deluxe editions of Frank Herbert’s Dune series for Penguin/Ace, a commission that notably began after an art director saw a personal piece Griffin had created and shared online, underscoring the power of his self-initiated work.1 Another significant achievement is his work for The Folio Society's edition of Arthur C. Clarke’s Rendezvous With Rama, a project that aligns perfectly with his science fiction expertise.1 More recently, Griffin undertook a large advertising campaign for the crypto exchange Gemini, showcasing his versatility in applying his style to corporate branding.23 His ongoing relationship with the Dune universe continues with new cover art for the re-release of the Great Schools of Dune trilogy, including Mentats of Dune and Navigators of Dune.24 His portfolio also includes a wide array of other commercial illustrations for titles such as Princess of Dune, A Crash of Fate, Reanimator, The Caladan Trilogy, Pan's Labyrinth, Chosen Ones, 12 Monkeys, Sands of Dune, Oldboy, Werewolf in Riverdale, Ring, and The Republic Fair.1
The breadth and prestige of Griffin's clientele across different sectors of the creative industries can be effectively demonstrated in the following overview:
Overview of Matt Griffin's Major Client Categories and Selected Clients
Book Publishing Penguin Random House (Ace Books), HarperCollins, Tor Books, The Folio Society, Hachette, Macmillan, Simon & Schuster
Film & Entertainment (Studio & Home Release) Disney, Lucasfilm, Warner Bros, Universal Pictures, Amblin Entertainment, Arrow Films
Art Galleries/Collectibles Bottleneck Gallery (US), Vice Press (UK), Moor Art Gallery, Lineage Studios
Corporate/Advertising/Media Gemini, Wired, The Boston Globe, LA Weekly, Electronic Arts
B. Poster Art: A Cinematic Vision
Griffin is globally recognized for his licensed movie posters, creating highly sought-after limited-edition prints in partnership with esteemed galleries such as Bottleneck Gallery in the US, Vice Press in the UK, and Moor Art & Lineage Studios.1 These works often reimagine iconic films through his unique visual lens. His poster portfolio includes striking interpretations of classics and contemporary films alike, such as 2001: A Space Odyssey, Blade Runner 2049, Dune Part Two, Alien, Old Man Logan, Dune (2021), The Batman, The War of the Worlds (a piece noted for its textural complexity that reportedly challenged his computer's capabilities 16), David Lynch's Dune (1984), and Silent Running.1 A particularly notable achievement in this domain was his 30th Anniversary poster for Back to the Future, which garnered such high praise that Universal Pictures considered making it the official anniversary poster. This project led to discussions with Steven Spielberg and Robert Zemeckis, highlighting the impact of his cinematic interpretations.3
C. Personal Art Projects: Exploring Inner Worlds
Beyond his commercial commissions, Griffin dedicates significant creative energy to personal art projects, which are showcased on his website.1 These works, including pieces titled Strange Music, <\ctrl98>, PAROUSIA, PrexMachina, DragonRider, and IrlaOfRin, offer a glimpse into his unfettered artistic explorations.1 A prominent series of personal works is Other Seas / Other Suns. This collection is inspired by the abstract expressionism of Mark Rothko and the philosophical dimensions of science fiction, aiming to capture the profound feeling of unknown planets rather than adhering to scientific verisimilitude.3 These pieces are described as expressionist interpretations of the vast, uncharted territories of space.3
Griffin views personal work as critically important. It serves as a vital space for experimentation, enjoyment, and skill improvement, and, crucially, often acts as a conduit to new commercial opportunities.3 He has noted that nearly every significant job he secures can be traced back to a client citing a personal piece as the initial point of attraction.3
D. Motion and Animation: Bringing Stories to Life
In recent years, Griffin has expanded his creative toolkit to include 2D and 3D animation, a development that complements his focus on intellectual property world-building and his exploration of novel storytelling methods.1 He has created animated music videos, a notable example being for the Irish band Ships and their debut album "Precession." For this project, he taught himself Adobe After Effects, drawing inspiration from the aesthetic of 1970s and 1980s science fiction animations such as Fantastic Planet.3 He utilized Photoshop to create the visual elements and employed Red Giant plugins to achieve the desired vintage look.3 His official website includes a "Motion" section dedicated to showcasing various audiovisual works and experiments, indicating an ongoing engagement with this medium.1
E. Artistic Style, Techniques, and Tools
Griffin's artistic output is characterized by a distinctive and recognizable approach to visual storytelling.
Style: A primary objective in Griffin's work is the delivery of "one hundred percent mood".3 His illustrations aim to heighten the existing atmosphere of a narrative or film, giving visual form to often unnamed or subtle feelings. He maintains a painterly quality in his digital work, having consciously moved away from traditional line work as a primary stylistic choice, though he remains open to revisiting it if a project calls for it.3 His use of color is often bold and experimental; he frequently plays with layer blends to achieve the desired chromatic effect.3 Texture is another key element, with pieces like his War of the Worlds poster being so texturally rich they reportedly pushed his computer to its limits.16 Typography is often skillfully integrated into his designs, and he sometimes creates his own custom typefaces, viewing typography as a vital component in conveying the essence of a story or film.3 His overall graphic style is dynamic, capable of shifting from realistic and dramatically lit compositions to sharper, more graphic interpretations.3 While capable of capturing likenesses, he often prefers to focus on mood and gesture to convey character.3
Techniques & Process: Griffin's creative process typically begins with thorough visual research related to the brief. This is followed by scribbling words and creating thumbnail sketches in a notebook until a compelling idea emerges. This initial concept is then refined through more detailed sketches, often in collaboration with an art director who provides feedback, before the final artwork is created.12 When working on film-related projects, he immerses himself in the source material, watching the film multiple times while taking notes and capturing screenshots for reference.3 His approach is often described as "on the fly," allowing elements to develop organically rather than adhering to a meticulously pre-planned structure.3 He employs a hybrid approach, combining traditional techniques, such as ink play for creating unique textures, with a robust digital workflow.3
Tools: Griffin is proficient in a suite of industry-standard software, including Adobe Photoshop, Procreate, Adobe Illustrator, Adobe After Effects, and Adobe InDesign.17 He typically uses an iPad Pro for preliminary work, transitioning to Photoshop for finishing touches.3 He has also incorporated Blender, a 3D software, into his toolkit, finding it transformative for understanding and rendering lighting and form.3 His physical studio setup reflects this blended approach, with two desks: one dedicated to traditional drawing and painting, and another for his computer-based work.3
Pseudonym: To maintain stylistic coherence within his primary portfolio, Griffin sometimes uses the pseudonym "Ignatius Fitzpatrick" for work that is more cartoonish and inspired by mid-century aesthetics. This allows him to explore different visual avenues without diluting the brand associated with his main body of work.3
A defining characteristic that emerges from Griffin's diverse visual output is his deliberate and masterful cultivation of "mood." This transcends mere technical proficiency; it represents a core philosophical approach to illustration where emotional resonance and atmosphere are paramount. His work frequently prioritizes these elements over literal representation or precise character likeness. The aim is to evoke a distinct feeling, a palpable sense of place, or an untold story encapsulated within a single, resonant frame. Whether illustrating distant, imagined planets in his Other Seas / Other Suns series or interpreting the essence of a film, Griffin acts as a "mood merchant," offering viewers not just an image, but an immersive emotional experience.
Furthermore, Griffin's artistic practice reveals a sophisticated understanding of the strategic symbiosis between personal artistic exploration and commercial viability. His commitment to personal projects, such as the initial Dune-inspired art or the Other Seas / Other Suns series, serves not only as an outlet for his creative impulses but also as a crucible for developing unique styles and concepts. These self-initiated explorations have consistently attracted high-profile commercial clients, demonstrating a potent feedback loop where passion projects directly fuel professional success. The fact that "nearly every job" can be traced back to a personal piece underscores that his personal work is not a mere sideline but an integral component of his professional strategy, functioning almost as a research and development arm for his commercial art. This mature artistic practice illustrates that creative freedom and market awareness are not mutually exclusive but can be mutually reinforcing, particularly when guided by a distinct and authentic artistic voice. His use of a pseudonym for different styles further supports this strategic management of his artistic brand and output.
