Art & Science Journal
Art & Science Journal is a student-run publication about the wonder that occurs when fields collide. Based in Ottawa, Canada, the publication focuses on artworks that deal with themes of science, nature and technology.
- from their second issue.
An article about my work was featured in this month's issue;
"Evoking a sense of sublime solitude, Kathryn Jetté’s abstract landscapes confront the viewer with an element of pensive melancholy. Working primarily with acrylic on wooden board, she blends striking earth tones with shimmering strips of landscape. While these abstract compositions remain ambiguous in nature, their connection to nature is irrefutable.
In her painting Cross Currents (2012), Jetté presents a rich, overgrown landscape, so lush, so tactile that viewers can almost smell the moss and feel the warmth of natural, ambient light. Her attention to shadows and the filtration of sunlight leaves a passing sensation. Cross Currents truly captures the moment; the fleeting passage of time as an instant of incandescence flashes before our eyes. In her work Shadow in the Light (2011) Jetté manipulates cold blues, purples, and grays into a frosty arctic landscape devoid of any life. While many of her other landscapes seem inviting and positive, this lonely piece reminds viewers of the sad state of our arctic environments.
These works make clear reference to the Impressionist canon by their technical play with light and abstract treatment of landscape. Exemplified by a dedication to capture a single instance, the Impressionists focused heavily on the portrayal of landscape as it changes throughout the day. Yet Jetté’s work differs fundamentally and resists strict Impressionist interpretation because these pieces are more heavily abstracted and linked to no specific geography. Therefore the setting is not specified but rather formed through individual opinion, imagination, and recollection. The value in her heavy abstraction of image and subject results in a freedom of interpretation; viewers choose the occasion for themselves, often relying on the power of individual recollection. In this way, Jetté’s pieces become personal and private moments of memory and solitary contemplation."
by Emily Kennel
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