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.

Thursday, 24 February 2011

Futura Bold/Futura Oblique

A creative review of the above exhibition at the Nunnery Gallery (03/03/11 - 13/03/11) by Rachel Garfield.  Please see http://wimbledonma2011.com/


The artists in the exhibitions Futura Bold and Futura Oblique, at the Nunnery in Bow are at a point of transformation. They have all come together at Wimbledon College of Art. In pursuing their own work in this context, they become as a team to challenge their individual trajectory.  It is an intense moment - and demanding.  Subjecting themselves to public scrutiny mid way through the course ups the stakes further.  That they do so is a sign of their ambition for the work. Subjecting oneself to the rigours of peer learning and critique as well as pedagogical support is a decisive bid for change. The exhibitions therefore will be varied, as the titles suggest both forthright and quiet, claiming many forms and representing the many discussions in the current debates in art.  Boris Groys in Art Power suggests ‘that today’s art operates in the gap between formal equality of all art forms and their factual inequality’[1] These exhibitions are demonstrations of just that – the form and methodology is varied and absolutely contingent upon the structure – the curators Juan Bolivar and Julia Alvarez choosing works from the arbitrary grouping of a student cohort. The exhibitions aims to defy that which it is: the student show.  Yet, the process that the students have undergone is itself a factor that draws conversations between them, challenging the viewer to see it in the exhibition as well as in the individual works.  As exhibitions they will require generosity but once given the rewards will be worth it.

Rachel Garfield, February 2011



[1] Boris Groys, “Art Power”, MIT 2008, p16

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