IV. The Weaver of Words: Literary Contributions
Parallel to his acclaimed work in visual art, Matt Griffin has forged a significant path as an author, most notably with his award-winning young adult fantasy series, The Ayla Trilogy. This foray into literature fulfills a long-held ambition, inspired in his youth by J.R.R. Tolkien's illustrated edition of The Hobbit, which instilled in him the desire to create his own worlds through both words and pictures.3
A. The Ayla Trilogy: An Award-Winning Debut
The Ayla Trilogy, published by O'Brien Press, comprises three novels: A Cage of Roots (2015), which marked his debut as a novelist; Storm Weaver (2016); and The Spiral Path (2017).1 A distinctive feature of this series is Griffin's dual role as both author and illustrator; he designed all aspects of the books, from the covers to the interior illustrations and chapter headers, ensuring a cohesive artistic vision.1
The trilogy is situated within the young adult dark fantasy genre and draws heavily from the rich tapestry of Irish mythology.3 It delves into profound themes such as fear, danger, hope, courage, the complexities of friendship, betrayal, the awakening of latent powers, and the inexorable pull of destiny.11 The narrative style is characterized as fast-paced, highly imaginative, and occasionally humorous, with Griffin's own "creepy black and white illustrations" enhancing the eerie and atmospheric quality of the stories.15 The genesis of the series came about when a publisher, aware of Griffin's deep interest in Irish mythology and his penchant for darker imaginative themes, invited him to pitch a story. A simple, rough sketch of an evil king composed entirely of roots served as the catalyst for A Cage of Roots.3 The debut novel was originally titled Aela & The Red Root King, but the name was later changed for marketing considerations and to ensure phonetic accessibility for non-Irish readers.3
The Ayla Trilogy garnered significant critical acclaim. Most notably, A Cage of Roots was named Children’s Book of the Year 2017 in the 9-11 age category by the Literacy Association of Ireland (LAI).1 Reviews praised the series, with some comparing it favorably to Neil Gaiman's Coraline.26 It has been described as a "modern fairy tale," "compelling," "captivating," and an "excellent midnight read," with particular commendation for its "atmospheric illustrations".15 Despite finding the process of writing challenging, Griffin expresses a deep love for it, viewing it as the realization of a lifelong dream.3
Griffin's dual role as author and illustrator for The Ayla Trilogy represents more than a mere combination of disparate skills; it embodies a synergistic and holistic approach to storytelling. His capacity to conceive and execute both the narrative and its visual dimension allows for the creation of a uniquely cohesive and immersive world. The text and images are not separate entities but are deeply interwoven, mutually reinforcing the themes and atmosphere of the story. This integrated vision, where a single artistic sensibility guides both word and picture, likely contributes significantly to the "atmospheric" quality so frequently praised by reviewers. His own statement, "Draws pictures, writes stories and vice versa," coupled with his method of writing visually and imbuing his drawings with narrative hints, further underscores this unified creative process.12 The result is a richer, more unified reader experience than might be achieved if the roles of author and illustrator were bifurcated.
Furthermore, Griffin's engagement with Irish mythology in The Ayla Trilogy and its pervasive influence on his broader artistic work positions these ancient narratives not as static historical relics but as a dynamic and living wellspring for contemporary dark fantasy. He does not merely retell old tales; he reinterprets and reimagines these myths for a modern young adult audience, demonstrating their enduring power and adaptability in a new context.3 This active engagement, blending ancient lore with modern storytelling sensibilities—evidenced by comparisons to contemporary authors like Gaiman—results in the creation of something fresh and relevant. It highlights the continuing cultural resonance of these foundational myths when filtered through a skilled and imaginative contemporary creative lens.
