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, 24 January 2011

Shape Series: Shape I, Shape II, Shape III & Shape IV

The shape series comprises of 4 canvases each with one shape designed from a set of 50 co-ordinates taken from random dice throwing using a 20-sided die.

Shape II, Shape III & Shape IV all experiment with the same shape taken from the same co-ordinates.  In these three paintings I have experimented with how to deal with my shape; whether I should paint or shade with pencil.  I also wanted to experiment with whether I should varnish them or not, to bring them back into the context of painting. 

All of the 4 Shapes have been created on canvas, which has been primed white and then sanded down to create a smooth surface.  I have then created a grid using a 4H pencil to replicate graph paper (1 cm squares).  I did this for two reasons; firstly I wanted to reference mathematics, order and numbers, and secondly it was a practical need to enable me to plot co-ordinates.

Shape I is essentially a resolved piece worked out from the others in the series.  It has been simply filled in with graphite to refer back to the process of drawing, reiterate the importance of line and not to detract from the importance of numbers, chance and random acts.  This work is about designing pure shape from numbers.  I have set myself rules to limit the actions I can take in the drawing process.

The others in the series convey the experimentation: Shape II has also been simply shaded, Shape III has been shaded along the contour and Shape IV has been painted flatly in black oils.  Shape III failed as the illusion of three-dimensionality detracted from the process of drawing.  Shape IV felt too harsh, the blackness consumed the piece.  I could only focus, as a viewer, on the paint and the colour rather than the piece as a drawing.

Please see the below images of the series.

No comments: