No! Already?
I ran out of time in my last post to tell you more about a project I was pleased to be part of. So better late than never!
Collect Connects’ Artwork for the Tate Modern
This was a Collect Connect project (Alban Low) with Harvey Wells, Kevin Acott and the team at
Queen Mary University of London
From the Collect Connect site:
“In 2016 we created our Relationship Map for Mental Health Awareness Week. It was a large scale artwork that charted people’s life connections using the London Tube map. After its success we’re back in 2019 with a new interactive map that will be exhibited at the Tate Modern from 11th-16th June. It will be part of the Ideas in Motion: borders, bodies, and the universe exhibition at the Tate Modern, Blavatnik Building, Level 5, Bankside, London SE1 9TG.
More info at https://www.tate.org.uk/whats-on/tate-modern/tate-exchange/workshop/ideas-motion-borders-bodies-and-universe”
“Our artwork is eMotion: Emotional Transitions in Healthcare. Ill-health requires us to make transitions: to move emotionally, spiritually, socially, physically. We adjust from being ‘healthy’ to being ‘ill’, from ‘independence’ to ‘dependence’ and back again. The project highlights the joys and fear of impermanence, of the changes that occur every second, minute and hour of our lives. It embraces movement as normal, as part of the flow of life – something that should neither be resisted nor forced.
We’ve built a huge interactive floor map, in the style of a tube map, which has ‘end stations’ labelled with key points of ‘stasis’. The ‘station stops’ in between are open for people to explore how they navigate these transitions. We would like your help in creating a map so that visitors at the Tate can navigate a path along these routes of transition.”
quoted from the Collect Connect website
Connections on the interactive floor map reflected journeys between two poles;
Health – Illness
Dependence – Independence
Home – Hospital
Life – Death
Young – Old
Hope – Fear
Certainty – Uncertainty
Me – You
Doctor – Patient
There were three blank “stops” for each line. Artists, including myself, made our contributions concept wise and these were made into options for people to arrange so they could connect the concepts in the way they felt meaningful. (For example: what does it feel like to be in the middle between Hope to Fear, or closer to Hope, or closer to Fear. You could write something like: Hope – Last Minute Corner – First Game of Season – One Nil Up – Fear.)
Some of my ideas were used and it was lovely to contribute.
Here were my submissions:
Life – Death
Grateful Reception – Intimate Connection – Anxious Separation
and
Me – You
Expecting – Meeting – Expecting
Doctor – Patient
Controlling – Enquiring – Seeking
Hope – Fear
Holding Wonder Lightly – Trying to Grasp All – Losing Sense of Self
Dependence – Independence
Vulnerability and Need – Gathering Resources – Freedom to Be
Certainty – Uncertainty
Really? – Faith – Trust
Young – Old
Tender in Expectations – Placid Pivotal Places – Facing the Realities
Home – Hospital
Where it Starts – Where it Happens – Where it Ends
Health – Illness
Moving and Being – Maintaining Momentum – Slipping Down Stagnantly
eMotion: Emotional Transitions in Healthcare
Ill-health requires us to make transitions: to move emotionally, spiritually, socially, physically. We adjust from being ‘healthy’ to being ‘ill’, from ‘independence’ to ‘dependence’ and back again. Track your personal route from illness to wellbeing on an interactive map of the healthcare system.
Tate Modern also have this, which looks interesting. As someone with osteoarthritis….(and a nice new total knee replacement to go with it!) impaired mobility has been part of my own experience. Thankfully at present, I am fully mobile, but I did have a two year period when that was not the case.
“Creating without Constraint: Arthritis and Art
Experience this interactive workshop exploring the relationship between impaired mobility and artistic expression. Our researchers will guide you in a ‘journey’ inside the joints with activities simulating the restriction of movement. The display will include the work of Renoir and Pickering, two artists who lived with arthritis, to explore how art can overcome disability. Also, emerging painter Rebecca Ivatts will give a talk about her collaboration with Pickering.”
I looked around and chatted, having excellent conversations and learning lots, as well as sharing my own perspectives and experience of osteoarthritis. I’m particularly interested in chronic pain management, as this is something I studied a fair bit over the two years before my knee replacement surgery out of necessity. I don’t have pain in my knee anymore, but my elbows, wrists and hands have decided to sometimes advertise themselves in the pain department. I’m getting pretty experienced at moving my mind in other directions now!
Big and Small Names at the Tate Modern
The novel thing is, I can now say my name has been present at the Tate Modern! Yes, printed, and there for all to see. Only because of a small contribution, but there all the same. And names mean a lot to us, so just the little printed presence of my name at the Tate Modern can bring me at least a little smile!
People like their names in places…Yes they do. It’s interesting that the now Blavatnik extension/building at Tate Modern was named the “Switch House” when it was opened in June 2016. I do prefer the original name. It holds some relevance to the history of the building which I think is always a good thing. The now Blavatnik Building was originally named the Switch House to reflect the previous use of the site for a power station. It’s very interesting that you can see two circular terrace areas when you look downwards. You can see the Oil Tank Wall, which is an interesting element of design. The Oil Tank Wall encloses two large circular terraces, to the south and east of the building right in front of the new gallery entrance and café. The Oil Tank wall is an above-grade extrusion of the existing below ground Oil Tanks. I love it. It’s a strong feature which heightens your awareness of the past. I think the building was always meant to strongly echo its past as well as its future…because it has an interesting history.
Tate Modern’s The Turbine Hall is housed in the former Bankside Power Station, designed originally by Sir Giles Gilbert Scott (He was the architect of Battersea Power Station too!). It was built between 1947 and 1963. Before it was developed the steel framed brick clad building with it’s 99m chimney was divided into three main areas: the Turbine Hall, the Boiler House to the north, and the switch house to the south.
So you see, bearing in mind the Turbine Hall, the Boiler House and the Switch House…yes, a nice trio. It is a bit sad that the Switch House was renamed. I guess when someone donates a lot of money, they like to have their name included. And it’s kind of understandable. Because I got a tiny bit of a kick out of my little name being in the Tate Modern, so I am sure the same kind of kick, but a little bit larger, applies! So the name was changed, a year after the opening, and reflected Blavatnik’s wishes. Bearing in mind the size of the donation, I think it was probably diplomatic to reflect Blavatnik’s wishes. Nicholas Serota, who stepped down as the Tate director at the end of May 2017 said he was “delighted the new building now bears his name”. Blavatnik made the Tate pledge in 2011 and the Blavatnik Family Foundation’s donation made up a substantial amount of the £260m needed to complete it.
So I do wonder if the name “Switch House” was meant to be it’s proper name… I’m sure it was… It would be in accordance with the other buildings. Yet Len Blavatnik, (an industrialist born in Ukraine) came up with the cash in 2017 when Tate Modern found that the new Switch House extension had left it with a £30m funding shortfall. So I shouldn’t be surprised that a year after it opened, the Switch House was renamed the Blavatnik Building. And I’m quite happy with my own name in very small print on an super contribution to the “Ideas in Motion: borders, bodies, and the universe exhibition”.
https://www.ft.com/content/449ad16e-20dd-11e6-aa98-db1e01fabc0c
USSR-born billionaire made one of largest donations in Tate’s history to help fund building temporarily named Switch House
What Style is that Painting?
This was one of the questions I was asked at this year’s Kingston Artists’ Open Studios.
The terms I tend to use for describing my main thrust in painting are bouncing within the realms of the following terms: Lyrical abstraction, abstraction lyrique, tachism, tachisme, action painting, abstract expressionism, art informal, informalism. But these are terms which relate to particular movements in the past, and serve as a way of describing and communicating what to expect with my own painting, and not anything more than that. And it is the case that within my own realm of art working, I move between several styles… This is part of the process of development. I think I have written about this in a previous post. It is a bad thing to narrow down artistic creation in order to adhere or fit into a style. If it happens it will happen naturally, and evolve that way. It will grow and develop, playing and toying with different styles and approaches en route!
It is the case, that when using paint, things now are tending to fall within the bounds of my approach, which is process led and focused on formal elements and experimenting with materials. What comes through is a materialisation, a becoming, of my self. Which references my life experience and emotional and spiritual journey. Mostly I like to let things happen, rather than plan. But there is a lot of unconscious planning which happens I think. There is a lot of emerging!!!