B. Other Writings and Future Literary Projects
Beyond The Ayla Trilogy, Griffin has several other literary projects in various stages of development, though some are currently shelved. These include novel ideas such as The Voidonaut, which is conceived as part of the same overarching story as his graphic novel The Endling; Ghost Music, a concept blending organized crime with occult themes; The Last Door of Talun, which explores a magical Irish "underworld" that has evolved alongside humanity; and a young adult book titled Anything, Brother, centered on two brothers navigating grief through virtual reality therapy.3 His graphic novel, The Endling, remains an active development project and is intrinsically linked to his larger multimedia universe, The Endling Saga.3
V. The Endling Saga: An Expanding Multimedia Universe
Launched after the completion of his third book in 2017, The Endling Saga represents Matt Griffin's most ambitious and expansive creative undertaking to date. It is conceived as an "epic, genre and media-fusing story universe" and a significant "IP world-building" project, described by Griffin as a "slow-burner, a labour of love".1
A. Concept and Inspiration
The Endling Saga aims for an "AllMedia" approach, transcending the traditional boundaries of "MultiMedia" to encompass a diverse range of creative forms, including books, comics, art, animation, and games.20 The project draws inspiration from a wide array of sources: expansive "sandbox IPs" (with Star Wars cited as a benchmark), the philosophical complexities of simulation theory, the fundamental principles of physics, and even the aesthetics and mechanics of motorcycles.27 Griffin characterizes the saga as a "love letter to stories, dreams & myths," embracing influences from pop culture, Choose-Your-Own-Adventure books, epic fantasy tomes, anime, puzzles, philosophy, films, gaming, theology, and an eclectic mix of visual motifs like "weird helmets, real dragons & sentient motorcycles".20 A core tenet of the project is the view of pop culture not merely as entertainment but as a form of high art—a contemporary mythology through which humanity tells itself stories, ranging from pure escapism to profound creation myths.27
B. Multimedia and Interactive Nature
True to its "AllMedia" vision, the narrative of The Endling Saga is designed to be told in any genre, through any medium, and in any conceivable way.20 A dedicated website, TheEndlingSaga.io, serves as the central hub for this expanding universe.20 The worlds within the saga are intended to reveal themselves in pieces, creating a "rabbit-hole" experience where deeper engagement leads to greater understanding.20 This fragmented narrative is unified by "dot-connectors"—common terms, names, or objects that appear across different story strands, encouraging the audience to actively piece together the larger tapestry.20
An interactive dimension is introduced through "Unlockables," a feature that grants exclusive extra content to individuals who hold digital art from the saga in their digital wallets. This element suggests a community-focused or collector-driven component, fostering a more direct and potentially gamified interaction with the evolving narrative.20 The project also incorporates "SAGAWORLD," a curated collection of works by various artists from diverse creative disciplines, each offering their unique interpretation of the ideas and themes presented within The Endling Saga.27 Griffin himself humorously includes a quote, attributed to ChatGPT, which praises the saga as "a testament to the evolving nature of storytelling in the digital age, blending traditional narrative elements with interactive and community-driven components...inviting audiences to not just consume the story but to become a part of it".20
C. Narrative Elements and World-Building
The Endling Saga focuses thematically on the importance of myths to the human condition and explores the idea that reality and fantasy are, in essence, one and the same.20 Narrative glimpses are offered through various means; an excerpt from a novel-in-progress titled 'High Wail Rook' introduces a bleak, challenging region called "The Souse" within "High Wail".27 The official saga website features a glossary to elucidate specific terminology, such as 'K’wathlegonx,' indicating a meticulously constructed world with its own unique lexicon and lore.20 The character known as "The Endling," featured in Griffin's Artist Shop, originates from a graphic novel he is currently writing, which is itself part of this larger saga.11 This graphic novel is planned for simultaneous release with a novel titled The Voidonaut; these two works will feature intertwining yet independently readable stories. The world of The Endling graphic novel is described as a blend of medieval Japanese feudalism and a toxic environment where characters must wear protective helmets.3
The Endling Saga appears to function as more than just another creative endeavor for Griffin; it signifies a capstone project, a deliberate and ambitious attempt to synthesize his diverse array of creative passions and skills—illustration, writing, animation, potentially music (given his musical work and references within the saga's inspirations), and his profound interest in world-building—into a single, cohesive, and overarching artistic statement.1 His aspiration to create his own "sandbox IP," akin to universes like Star Wars, suggests a desire to craft a legacy project where he can fully leverage his multifaceted talents without the constraints typically imposed by a single medium or specific client briefs. It is, in essence, the ultimate personal project, aiming to define a significant part of his artistic identity.
Moreover, the very structure of The Endling Saga, with its "rabbit-hole" discovery model, "dot-connectors" that invite interpretation, and "unlockables" tied to digital ownership, signals a significant evolution in Griffin's storytelling philosophy. This framework moves beyond traditional linear narratives, actively encouraging audience exploration, interpretation, and even a form of co-creative engagement through community interaction and collection.20 The project seems designed to foster a community of active explorers and interpreters rather than passive consumers of content. This approach reflects contemporary trends in digital storytelling and intellectual property development, where audience engagement and fan participation are highly valued, marking a notable progression from his more conventional book or illustration work.
VI. Domum Novum: Musical Explorations
Matt Griffin's creative expression extends into the realm of music, primarily through a project titled "Domum Novum," released under the moniker "Our Wanderer".3 This musical endeavor is not isolated but is intricately woven into his broader narrative and world-building ambitions.
