Jessica Jennings

2018, BA (Hons) Fine Art Painting, University of Brighton

"There are no barriers and often no conscious thought in my paintings; they happen as they happen. They are the product of a need to create, to leave marks and traces behind of myself. Immediacy and intuitiveness are key."
There is no formal source material or imagery to act as a frame or hanger for the work; Jessica Jennings's painting process allows for as unrestricted emotional outpouring as possible in the moment of creation. Jennings's images initially emerge after a couple of hours of frenzied and anxious work. When she returns to the studio Jannings uses these fresh, immediate and to her truthful starting points as a guide for the way each painting might move forward. Their continued spontaneity is vital and it is most important for her to re-conjure the expressiveness of her first phase brush marks. Because the link between these ‘automatic’ and ‘unconscious’ acts of painting and my sub consciousness are so integrally and seamlessly connected, the elemental psychological spaces within each painting can’t be ignored.
Jennings's process involves combinations and alternate layering of matte and glossy acrylic paint, so that a sense of depth and space transpires on the canvas. When they work, and on reflection, this is a hit and miss kind of working method, Jennings selects the paintings that transcend pure abstraction. Crowded and clustered brush strokes appear to hint at and allude to figurative compositions, whilst blocks of colour offer moments of quiet breathing room in which the smaller brushstrokes can reside. Jennings enjoys this interplay between abstraction and suggested figuration, a fuse simultaneously materializing together on the canvas. These psychological spaces within her works stem in part from from the Situationist International movement of the late 1950’s, headed by Guy Debord. His foremost aim was to gain an understanding and recording of our emotional relationship with our urban environment, what he would come to term as ‘psychogeography’, and while being extremely influential for Jennings over the last year, she has more recently moved away from the theme. But what Jennings cannot escape is her psychological relationship with the subject of cognitive place. 
'The head, the tail, the whole damn thin
The head, the tail, the whole damn thing
Acrylic on Canvas
107.5cm x 107.5cm
Acrylic on canvas
88cm x 88cm
'Panic on our hands on the 4th of July'.
Panic on our hands on the 4th of July
Acrylic on Canvas
203.5cm x 173.5cm