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, 31 January 2011

Midterm Assessment Work

This is what my work looked like for the assessment.  I showed an older piece, Catalogue of Shapes (November 2010), an installation drawing which details shapes I have collected and drawn from satellite imagery.  The images have been numbered and there is a corresponding list of the islands' names.  The islands are not made up, they exist in reality, but their names are not typical of islands and suggest other narratives.  I like this essence of confusion, of interpretation.  This is the list of the islands:



1. Hestur
2. Litla Dimun
3. Suouroy
4. Fugloy
5. Gjogv
6. Skuvoy
7. Nolsoy
8. Stora Dimun
9. Mykines
10. Kirkjubour
11. Esturoy
12. Sandoy
13. Svinoy
14. Botyoy
15. Kunoy
16. Nolsoy (Detail)
17. Kalsoy
18. Vagur
19. Viyoy
20. Botyoy (Detail)
21. Stremoy
22. Svalbard
23. Inner and Outer Hebrides
24. St. Kilado
25. Fernando de Norinha
26. Philippines: Mindoro
27. Singo del Norte
28. Samar
29. Catanduares
30. Belcher
31. Prince Patrick
32. Ellef Ringres
33. Melville
34. Victoria
35. Baffin
36. King Christian
37. Axel Heiberg
38. Bylot
39. Coats
40. Somerset
41. Banks
42. Bathurst
43. Prince of Wales
44. King William
45. Ellel Ringres
46. Byam Martin
47. Southampton
48. Losap
49. Etal
50. Satalian Atoll
51. Dahlak

The second piece is a 9 part drawing, which is meant to be part of a whole.  This drawing is titled Possibility (January 2011) and is based on the random selection of numbers (through throwing a die 100 times for each canvas).  The idea is that through this process I have systematically designed a pure form which is like no other.  The canvases are read from left to right, with Part I having no co-ordinates i.e. no die was thrown, therefore no co-ordinates were set, and no line was drawn.  This shows of the shape being dependent on numbers.  The numbers (co-ordinates) were displayed to the left of the piece.  The idea behind this was to have the code, there was the possibility you could decipher it.  However, I set myself rules to ensure I did not intuitively draw.  Its like algebra, I gave the viewer only 2 of the 3 parts of the puzzle:
x + y = z (or code + rules = form)



















This is the code for the wall based drawing:



Part I

Part II:
1,15 10,4 18,10 11,19 6,10 6,5
9,15 12,18 15,18 5,12        12,14 15,3
15,11 13,18 8,18        19,15        10,5 14,2
5,11 8,16 14,5        4,19        14,4 9,11
17,18 6,17 4,11        2,16        7,4 6,11
15,20 10,15 6,13        6,18        4,11 15,17
15,20 18,4 2,14       12,18        1,13 14,16
2,15 17,13 8,17       15,2       12,17 3,20
10,9 5,18

Part III:
9,15 4,10 3,16 14,14 10,9 19,10
18,5 10,17 17,10 8,20         2,4 20,17
17,15 6,16 6,19 6,20         2,1 8,18
15,17 6,6 6,13 11,8        10,16 5,2
12,19 11,1 9,10 7,5        13,4 17,7
7,16 16,9 12,8 10,12        15,12 8,20
18,4 16,13 11,15 5,18        11,14 6,1
13,15 10,16 1,8 10,10 7,3 19,17
6,19 4,11

Part IV:
9,4 3,1 13,12 19,2 16,2 15,18
11,8 3,7 12,9 12,2 19,15 3,11
1,8 2,14 6,12 16,14 6,6 17,15
8,19 10,10 18,8 1,5 10,11 15,5
2,16 3,18 8,11 2,5 6,11 16,11
16,7 15,12 1,15 9,11 18,8 11,8
10,11 19,11 7,8 9,2 20,12 9,18
16,4 17,6 20,6 11,16 18,15 14,5
2,3

Part V:
18,20 13,15 18,7 11,10 10,2 9,18
15,10 20,5 7,19 15,12 8,10 9,4
10,13 9,16 11,15 16,14 20,11 6,5
16,9 19,12 1,15 6,5 4,1 12,9
4,1 3,19 5,2 16,9 16,3 19,20
9,16 16,19 8,9 10,2 3,16 5,16
11,6 4,3 4,9 9,9 4,5 9,9
11,19 10,16 10,7 4,14 12,6 20,6

Part VI:
6,2 12,20 3,16 4,17 18,3 4,20
6,1 19,5 6,8 10,17 17,15 2,3
14,5 17,17 18,14 3,18 15,9 11,14
14,11 12,8 9,1 5,15 16,3 10,12
5,12 14,3 512 4,3 6,17 13,16
9,16 11,14 9,19 7,5 12,14 11,18
9,8 18,3 13,13 15,6 4,7 6,17
16,5 17,2 15,8 5,3 5,6 18,12
12,1 12,7

Part VII:
11,14 7,11 6,3 13,8 12,8 7,15
8,9 7,20 18,9 3,13 14,1 15,10
3,14 19,19 3,2 18,1 4,5 12,8
17,1 11,17 4,11 11,7 3,15 17,5
10,4 7,3 3,3 6,20 10,14 9,3
10,20 9,17 15,12 3,10 10,20 18,20
7,11 3,11 14,16 9,12 3,5 13,14
16,5 15,1 8,18 17,7 1,20 20,10
2,4 6,17

Part VIII:
17,9 3,2 8,4 1,12 9,3 17,16
19,3 7,7 5,16 6,15 2,7 11,19
16,14 15,15 1,13 12,10 6,12 4,8
9,15 12,2 20,10 17,12 13,20 17,11
10,15 15,20 11,16 19,6 7,16 17,3
2,11 4,4 13,15 9,6

Part IX:
18,19 12,4 19,2 18,3 14,7 6,14
5,8 18,8 7,17 4,14 16,15 8,10
1,13 20,13 7,4 13,20 11,15 6,15
20,10 1,7 20,15 6,9 12,20 8,8
7,15 16,17 5,13 8,14 19,11 5,11
8,10 14,9 11,5 8,19 4,10 2,3
17,2 20,12 4,14 13,10 7,4 8,16
2,7 16,17 10,4




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