Jeanette Doyle's practice is generally concerned with picture making and the problem of producing compelling images in an image-saturated culture. Strategies employed include the mobilisation of  pop-cultural references, for example the utilisation of text and image segments from celebrity fixated magazines and blogs. This work is not concerned with provision of the accustomed image of 'celebrity' which is bypassed to indicate the actual body either in terms of its demands and decompostition; for example, 40 x Drawings from HELLO! Magazine Laminated into Formica, accompanied by Related Toiletries (1996/7) or it's physical and geographical sighting/siting as in the Gawker Stalker Series (2005) and StarLine Tours (2007). These series also seek to investigate our misrecognition of ourselves in the lives of others and the inevitable complexity of shared narratives. 

Disjunction between the written or spoken word and what is visible is a recurring feature, an example of this being 'Body'(Orient)(2008) and also StarLine Tours (2007) and the Gawker Stalker Series (2005) whereas 'Intro'(Orient)(2008) and 'View' (2008) concern themselves with the often tenuous connection between sound and image and look at the nature of the digital, photographic and filmic. These works also display a consistent concern about the nature of reflection.

The exhibition 'and then I place my face against the glass' (2005) looked at the glass of the mirror and the glass of the lens, also the window of Alberti and the Windows of the Desktop. Reflecting itself a critical interest in the effect of the development of lens based technologies on image production, particularly on the painted image. This can be seen in the techniques developed for the Gawker Stalker Series (2005) and the Portrayals portraits (2005/6) (painting on printed canvas) and both the StarLines waterpaintings (2007) and the St. Patrick's Day, NY (2005) series - where the printed image is manipulated with water to simulate watercolour painting. This also represent a long held interest in the snapshot as demonstrated in The Last Drink (1996) , Eurojet Futures (2003) While Away (1998) and Me is Enough (2004) - and generally in the presentation of the self as spectacle, either as an individual or a parade which can readily translate as military display e.g. Not a Bother (1997), March Against Dogma (1992) and St. Patrick's Day (2007).

Further recurring themes include those of value and heirarchies, be it the associated values of a material for instance Formica, or form - e.g. the jigsaws of While Away (1998), or indeed historical considerations of value e.g. FULL OF IT (2000) - a contemporary consideration of the values of 17th Dutch still life painting. Tensions between 'high' and 'low' culture are also investigated in St. Patrick's Day (2007) a section of the St. Patrick's Day Parade shot in New York as it passes the Metropolitan Museum while the band plays 'On Broadway'. An interest in value is also demonstrated by the use of humble domestic objects, apart from previously mentioned cases, this is apparent in Sets (2002) which featured domestic furniture and clothing and in Belongings (2006) .

Whilst there is a large part of this practice which concerns itself with the familiar, the legible and the tangible there is also a parallel tangent which expresses more private abstract concerns; often made manifest in the production of drawings, some examples are Four Notebooks (2005) New Paintings (2006) the drawings made with the STAR project (2005) and Nostalgic Landscape (2007).

Parallel tangents are crucial to the on-going development of the work as is a suspicion of coherence, this suspicion is made manifest by the adoption of numerous tools, strategies and styles. It is an enduring concern which was foreshadowed by an early work made in 1995 Instead of Being Here You Could Be ... (1995) This work does not simply address those casual choices made by the viewer in order to be in the gallery at that moment but also all the other forces at play, be they for instance; social, geographic, physical, political or economic that shape even our smallest preferences.