Juliette Losq’s watercolour paintings depict man-made environments in the process of decline, semi-industrial sites where human occupation has all but departed and nature is regaining control. The intense labour involved in the creation of Juliette’s expansive paintings contrasts with the abandoned subject matter, as if the physical work that once belonged within these structures had found a new role in documenting their change. Juliette’s use of watercolour is unusual in this respect, as the scale and complexity of the works contrasts with the traditional domestic role of the medium. The unexpected is also a theme in the imagery: there is an implicit presence lurking behind the abundance of detail, an unknown future hovering invisible beyond the decay. In this sense Juliette’s paintings are also imaginative theatres where contrasting forces compete: creation versus dereliction; the tangible versus the imaginary; the visually precise versus the undefined. They describe the uncertain moment where humankind is reevaluating its relationship with the physical world before the seemingly limitless possibilities of digital creation.
