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 BORN tO BE cIRcuMcISED?,2009 OIL ON CANvAS 27,5x41 IN. /70x105 CM.
         Jette Van Der lenDe                                       thE NORNES wEB, 2009 OIL ON CANvAS 27,5X27,5 IN. /70X70 CM.
                                                                   tRANSFORMED INtO whAt?, 2009 OIL ON CANvAS 27,5X27,5 IN. /70X70 CM.
         Lives and works in Oppegaard, Norway

         THE ARTIST ONLINE      www.jette.nu                      The lucidity and control through which Jette van der Lende paints her
                                                                  seemingly modest objects and spaces create a deeply saturating aural
                                                                  experience for the viewer.  What might this aura cling to? It is clearly given
                                                                  over to the sensed experience of the artist. This experience triangulates
                                                                  between several aspects of creative activity of giving form and then giving
                                                                  life to form. The first aspect under scrutiny are her mental, ideational
                                                                  and  ideological responses to the object or objects she depicts (their
                                                                  representation) as signified. Next are her sensations that are given form
                                                                  through the handling of her paint along the surface of her pictorial plane,
                                                                  including the layering and feathering of her collared brush strokes, the
                                                                  compositional structure, the balancing of hues and shadows. Finally one
                                                                  might consider the third aspect her emotional responses to herself, her
                                                                  mental condition and psychic disposition as she pictorially refers to her
                                                                  subjects as signifiers. This aspect of her vision takes into account the
                                                                  correspondences that are made as the artist begins and ends the activity
                                                                  of painting. Call this the Mallarmean aspect (we are referring here to the
                                                                  poet’s injunction to describe not the thing but the effect of the thing on
                                                                  the mind).  The end result of course is the object that we as viewers see
                                                                  in its completed form, the finished painting (Excerpt)
                                                                                            D.F. Colman, art writer, Manhattan



































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