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.

Monday, 6 December 2010

18 Canvases (Part II)

I have drawn out the shapes for my series of eighteen canvases.  Each canvas has an individual island from the Faeroe Archipelago and a different colour combination in my experimentation with colour theory.  The one constant is that I have modified the scale to unify the sizes of the shapes, irrespective of reality.  This creates my own iconography; the islands, forms, turn into a visual language.  Almost my own alphabet.


In this piece I was using the complementaries violet and lemon yellow.  The violet is much darker and purer in hue to enhance the luminosity of the yellow.  I wanted the island to glow out of the darkness.


Again, I used complementaries magenta and green-blue, but I have used a grey version of green-blue to test if the effect will be similar.  I find that the magenta does not glow as the yellow did above.  It also does not advance out of the picture plane as I felt 1/18 did.  The grey appears to have a dulling effect.


Here I used a lighter background, but still complementaries (Green-blue and red-orange).  I think the green-blue needed to be greener for the effect to have truly worked.  However, I could have had an oranger form.  The lightness does not detract from the luminosity which was one of my main concerns.


With the success of 1/18, I wanted to see if I could go darker still.  What is darker than almost black? Black.  I feel this has been unsuccessful, the black does not interact with the orange as a blue would have done.  It flattens the image and has a dulling effect as the grey did in 2/18.


I did not want to solely concentrate on complementary systems.  Here I have used an analogous combination of red-orange and magenta.  The hues fight in a different way; they clash but they do not enhance one another.  This piece is hard to look at, in that way if fulfills my aim of destruction of the image.  The colours do not sit quietly, which combined with the blur, alters the form completely.  I ant to pursue these ideas further.


After my success with analogous hues, I tried out harmonious hues: violet and magenta.  The colours sit well together on the same plane.  The blur feels unnecessary here.  Out of all the paintings so far, this piece feels the easiest, the calmest, to view.  As a result of this, this pice fails to work optically.

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