Historical terms and descriptions of styles are good for searching for the kind of paintings you like, and there are plenty of movements which it is helpful for the keen collector of art to educate themselves in. My own preoccupation is with the formal elements of the painting, and a process led approach. My preferred terminology for my own work is that of British romantic, poetic, lyrical, abstract and expressionistic painting. I like the romantic, because of the way it conveys both individuality and intensity of emotion and the importance of these. I loved my studies of the Romantic poets when at University, and also of the paintings of Turner, which were studies as part of a couple of painting courses at West Dean College given by John T Freeman, (who I credit, among others, with role of welcoming me into the realms of painting as a way of life/vocational activity!)
Yet “style” can be a trap. I believe a consistency can be found which comes from the person themselves. Styles may change but the interactions between mediums and styles are what keep an artist’s work dynamic. I don’t need to stick to one style… It’s more a matter of honing my focus and being reflective and innovative. Sometimes that makes an artist’s work rather an eclectic mix. Diverse at times. That’s good, not bad. Don’t worry about how your work would look on a supermarket shelf. Don’t worry about if you are consistent enough. Do your work for your self, unless you particularly want to do it for other people. That’s fine too. But exploration, discovery, experimentation, and going beyond what you can see or anticipate or plan…. These keep things exciting imo.
Do you need exciting, engaging, images for a book cover design?
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.
If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.
To find out more about how you can arrange to use my imagery, see here:
https://www.dacs.org.uk/licensing-works/frequently-asked-questions#FAQ122
Artist’s Statement – Jenny Meehan
Artist Statements are funny things…Mine does change over time and circumstances. Which is in accordance with my priorities and focus at the time of writing. This is no bad thing. Often it is very helpful as the need to critically assess and evaluate my vision and objectives, as well as look back into the past and reflect on how things are evolving is a useful practice which needing to write an artist statement helps. Here is an example of an early artist statement I wrote many years back:
“I have been creating two and three dimensional art since 2005. Art is about exploration. I view mine as a natural and evolving process which is primarily to do with the emotions and spirit, though I do enjoy playing with concepts too. My Christian faith, relationships, and artistic contemplation and production are the main driving forces in my life.
Trees and plants, metal objects, the human figure, and many different types of man- made constructions, are subject matter I favour. I like to explore different styles of expression using a range of media; primarily paint, photography, poetry, metal and paper. The brokenness of human experience fascinates me, but also the potential for growth and renewal. My work has a positive outlook, as I think that it is often through suffering, touched by God’s grace, that the beauty of the human soul is revealed. The idea of strength combined with vulnerability is particularly attractive to me.
My art is a sacramental practice, and the mystery of faith and its reality beyond our human rational mindset is something which interests me. I also see my work as an articulation of fragmentary experience; it’s how I make sense of the world. Alongside my general fine art practice I am interested in liturgical art using a variety of media. Since 2008 I have put most of my creative energies into developing my skills with paint, which I love. Intensely.”
I quite like this one…It gives a gentle overview, which includes a lot about spirituality and faith and the importance inspiration wise of my religious tradition. It’s not very focused on any particular current project of the time…I wanted to keep it very broad and tried to cover a large area with it. Maybe a little too much of an overview I think, looking at it now. However, the purpose is important, and it was written for my website at the time, so in that sense I think it was a pretty well fitting piece of writing.
Lovely West Dean College and West Dean Gardens!
Drawing done in West Dean Gardens
Another one….
Another one!
I will post some photos at some point.
This year I was experimenting with Collagraphs. Very nice medium… Right up my street. I have been working with black a fair bit in my studio tent recently…. experimenting, so the rich black ink was a welcome sight and the textures are always so dynamic in terms of the marks they can make. So it was a delight. Take a look on my instagram to see some of what I produced, though as is always, I have taken home a lot of work to do which will keep me on track in that area for some time. I’m not interested in working large or producing editions…Small unique prints are more interesting and why produce more of the same?
https://www.instagram.com/jamartlondon_jennymeehan/
Shape Open 2019
Very please to be taking part in this year’s Shape Open Exhibition. It’s great my two years of increasing physical disability before a much needed knee replacement proved so fruitful in unexpected ways. Not easy, but to take part in the Shape Open 2019 with my work “What Does this Symbol Say?” feels very appropriate, because the creation of my artwork is intimately connected with my own experience of disability.
https://www.shapearts.org.uk/Blog/shape-open-2019-artists-announced
Inclusive International Symbol of Access Design by Jenny Meehan
Here is the text I submitted:
“My re-design of the International Symbol of
Access is inspired by my own need to rethink
what disability is due to a period of restricted
mobility prior to knee replacement surgery.