A. The "Our Wanderer" Project
The music of "Domum Novum" is characterized by Griffin as "demos," originally recorded on an iPad in a home environment, complete with the ambient sounds of a household with young children.28 He notes that these recordings are full of "happy accidents," such as the incidental capture of his children's voices, which, through processing, became integral sonic elements. He considers these imperfections and unique circumstances—including his own admission that he can no longer remember how to play the instrumentation—as essential to the honesty and irreproducible nature of the tracks.28 Song titles from this project include "Other Seas, Other Suns," "Throw The Roots," "Our Wanderer," "Sever The Anchor," "Memory, Endlessly," "Home, Home," and "Three Moons".28 Initially hesitant to share these raw recordings due to perfectionist tendencies, he has since embraced their imperfect authenticity.28
B. Thematic Connections and Narrative Intent
The "Domum Novum" project was conceived as part of a larger philosophical science fiction concept that was also intended to manifest as a book, a short film, and an art exhibition, showcasing Griffin's multimedia vision.3 Its deep connection to his overarching narrative work is further evidenced by its inclusion within The Endling Saga website, which features a dedicated "Domum Novum" section.29 The lyrics of the songs contain distinct narrative elements that appear to belong to this universe: they tell of a character named Peregrinus, chosen for a perilous, memory-wiping mission essential for humanity's survival, who becomes the first to witness the enigmatic Three Moons and the formidable Nightcutter mountains.29 Themes of sacrifice, memory loss, and the exploration of strange new worlds are palpable in these lyrical fragments. The shared title of the song "Other Seas, Other Suns" with his art series of the same name further suggests a deliberate cross-pollination of ideas and themes across his different creative outputs.
The "Domum Novum" music project, therefore, functions as far more than a standalone musical diversion. It serves as an integral and evocative layer within Griffin's comprehensive world-building efforts, particularly for The Endling Saga. The raw, unpolished, and deeply personal nature of the recordings, as described by Griffin himself, imbues the lore he is crafting with an additional layer of authenticity and emotional depth.28 These "happy accidents" and sonic imperfections become part of the very texture of the fictional world, making it feel more tangible, lived-in, and resonant. The music acts as another "piece" in the intricate "rabbit-hole" of The Endling Saga, offering auditory clues, atmospheric underscoring, and emotional context that might not be as readily conveyed through purely visual art or textual narratives alone.
VII. Influences, Philosophy, and Creative Process
Matt Griffin's rich and varied creative output is shaped by a wide array of influences, a distinct artistic philosophy, and a disciplined yet adaptable creative process.
A. Key Influences
Griffin's work is deeply informed by several key areas:
Science Fiction: The science fiction of the 1970s and 1980s—across films, animations, and book covers—stands as a monumental inspiration, particularly works that delve into philosophical themes. Films like Stanley Kubrick's 2001: A Space Odyssey, Ridley Scott's Blade Runner, and Douglas Trumbull's Silent Running are frequently cited.3
Irish Folklore & Mythology: This is a foundational influence, described as a "bottomless well of stories" readily accessible from his youth in Ireland. His favorite myth is The Tain, featuring the hero Cú Chulainn, and this heritage deeply permeates his work, especially The Ayla Trilogy.3
Visual Artists: His artistic lineage includes:
Early inspirations: J.R.R. Tolkien's own illustrations in The Hobbit and various evocative fantasy book covers.12
Teenage years: The world of comics, especially 2000AD and artists like Simon Bisley, Kevin O’Neill, and Cam Kennedy.12
Later development and illustration focus: A diverse list including Harry Clarke, Jack Kirby, Chris Foss, Roger Dean, Moebius, John Harris, Kilian Eng, Charley Harper, and Eyvind Earle.12 He also admires Syd Mead and the vintage sci-fi covers of Josh Kirby.11
Contemporary peers: Kilian Eng (whom he views as a natural successor to Moebius), Dan McPharlin, Pascal Blanche, and Ash Thorp.11
Specific inspirations: Mark Rothko for the abstract qualities of his Other Seas / Other Suns series 3, and Jeffrey Alan Love for his dedication to personal work.3
Authors: His literary palate is rich, including Roald Dahl, J.R.R. Tolkien, C.S. Lewis, Ursula K. Le Guin, Iain M. Banks, Clive Barker, and Frank Herbert (Dune).3 More contemporary authors he appreciates include Neil Gaiman, David Mitchell, and Liu Cixin.11
Filmmakers and Films: Beyond the key sci-fi films, he cites David Lynch's adaptation of Dune, 1980s children's fantasy films like The Dark Crystal, Labyrinth, Legend, and The Goonies, and Ridley Scott's Alien as formative cinematic experiences.3 Brad Bird's The Iron Giant is another film he particularly admires.3
Other Fields: Griffin also draws inspiration from physics (particularly quantum mechanics and theories of multiple universes), philosophy, and music, noting that his three older brothers were deeply involved in music, providing an early and immersive education.3
