Jess Cochrane’s practice draws on the language of Impressionism to explore contemporary modes of living and interacting, capturing the rhythms of everyday life through a distinctly modern lens. Using thick, gestural brushstrokes and dynamic compositions, the artist constructs scenes that feel immediate and lived-in, balancing observation with painterly interpretation. Her work reflects on the conditions of contemporary experience - connectivity, consumer culture, and the mediation of reality through digital devices - while maintaining a strong emphasis on the physical act of painting.

In ‘Post Hen Party, Pre Flight. Marseille City Beach’ Cochrane depicts a close friend (recurring in many of her works) in a moment of leisure, seated casually on a beach. The composition places the viewer in direct relation to the subject, as though occupying the position of a companion across from her. This subtle shift in perspective draws the viewer into an intimate social dynamic, transforming the painting into a shared space rather than a distant image. The scene captures a fleeting, unguarded moment - one that feels both specific and widely recognisable.

Central to this work is Cochrane’s exploration of femininity outside of performative expectation. Historically, women have often been depicted through lenses of idealisation or aesthetic control - composed, decorative, or overtly stylised. In contrast, Cochrane presents a figure at ease: relaxed, self-contained, and unconcerned with external perception. Sitting informally, smoking, and dressed without affectation, the subject embodies a version of femininity grounded in comfort and familiarity. The painting reflects the transformation that occurs within spaces of friendship, where the pressure to perform or conform recedes, allowing for a more authentic mode of being.

This sense of immediacy is reinforced by Cochrane’s painterly language. Distortions in form and perspective echo the imperfect framing of phone photography, suggesting the influence of contemporary image culture while resisting its polish. The inclusion of everyday objects - a water bottle, sunglasses, a woven bag - anchors the scene within a recognisable present, situating the work within the mundane yet meaningful moments that shape lived experience.

Through this approach, Cochrane captures not only the image of a woman, but the atmosphere of being with her, foregrounding connection, presence, and the quiet intimacy of shared time. In doing so, Cochrane’s work contributes to the exploration of womanhood by presenting a form of femininity defined not by external expectation, but by ease, authenticity, and the dynamics of lived relationships.