Possibility, 2011 (see below photography)
Why is it on a frame? The modularity of the nine canvases is confusing - Baseman did not like the grid format. The work relates to space and architecture, but does not own the space it inhabits. It is too small and looks overwhelmed by it's surroundings. My work currently relates to colour, space, architecture, lines and form.
Catalogue of shape, 2011 (see below)
Baseman perceived this as a beautiful piece of her work unlike anything else. He wasn't sure if it was a sculpture, drawing, book or floor piece, and he didn't care. What it was, was irrelevant, it's content was the attraction. I should have listened to my instincts, and left the piece on the floor, and not used the plinth. He wasn't sure if they were islands or shapes or what the concept was. It was interesting as a result.
Easily navigable, well organised/presented thematically, but too large. I need to edit my research and works. Only discuss key works. Artists to research: Alan Mc Collum, Emma Hart, The Boyle Family (RA Sculpture Show 2011), Deanna Retherbridge, and Christo's film Running Fence.
What to do next...
I need to experiment more, become influenced by my space. I want to draw bigger, on the wall (directly/indirectly), on to the floor. Everything is political, I cannot deny or reject, I must either accept political associations or just downplay their importance to my work. I must enjoy what I do.
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.