Jennifer Letchet Paintings

My work explores fundamental elements of painting, the relationship between colour and line. I intend my paintings to affect the viewer optically with the illusion of shapes moving and receding. Colour theory is very important to my work. I use specific hues to symbolise ideas or emotions. The contained shapes on canvases seem more like objects than lines. My recent work explores natural and man-made disasters and the impact this has on our environment. I want to record the changing landscape through simplified shapes and colours.

Friday, 26 November 2010

Crit 1 with Geraint Evans and Edwina Fitzpatrick

I had my first studio crit yesterday with my group and the above tutors.  There were several interesting and thought provoking readings into my work.  The drawn shapes were seen as, "crumbling patches in the wall", that were appearing three-dimensionally or dissolving on the plane.  The unrecognisable shapes were seen to have individually different presences.  Viewers were unsure if the forms were sitting or floating on the plane.  Ideas of positive and negative space were thrown into the mix in an attempt to understand what they were seeing.  My most valuable feedback was that the work needed a title to help cipher its content.

The pieces were seen to take on a completely different guise once the shapes were known to be islands.  It was seen to affect the illusionary makeup of the work.  A title would need not to explain or describe but to give a new route in, to the concept and issues surrounding the work.  This confuses me as I consider myself to be a process painter/drawer.  Why would one impose a concept to a process?  Surely the process is the concept?  One cannot exist with the other, they are mutually exclusive.   If the process is not clear, then this is surely a crossroads I need to consider; to be a concept artist or a process artist?

The paintings were viewed in an orderly and systematic way due to my meticulous colour measurement.  In contrast to the drawings, they were more intuitive and emotionally felt.  I could perhaps use colour or numbers as a key to the forms in my work and to reference the ideas of mapping.  The work needs to be more fluid with an easily understandable narrative.  Maybe my islands could become a metaphor for wider issues, or would that destroy the integrity of the work?  Bah humbug.

No comments: