Abstract Critical Link To A Very Interesting Read and An Acrylic Painting “In Progress” – Jenny Meehan WordPress Journal Entry

Using this a bit like a notebook now. 

http://abstractcritical.com/2012/01/what-paint-does/

This was such a good read.

I’m so pregnant with paint myself that I seriously need to stop blogging and get on with it. 

I’ve just finished a painting “Til The Cows Come Home” which I will post up soon.  Need to take a better image of it as the one I have is far too overexposed.

Here is a work in progress.  When I say “in progress” I mean that I am still thinking about it, not completely 100% finished, but maybe not that far off.  It takes a few months after I have finished applying paint on a painting to resolve it finally in my mind.  Sometimes I carry on a lot, sometimes just add a little more paint, and sometimes I just agree with the place I stopped painting in!!!

I would prefer to use oils to be honest, but I find that because of restricted space, the fact I tend to work on more than one painting at a time, and that I need to put them somewhere to dry,  I am using acrylics right now, at this point in the year.  It is handy that they dry quickly.  I am sorting out my workspace so that I can leave more work to dry on the walls.  Acrylics are also great for experimenting with surface textures and as this is something I am interested in right now.  Though I see myself quite possibly getting more pictorial with time, (indeed, I don’t feel it right to neglect this aspect of painting),  I also feel it important to experiment very thoroughly with the materials I use, and this is something which has to be done, not for effect or any determining course, but just because it must be done.  One of the things I enjoyed at the  Gerhard Richter “Panorama” Exhibition at the Tate Modern recently was to see that there’s not rule that a painter should abide in one camp or another…Paint figuratively, paint non objectively, what does it matter?  Does one have to do one, and not the other? Should one have to nail ones flag to one mast and shoot the other ship down?

 

 

Hidden Artists Exhibition, Denbies Vineyard, Dorking, Surrey – Running from 24th January to 29th January 2012 – Jenny Meehan Contemporary Surrey Artist’s Journal

Ah, well, I won’t be giving you a picture of the work I have in the Hidden Artist Exhibition at Denbies, Dorking, next week.  That would be telling!  I do think it’s a great move on Denbies part to host this event, which will benefit the NSPCC. 

See: http://www.hiddenartists.co.uk/artists_and_sponsors.html

I’m getting into the swing of another year, and excited about how my painting is progressing.  I’m expecting things to move on with pace as I devote myself over the next few years to “thrashing it out”, which is a phrase I heard recently which I’ll adopt as a motto I think.  IF I had a great printer I might also devote a bit of time into working on some prints/mixed media, but as I don’t, this leaves the time clear for painting…this might be best for me anyway.  I always fall into the trap of diversifying rather than focusing, and while I get loads of ideas that way, if I don’t get them down, like balloons, they could carry me away!

That does sound fun…

And I am going to try out some woodcarving…

And there’s another exhibition coming up in May at Leatherhead Theatre…

And…

London Art Fair 2012, Art Projects Curated By Pryle Behrman – An Artist’s Playful Musings and Words “Til The Cows Come Home”- Jenny Meehan

I could make that title so much more wordy,  if it wasn’t so early in the morning.

My feet now are recovered from my thirteen hour walk around this years London Art Fair. 

I joined a guided tour led by Pryle Behrman Curator of Art Projects, and I was glad of this because it was interesting and nice and relaxed, not pretentious, which I feared.  He said that he would be happy to talk until “the cows came home”.  I am still waiting for “the cows to come home”, and so the talk I imagine is still in progress…

What stood out for me, alongside waiting for the cows to come home, was, of course, some of the paintings.   Judith Bridgland’s paintings hit me like a kick in the stomach, which doesn’t sound good, but does at least express a little bit of the punch which someone who handles paint like it springs from the tips of their fingers can give to a viewer through the experience of looking at their work.  I am not a great lover of thickly applied paint generally, but when its done like this…I love it.  

Seeing one of Henry Moores prints on hessian was also a highlight for me.  The scale and physicality of the print on the surface of the hessian was something which i have wanted to view ”in the flesh” for a while.  It made me note down to remember to experiment with some hessian in my own work.  I’ve done it before but didn’t like it.  However, that’s never a reason not to try something again.   The Boyle Family’s work “Study For The Fire Station With Melted Records” 1989 (Painted fibre Glass) was another beam of similar happiness because to see the actual work in front of my eyes was a proper encounter and one which I have wanted for longer than I can remember,  Well, I can just remember stumbling across their work as a teenager;  it made a huge impression on me.  Looking back on my own work over the last few years, particularly the series of photographs of the ground in my local area, I can see how it seeped into my life unawares.  The unexpected benefits of pushing pushchairs around my locality!

I purchased a book on Michael Honnor.  Because I like landscape paintings, and while I don’t sit outside much and paint myself, to see his work reminds me that I ought to.  Plus I like very much the way he draws into the paint and I need to be continually reminded of that!  I have a notebook full of other painters and paintings which in some way “fed” me, and reminded me either of something which I have just started, or need to try out,  in terms of technique or subject matter.  It’s quite beneficial to see such a mix of work in one place and as the time goes by you gradually recognise more clearly what it is that you are personally drawn to. This itself can be quite helpful in terms of being able to recognise what you love and where your passion and interests lie, and, free to see it in others work and not your own, you get ideas as to different ways you might extend your own experiments.  I am sadly lacking in the amount of critical input I would ideally like in my painting practice right now, (apart from a few fellow painter friends), however, one must be one’s own critic and sustain that position throughout.  I know.  I like other people’s perspectives though.  They are so much more interesting than my own!

On the Duncan R Miller Fine Arts stand “Paxos Fishing Boat” beckoned me…A boat with flowers tied to the front of it.   I’ll say no more, but remember this, and resolve to explore this motif for myself sometime. 

Robert Denny’s 1958  oil on board  painting  (June 1958) cried out for more space, and it’s a problem viewing large paintings in settings like this, but what an inspiration it was.  Very strong dark and light compositional structure held the mixture of strong, heavy brushstrokes with the lighter more fluid areas.   I took some time with this painting, asking “What exactly makes it work so well?” and returned (once more) to the underlying conclusion, (which seems to be proved to me time and time again), that when the composition is right, you can do whatever you want and it will look good.  Well, maybe not ”whatever” but let’s just say, you can manage to carry things off in a respectable manner! 

So I leave the fair, full to bursting with paintings I need to paint.  It’s painful, these time limitations and so I must make a hasty exit from this journalling matter to at least increase my chances of getting some block of time today to get some painting done.  I’m pleased to say that I haven’t seen anything like some of the directions I have in my mind to pursue, so that’s good.  Nothing is new, but it’s exciting to think that in some small way you might be wandering off the well trodden path into an area of the forest which is relatively unexplored. 

 

Gerhard Richter – Panorama Exhibition at Tate Modern 6th October 2011-8 January 2012 – Jenny Meehan WordPress Journal

Went to see the Gerhard Richter “Panorama” Exhibition at Tate Modern yesterday.  The painting which caused me the most excitement was “June”

http://www.gerhard-richter.com/art/search/detail.php?6506

I’ll be spending some more time looking at that one for sure. 

I always come away from seeing large canvas’ somewhat frustrated that I don’t have more space to do my own paintings that size.  The biggest so far has been the Trafalgar mural at approximately 2 metres by 4,  painted with silicate mineral paint.  I’ve got a few more murals on walls here and there, and some on  large unstretched canvas.  But how nice to have something with more of an expanse.  To challenge oneself with.   In a few years with more of a studio space I’ll have the chance to work bigger.  Bigger certainly isn’t better, but I think it could be more exciting challenge-wise.

Enamel paint.  I haven’t used this much, but one of Richter’s painting in enamel suggested the possibility and certainly to get a high gloss finish, this could be just the right material for certain applications.  Must try.

Around the Tate Modern are some other paintings, and I took a look at those on Level 5 yesterday.  I must observe that the painting area is much busier than some of the other parts of the Tate Modern.   The level of engagement with the work is much clearer and quite noticable.

Priceless expression…The look on a lady’s face as she viewed some of the sculpture…Horror! Confusion! Fear! The terror of not knowing how to react, how to understand, how to respond.  What to make of it?  It was one of the highlights of the visit.    Though I very much enjoyed a few of the sculptural exhibits myself, because I feel no need to know anything of them than what I personally feel, (apart from maybe a little information about context) and I always admire technical expertise and craftsmanship, (if applicable),  I can imagine how distressing it might have been for her.

I should have brought a packet of Persil with me.  One of the sculptures I did enjoy was “Venus Of The Rags” by Michelangelo Pistoletto. (What a great name!)

  http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=88060

Delightful moment number two was a little boy saying that he thought his socks might be in there!

Confronted week by week with piles of washing at home, this sculpture had a special resonance with me.  I  also have a bit of a “thing” about outdoor objects being indoors. 

Very impressed with Gunther Vecker’s “White Field” 1964 mixed media.  Nails.  Paint.  Hard and soft in apprearance at the same time.  Manolo Millares certainly knows his stuff too. “Painting 150″ 1961.  I am going to need to take some time to look at some more of his work.

Took down my exhibition at the Cornerhouse Community Arts Centre today.  Plan is to concentrate on painting without the huge endeavour of putting on a solo exhibition for the next couple of years.  I have several materials and techniques I want to experiment with and I feel a certain momentum gathering inside, which usually means that time will be productive when spent on painting. 

 

Painting is “For Chris at Itchenor” 2009.  Looking back rather fondly at this painting which has the emotional and compositional elements exactly how I wanted them.  With all this playing around with materials (great at it is) I shouldn’t loose my way, but keep asking myself what the heart of each painting is.

