Discussions with Artists in Lockdown: Jenny Pockley
Jenny Pockley is a Sussex based artist who experiments with the interplay of light and shadow, drawing influences from Rothko's 'Colour Field paintings', Monet and the vibrant colour palette of James Tyrell, to produce beautifully ethereal artwork. Having formed a connection with landscape painting in college, Jenny exclaims how, even then, her pieces were intended to be 'a memory of a landscape' instead of a rigid notational style. Through this underlying theme, Jenny produces artwork with a dream-like quality that never fails to entrance the observer.
I wanted to ask Jenny about how her technique, and my observations on the celestial effect of her work which I felt was so often countered by her subject matter. But also on how Lockdown had effected her as an artist, having had to make adaptations to her exhibition 'Twin Peaks', in the form of a digital gallery walkthrough.
We began our discussion on the topic of Jenny's vivid colour palette and what had prompted her to incorporate it into her earlier cityscapes, to which she replied 'I wanted to get away from a representational view of the city, and instead cast a mood over the experience of each individual painting'. This quality is certainly clear when viewing Jenny's work, each piece transports you into a different world, as if looking through a stained glass window, even though; in essence, it is the same city in each painting.
We went on to discuss the aerial perspective of cityscapes, and how she approached this technique, she exclaimed how she wanted to get 'distance' on her pieces, instead of feeling like you are in the city, surrounded by 'noise', you are projected into an isolated 'moment of calm', above the city, and yet; with the omnipotent view, not excluded from it.
Lexington 150 x 130cms
Southwark Stretch 150 x 160cms
'When you look at an object devoid of time and space, you empty out the unnecessary aspects'
Jenny's artwork seems to capture a timeless landscape, 'when you look at a landscape devoid of time and space, you empty out the unessecary aspects' and the result, 'becomes quite simplified'. Jenny's newer works have a beautiful simplicity and softness, and yet the technical elements to producing such pieces, shouldn't be overlooked, Jenny uses a thin paint, with soft brushes, to achieve this 'soft and blurred' effect, with the incorporation of a gesso surface, which acts in a reflective way creating this 'glow' in her paintings, which can be appreciated to the full extent, in person.
I wanted to discuss how Jenny explored the natural landscape, making my own observations, I asked if there was a reason behind presenting nature in such a powerful and grand manner. Jenny replied that while this effect isn't necessarily 'purposefully done', in the earlier stages of her career, she often referred to photographs of the landscape, taken by family members in Australia; where she lived for two years 'I don't really have any memory of it other than vastness and bigness!'. Jenny described how she had photos of the limestone landmark, 'The Twelve Apostles' , which she transformed into Rothko-esque 'Forms'. Seeing these 'monumental forms surrounded by vast landscape', became the main theme for Jenny in her work.
'We are aware of humanity all the time'
We furthered our discussion by exploring the reasons behind Jenny's (occasional) allusion to human infrastructure in her landscape paintings, be it the view of a city on the horizon, or a bandstand surrounded by a hazy sky. She expressed how 'We are aware of humanity all the time, and I am inclined to a peaceful life, I suppose I'm exploring the peace that solitude can bring'.
'Something idyllic can also be a powerful force'
Jenny paintings often unify the softness of her technique with the eeriness of her subject matter, she affirmed how 'they heighten each other, the wave paintings in particular, on first appearance I want them to look idyllic, but equally I want to convey how it is a powerful force that could easily overwhelm you'.
Sea Swell 130 x 150cms
Swell 135 x 150cms
Billow 40 x 50cms Oil on Canvas
Jenny expressed the difficulty in being away from her usual studio 'Rye Creative Centre' during quarantine, balancing the two mindsets of being in the studio and being with the family has proved a challenge and ultimately Jenny has been enjoying the break. It is allowing her to focus on things she usually wouldn't have time to achieve and, she says 'it will give me a boost of productivity when I return to the studio'. The connections she has made prior to the lockdown has meant she has gained the support in creating her online exhibition 'Twin Peaks' with Nick Archer, which has allowed her to gain more exposure.
We concluded our discussion on the future of the artistic community post-lockdown. Jenny is apprehensive of artwork becoming completely digitised, since her artwork especially, takes full effect 'in the flesh'. Yet 'lockdown has meant people are becoming more receptive to visual culture', and, whilst society is continuing with their working lives, many are looking for an escapism in the form of artwork, Jenny's work in particular provides this pause, it allows the viewer to be immersed in the elegance of Jenny's technique, 'evoking memories' through the hazy hues of each piece.
Jenny's Latest Work:
Cumulonimbus Grey 150 x 180cms
Cumulus (Paynes Grey) study 23 x 28cms Copper
Stormcloud (study) 40 x 50cms
Jenny's Website: http://jennypockley.co.uk/
Instagram: (Jenny Pockley) https://www.instagram.com/jennypockley/?hl=en
Facebook: Jenny Pockley