B. Artistic Philosophy
Several core tenets define Griffin's approach to his creative work:
Primacy of Mood and Atmosphere: A central aim is to achieve "one hundred percent mood" in his visual art.3 He is particularly drawn to science fiction that "gets philosophical," indicating a desire for depth beyond surface aesthetics.3
The Value of Personal Work: He considers personal projects to be of "paramount importance." They serve as a vital space for experimentation, skill enhancement, and creative refueling, and have consistently opened doors to significant commercial opportunities. A long-term goal is to transition towards personal work becoming his primary source of income.3
Commitment to Continuous Learning and Evolution: Griffin believes that artistic stagnation results from repetitive creation. He champions the importance of "play," experimentation, and the exploration of new techniques to keep his work fresh and to continually grow as an artist.3 His mantra is to work hard, keep learning, and create work that genuinely inspires him.11
Storytelling Across Media: His identity as a storyteller is not confined to a single medium. His self-description, "Draws pictures, writes stories and vice versa," reflects an integrated approach where he writes with a visual sensibility and imbues his images with narrative depth.12 He perceives all his creative outputs—art, animation, music, and writing—as originating from the same fundamental impulse to tell stories.3
Exploring the Interplay of Reality and Fantasy: Griffin is fascinated by the notion that perceived reality may not be the entirety of existence.3 This thematic interest is evident in The Endling Saga, which explores the concept of reality and fantasy being intrinsically linked.20
The Creative "Flow" State: He values achieving a state of "flow," where creative work unfolds effortlessly and intuitively, a sensation he experiences in both his visual art and music.3
Advice to Aspiring Creatives: Griffin advises hopefuls to diligently hone their skills, learn their craft, and dedicate a vast amount of work to their development. He stresses that demonstrating potential through hard work and consistent improvement is key to attracting opportunities.15 Furthermore, he emphasizes the need for "staying power" in a demanding profession, encouraging artists to focus on enjoying and improving their work, seeking diverse inspiration, and maintaining professionalism by being personable and meeting deadlines.3
C. Creative Process (Recap)
Griffin's daily creative process, when circumstances allow, is quite regimented. It ideally includes exercise, meditation, reading (often on physics), and then engaging in "ink play" at his drawing desk.3 However, he acknowledges that this ideal routine is often disrupted by the realities of family life with children and pressing deadlines. His general workflow for a commission involves initial research, generating thumbnails and ideas, developing refined sketches (often with art director feedback), and finally, creating the polished artwork.12 His technical approach is a hybrid, seamlessly blending a digital workflow (utilizing tools like the iPad Pro, Photoshop, and Blender) with traditional elements, particularly the creation of ink textures.3 His writing process often involves walking, during which he visualizes the story unfolding in his mind.11
Griffin's extensive list of influences and his clearly articulated artistic philosophies reveal an artist deeply committed not merely to the aesthetic spectacle often associated with fantasy and science fiction, but also to their profound capacity for philosophical inquiry. He is consistently drawn to works that "question our place in the cosmos" and explore substantive themes, suggesting that his own creative output consciously aims for a similar synthesis of imaginative wonder and intellectual depth.3 This positions him as a "philosophical fantasist," one who skillfully employs the conventions of genre to pose and explore deeper questions about existence, reality, and the human condition.
Furthermore, Griffin's career powerfully demonstrates an alchemical process where deeply personal, often experimental, creative endeavors are consistently transmuted into significant commercial successes and pivotal career advancements. This trajectory challenges the frequently perceived dichotomy between "art for art's sake" and "commercial work." For Griffin, these two spheres appear to exist in a dynamic and mutually beneficial relationship, where authenticity and a unique personal vision are not only creatively fulfilling but also highly marketable.3 His uncommissioned, passion-driven creations function not just as portfolio pieces but as potent attractors for high-level commercial work that resonates with his intrinsic interests. This suggests that investing in one's singular vision and diligently pursuing personal creative projects can be a more effective long-term strategy for achieving both career fulfillment and commercial success in the creative industries than solely chasing prevailing trends or conforming to client demands. It highlights the inherent commercial value of a distinct artistic voice that has been carefully cultivated through dedicated personal exploration.
