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, 29 October 2012

Review: The Nine Eyes of Google Street View by Jon Rafman






The Nine Eyes of Google Street View by Jon Rafman has been shown at The Saatchi Gallery since July, and I found it so impressive I saw it twice.  These photographs taken by Google Street View's 360 degree camera have captured moments, the mundane, and the horrific.  Some photographs, the seagulls are particularly impressive, would be in ordinary circumstances near impossible to stage or to capture.  Through the thousands of photographs taken by Google, Rafman has found, and more importantly chosen the most outlandish, funny, and beautiful images.

With its supposedly neutral gaze, the Street View photography had a spontaneous quality unspoiled by the sensitivities or agendas of a human photographer... capturing fragments of reality stripped of all cultural intentions. - Jon Rafman

These 'photographic incidents' have been highlighted and displayed to the public.  They feature all aspects of our existence, from the depraved characters we ignore, the examples of poverty, the lack of morality, and the flukes of nature, the inconsequential beauty of nature.  All of these images were deemed unimportant, not noteworthy by Google.  But here by Rafman, the y are given the status of works of art.  The Street View button icons at the top of the image remind the viewer that these were not intended as art, they are supposed to be 'functional' images.  The viewer is caught between art and non art.  We are reminded that the artist was not the photographer, but in actuality the orchestrator of an exhibition.  And yet this does not matter either, for he did create these images, not with his hand but his idea, and his installation.

Is creation important, does ownership matter?  I think the product is most important, and without Rafman's ingenuity I wouldn't have seen such accidental wonders.

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