It seems that the omnipresent white tones perform that particular function. Even on a strictly compositional level, the walls inside the premises stabilize and anchor the whole configuration — but it is the cool hue flowing across large sections that tames the hectic and irregular distribution of furniture, as it is appears caught from these angles. In other words, composition by itself cannot contain the “mess,” brightened palette can. Thus, the choice of color assumes an additional meaning (besides artistic unknowns), inseparable from composition; it regulates and controls — and being able to recognize that makes the viewing an especially enjoyable experience. The two basic elements of painting become co-dependent and forge a delicate balance, the living tissue of the domineering concept of harmony, in turn translated to that aerial serenity.

Space also crystallizes through the dissections, through similar indirect, though perhaps more concrete influence. Simply by slicing the objects — or including them partially — the artist implies that they are the disposable occupants of the room, and that the space they fill bears precedence. Interestingly, the included parts often form an approximate circle, surrounding… nothing, that is, space. Furthermore, the corners of the rugs, the seat-back, the chest, the bed, the window, they all tend to point towards the center, the empty space. Even the window curtain, tied and sliced, seems to try to embrace the air, all the while freeing the view into the greater space outside. I will risk a tautology and state that space needs space, and that the compositional device of pulling objects outside the frame provides it.

And here’s a look at the artist’s studio. This photo is from Jeanne Illenye’s blog, where she gives more details on her own working space. Read here in the comments the artist’s description of her working process, a fascinating article.

Thus, growing, blooming and withering suggest an artificial analogue, also a three step process, all performed by the consumer. They evolve (or devolve) into a series of controlled and timed operations. I don’t know why exactly, but this comparison, though telling, seems somehow humorous — maybe its the chocolates that evoke the comical effect, or maybe just the imitation. But perhaps there is a deeper meaning to be found in the notion of human taking over: painting is also an artificial undertaking, where objects become subjected to the artist’s will and conception; transferring to canvas the products of industry rather than of nature makes a strong logical sense. Historically speaking, new industries ask for different artistic approaches and the subsequent development and branching of the genre.

Artistic logic is similarly visible in the choice of background color: deep brown reiterates the hue of the chocolate, while the bright lilac that of the filling. The totality of repetition calls up the richness of the flavor, seeking to allude to taste through color. In a delicious turn, the taste doesn’t retrace to the same palette: in my mind, the flavor of the sweet stuff transcends into silver sparks and stars, and bright blue swirls, all on a background of golden foil — the artist avoids monotony through the power of individual association. In a way, the painter capitalizes on our past experiences, aiming at them, and making the paintings a kind of a subconscious conduit to previous tastings.

Chocolate is a known afrodisiac, and the above painting conveys that quality in a most subtle, or straightforward — depending on the viewer — manner. The bitten, half melted bonbon implies the tasting of a fruit of a different kind, and the tempting berry inside may prompt to extend the metaphor even further (the chocolate compartment indeed appears to guard it from some impatient sweet tooth). The reddish tones may suggest blushing or the rushing of blood to other body parts… Anyway, we sometimes tend to associate red and its varieties with sexual thoughts and actions. I think that the general warm atmosphere encourages erotic fantasies — after all, it is in our blood, which, as it happens, is also red.

“My paintings isolate a particular moment in time” — the artist claims, and one would have no choice but to agree; however, they do not just “isolate:” I like to think that they actually freeze time, permitting the viewer to witness the process and imprint it in their visual memory. Every painting becomes a record of its subject, a kind of a miniature visual chronicle, to be more precise. Thus, a moment may last anything from a few seconds to a few hours (and when we think of it, “moment” is indeed a very fluid term) — depending on the beholder’s inner clock and the theme. The intentional (as well as refined and aesthetically winning) references to decay and disintegration further elaborate the theme of time.

I would like to discuss one of the most explored subjects by the artist, the florals. In some ways, Jeanne Illenye’s floral pieces are the least characteristic of her style. The extreme close ups deviate from the pattern of bouquets presented at a distance so calm we ignore it; here the proximity becomes one of the active principles of the composition, one to be reckoned with, rather than dismissed as an auxiliary technical/geometrical aspect to the painting as a whole. Such proximity inevitably invites close inspection, analysis and conclusion making — every stage being inherently suffused with considerable intensity. The dark, often black backgrounds increase the tension even further.

Still, it is important to emphasize that these frictions occur within the definitive framework of global calm and control, being unable to break through and establish some kind of chaos. Though, I must admit, sometimes it feels pretty close to the verge — just another addition to that tension, this time from the aspect of formal evaluation. Overall, the florals exposed with the zoom in (botanical) effect, and the more serene ones fill in the niche to its utmost limits. The artist proves her mastery of the field by exhibiting superb technical execution, as well as by the effortless transition from one sub-genre to another, — eliciting admiration for both.