VIII. Recognition and Impact
Matt Griffin's contributions to both the visual arts and literature have been recognized through numerous prestigious awards, features in prominent publications, and affiliations with key industry organizations. This acclaim underscores his significant impact and standing within the international creative community.
A. Awards and Accolades
Griffin has received notable awards for both his literary and illustrative work, a rare distinction that highlights his versatile talents:
Table 3: Key Awards and Recognitions for Matt Griffin (Irish Artist & Author)
YearAward/RecognitionAwarding BodyWork (if specific)2013Commendation - Illustrated CampaignICAD AwardsIllustrated Campaign2014'Illustrators 56' Annual & ExhibitionThe Society of Illustrators (NY)2014NY Pro Illustration Awards3x3 Magazine2014CQ:38 Runner-UpCreative Quarterly2016Pro Illustration Awards - Merit3x3 Magazine2016Pro Illustration Awards - Honourable Mention3x3 Magazine2017Children's Book of the Year (9-11 age category)Literacy Association of Ireland (LAI)A Cage of Roots2018'Illustrators 61' Annual & ExhibitionThe Society of Illustrators (NY)
Sources for table data: 1
This dual validation—achieving critical acclaim in the demanding fields of children's literature with the LAI Book of the Year for A Cage of Roots, and simultaneously earning repeated recognition from esteemed international illustration bodies like The Society of Illustrators and 3x3 Magazine—is particularly noteworthy. It is uncommon for an individual to attain such a high level of peer-reviewed success independently in both writing and illustration. This underscores Griffin's exceptional versatility and signifies a profound mastery across two distinct, yet for him interconnected, creative disciplines. It speaks to a depth and breadth of talent that transcends the confines of a single medium, positioning him as a uniquely impactful multimedia storyteller.
B. Features and Publications
Griffin's work has been widely featured in numerous influential online and print publications, further attesting to his visibility and impact. These include The Hollywood Reporter, Tor.com (a major platform for science fiction and fantasy), io9.com, Sci-Fi-O-Rama, Threadless, Slashfilm, Evil Tender, Creative Bloq, From Up North, UFunk.net, and Geek-Art.net, among others.1 His illustrations have also been published in curated collections such as Geek-Art Anthologie Volume 3 and the ARTtitude / Poster Spy - Alternative Movie Poster Collection (2016).17
C. Professional Affiliations
Matt Griffin is an active member of key professional organizations within the illustration community, including Illustrators Ireland and The Association of Illustrators (AOI).11 For his international endeavors, particularly in the US market, he is represented by Shannon Associates, New York.17 These affiliations signal his engagement with the broader professional landscape of illustration and provide platforms for advocacy, networking, and continued professional development.
IX. Exhibitions and Public Engagement
While Matt Griffin's work enjoys significant visibility through various channels, information regarding his participation in formal art exhibitions requires careful consideration and distinction from artists sharing his name.
A. Formal Exhibitions
Direct information about solo or group exhibitions specifically for the Irish artist Matt Griffin is relatively sparse within the reviewed materials. His official website, mattgriffin.art, in its "About" section, indicated that information regarding exhibitions was "unavailable in the document" at the time of one query, and a dedicated /exhibitions page was inaccessible during another attempt.1
However, his Behance profile and other sources confirm his inclusion in the Society of Illustrators (NY) 'Illustrators 56' Annual & Exhibition in 2014 and the 'Illustrators 61' Annual & Exhibition in 2018.18 These are prestigious juried annuals that inherently include an exhibition component, representing significant public showings of his work within a professional context. An interview conducted in 2017 (published 2019) mentioned he had a desire to work on a Folio Society publication and was also, at that time, reportedly working on an image for a 2000AD exhibition, suggesting potential involvement or plans for such events, though concrete follow-up details on this specific exhibition are not provided in the available materials.12 It is important to distinguish these from the extensive exhibition histories of Matthew Griffin, the Australian artist 9, and Matt Griffin, the New Zealand-based painter.7 Griffin himself has expressed a "dream goal" of curating an immersive exhibition for his Other Seas / Other Suns series, which would integrate his art with music and animation.3
B. Public Art (Distinction from NZ Artist)
It is crucial to reiterate that the murals located at Eden Park in New Zealand—featuring Travis Scott, a Moa, and the Māori warrior Wahaakiaki—are the work of a different artist named Matt Griffin.4 This artist is based in Auckland, New Zealand, and specializes in realism and oil painting, a style and thematic focus distinct from the Irish Matt Griffin who is the subject of this report.