No so Fine Art – Contemporary Painter based in Surrey/South West London – Jenny Meehan

 

“Calm”.  Doing my usual thing of playing around on the computer at this time of year, with different drawings and paintings.  I like black.  Working on several black and white images and extending my skills with Photoshop.  Paths. Effects. Layers.  Fun.

Working on some paintings, some oil, some acrylic.  It’s handy to have both mediums: I wouldn’t have space to dry all the oils, and as acrylic is quick to dry, the problem is solved.  Made a nice medium today with sand, which I like the texture of.  Some pigments I slaked a while back have gone a little mouldy…I did put some whiskey in, which I thought would solve the problem, but there’s still some mould there.  Mind you, easy to scrape off. 

Because “fine art” is now so intellectual, so conceptual, so theoretical, I cannot be done with it. 

It takes me away from my paint, takes me away from the emotion which fires my painting, takes me away from my instincts.  Takes me away from focusing on what I am doing, and makes me self-conscious, which is a very bad thing.  I feel “painter” sits more comfortably.  I have to use the word “fine artist” for the sake of google and searches and suchlike.  Visual Artist is better.  Visual Communicator is even better. 

 

Paintings I Love – Peter Lanyon Clevedon Night 1964 – Jenny Meehan Contemporary Visual Artist WordPress Blog

Peter Lanyon Clevedon Night 1964

I sometimes come across paintings (or prints of paintings) which excite me so much I know they are there to teach me something which will bear fruit in my own work and “Clevedon Night” by Peter Lanyon is one of those that continues to entice me further into the realm of experimenting with paint.  The artist himself thought the group of paintings it is part of  to be “crazy, quite invisible, victorian and unsaleable”.  So the fact I am besotted with it…Is this a good or bad thing?!  (Laughing).  It matters not. 

 

 

 

 

 

 

“Inking Outside The Block” Visual Art Exhibition Photographs from Opening Night – Jenny Meehan Contemporary Artist

 

Enjoyed a lovely opening event. 

 

“Inking Outside The Block” Visual Art Exhibition – Surrey Artist Jenny Meehan – Hanging Done!

Hung the exhibition today with the much valued help of Stella, and it looks very nice.  Job done.  Two pots not shown, as I am bringing them on the opening night.  

http://www.thecornerhouse.org/shows/show.aspx?showid=280

The exhibition runs from Tuesday 6th December to Friday 30th December.  The opening night, which is open to all, is Tuesday 6th December 7pm to 9pm.  I will be there to answer any questions about my work and it should be an enjoyable, sociable time too.  Drinks and nibbles will be available, and there is work offered for sale, ranging from £15 for digital C-prints, up to around £300 for framed paintings. 

It is possible to get access to the exhibition during Cornerhouse opening hours, but these do vary depending on what else is going on.  If you cannot make the opening night but would like to come along and view the work at another time, then take a look on the Cornerhouse website to see when the building is open.  Alternatively, feel free to contact me on j.meehan@tesco.net or via my website www.jennymeehan.co.uk .

BBC Website “Your Paintings” Link – Plus Looking At Ivon Hitchens AGAIN

Made time today to enjoy my book “Ivon Hitchens” by Peter Khoroche.   My favourite eye resting place today was “Summer Water, Morning 1961″.   Had a little peep at John Hitchens’ website, intrigued to find out what his son’s paintings are like.  I liked what I saw on the site..Abstract landscapes, confident, interesting.  Also found a good source of  fodder for browsing through in the BBC website “Your Paintings”.  See http://www.bbc.co.uk/arts/yourpaintings/

As I swing in my mind between the virtues of painting from life (the outer kind) and painting from life (the inner kind) I wonder if I waste my time with the dilemma; I suspect that I do.  This is not helpful. What does it matter?  I suspect also that it is too much concern with the reception of my painting, and too little concern with faithfulness to my inner drive.  Looking through my Hitchens book is always helpful to me in this respect, as I see the paintings do not suffer the concerns of others, but only the person who painted them, and this is exactly the way that it should be.

I am in that funny place just before an exhibition.  I have abandoned all hope (this always happens!) and feel flung into the pointlessness of it all.  This might sound bad, but I am getting used to it.  It’s almost routine.  I understand that Picasso felt so bad sometimes about his work that he refused to attend some of his own exhibitions, and if he felt like that about his work, then I am pleased to feel the way I do about mine.  

It will pass.

 

 

 

Wimbledon Art Studios Visit – A Very Brief “Jenny Meehan WordPress Journal” Entry

Trip on Saturday to Wimbledon Art Studios was very interesting.  I realise how important it is to follow your own unique direction, though this takes some nerve.   Words are really a waste of space when it comes to painting.  So that is enough said for today.