C. Online Presence and Accessibility
Matt Griffin maintains a robust and accessible online presence, which serves as a primary avenue for public engagement with his work. His official website, www.mattgriffin.art, is a comprehensive portal showcasing his diverse portfolio across categories such as Commercial, Posters, Personal, Motion, and Stories. The site also features integrated print and digital stores, allowing direct purchase of his artwork.1 He is active on various social media platforms, including Twitter (@mattgriffinart), Behance, and ArtStation, providing regular updates and insights into his projects.17 Numerous interviews published on prominent websites like Tor.com, Sci-Fi-O-Rama, Evil Tender, and Threadless offer valuable insights into his artistic process, philosophies, and career journey.3 Furthermore, prints of his work and other merchandise are available through his own online stores and via established art galleries specializing in genre and pop culture art, such as Bottleneck Gallery and Vice Press.1
While the Irish Matt Griffin's documented participation in traditional gallery exhibitions appears limited (with the notable exception of the Society of Illustrators shows), his work achieves widespread public visibility and accessibility through a multitude of commercial and digital channels. Book covers, film posters, and licensed art prints sold via specialized galleries and his own online platforms ensure his art reaches a broad and often dedicated audience. This career model suggests a strategic prioritization of channels that align effectively with genre art and illustration, directly engaging fanbases and collectors rather than relying predominantly on the conventional fine art gallery system for exposure. This approach leverages the power of mass-market distribution and specialized niche markets, ensuring his distinctive vision is widely seen and appreciated.
X. Conclusion: The Evolving Narrative of Matt Griffin
A. Synthesizing a Multimedia Visionary
Matt Griffin of Ireland has firmly established himself as a significant and multifaceted creative force, carving a distinct and respected niche within the international realms of fantasy and science fiction. His career is a testament to a rare mastery across multiple domains: from evocative, mood-drenched illustration that has graced the covers of iconic books and reimagined beloved films, to award-winning literature that weaves Irish myth into compelling contemporary narratives, and increasingly, into the dynamic fields of animation and atmospheric music. His unique strength lies in an innate ability to seamlessly blend atmospheric artistry with potent, engaging storytelling, creating worlds that are both visually stunning and narratively rich.
B. The Trajectory of an Innovator
The ongoing development of ambitious, large-scale projects like The Endling Saga signals more than just continued productivity; it represents a potential culmination of Griffin's artistic journey thus far and a bold, forward-looking endeavor into the future of multimedia, interactive storytelling. This project, in particular, showcases his ambition to synthesize all his creative passions into a cohesive, expansive universe. His impact on contemporary illustration, especially within the speculative fiction genres, is undeniable, and his work consistently pushes the boundaries of how stories can be conceived, told, and experienced by audiences. Underlying these artistic achievements are the foundational qualities of resilience and unwavering dedication, which have characterized his non-linear path to international recognition.
C. Future Horizons and Continued Engagement
Griffin's future aspirations include dedicating more time to his personal work, the long-held dream of illustrating a book for The Folio Society (a goal partially realized with Rendezvous With Rama), and, centrally, the continued development and unfolding of The Endling Saga.3 For enthusiasts and scholars alike, continued engagement with his evolving body of work is facilitated through his official website, his active presence on social media, his direct-to-consumer print and digital stores, and the anticipated announcements of new projects.
Ultimately, Matt Griffin emerges as a dynamic and continually evolving creative force. His work is an invitation into richly imagined, deeply felt worlds, crafted by an artist who is not content to operate within the confines of a single medium but instead seeks to express his singular vision through every narrative tool at his disposal. He embodies the concept of a "total artist" for the digital age, one whose creative drive fluidly traverses illustration, writing, animation, music, and interactive digital experiences. His career demonstrates how an artist can construct a cohesive and recognizable universe of work that is simultaneously deeply personal and commercially resonant, leveraging diverse platforms to engage audiences in multifaceted and increasingly immersive ways. This holistic approach, combined with an evident entrepreneurial spirit and remarkable adaptability, positions Matt Griffin as a compelling model for contemporary artists navigating the expansive possibilities of the 21st-century creative landscape.