Finding myself in need of using an accessible
toilet, for example, helped me to realise how
inappropriate the existing symbol was.
I’d like people viewing the work to add their
thoughts as to what it expresses to them. If the
ISA was to change, this could have a powerful
impact in many societies and open up
dialogue and awareness in a very beneficial
way.
Opportunities to rethink are intimately linked
with with conversation about disability, and art
is a key player in helping peoples awareness
to increase through engaging with new ways
of seeing and experiencing things. In my
view, the focus for progression in all things
needs to encompass a strong sense of moving
forwards and upwards, and this new icon has this. ”
The reason why I think my design is a good option:
It’s got the right angle of what was the seat of the wheelchair and also the round circle which was the wheel. It has the three main elements of the existing wheelchair symbol but rearranged and reinterpreted. Open arms convey welcome and reception of.
My symbol has also the following strengths:
It retains the circle, helping recognition, as society adjusts from the old to the new
It works in both static and mobile situations (ie previous crit of the dynamic wheelchair version)
It suggests refuge (a circle as something which encompasses and surrounds in a protective way)
It suggests entering into…. key for accessibility…the pointed end of the v shape enters into the inside of the circle
It suggests freedom…. The arms (v shape) are outstretched and open. This is freedom for the disabled person
the feeling of this icon is buoyant and expansive…
the small circle and upturned V shape resemble the top half of a person’s body, meaning it still contains the two key elements from the old symbol, a circle and a human body, just in a slightly more open and abstract way.
The whole icon has a sense of outwards and upwards… things are moving forwards.
The whole icon is more inclusive, and shows inclusion visually too… ie the person goes into and comes out of the circle. Helpful when used to signify that facilities are designed around the person.
Facilities are designed around the person, and the symbol is designed with the person, not the wheelchair, being central which is more appropriate.
Unfortunately the process for getting the International Access Symbol changed is probably near impossible, as there are so many bodies and countries and boards which it would need to go through. However, this hasn’t stopped me creating this. It’s making it’s debut into the world in the perfect place.
I designed my inclusive international access symbol in February this year. I later used it to create another different design with a specific emphasis on mental health; “State of the Art”. State of the Art is an emblem with specific personal links to my own psychological and emotional trauma recovery, while “What Does this Symbol Say?” is a symbol design which relates to my experiences of physical disability, though of course the two are related!
I’m looking forward to the private view! Info here (from Shape website):
“Join us for the Private View of the 2019 Shape Open on Thursday 5th September from 6.30 – 8.30pm.
This event will be BSL interpreted.
The exhibition will be available at Nunnery Gallery until 19th September.
The Shape Open 2019 exhibition explores the theme ‘In Circles’ in the context of disability. Disabled and non-disabled artists were invited to submit work for Shape Arts’ seventh annual Open exhibition that ignites debate and discussion on disability from a wide range of viewpoints.
This year’s exhibition theme ‘In Circles’ questions whether progress for disabled artists is being and can be made within the arts, if our work is counterproductive and a circular argument, or if we can shift institutional thinking.
The exhibition showcases work across a wide range of art forms from artists around the world.
The 2019 Shape Open exhibiting artists are:
Tony Allen, Richard Amm, Faith Bebbington, Coreen Bernard, Lizz Brady, Claire Callow, Sam Castell-Ward, Annie Ho Cooper, Daisy Cowley, Nikki Davidson-Bowman, Catriona Faulkner, Alice Rose Floyd, Steven Fraser, CL Gamble, Laura Graham, Michael Gurhy, Steven Hardy, Jack Haslam, Liam Hassan-Beserekumo, Tzipporah Johnston, Elora Kadir, Nihan Karim, Glynis Lamond, Carrie Mason, Campbell Mcconnell, Andrew McPhail, Jenny Meehan, Charlie J. Meyers, Bella Milroy, Aidan Moesby, Steve Musk, Elfrida Osbert, Alice Partington, Beau Rouse, Amna Sharif, Anne Smith, Mark Tamer, Andrea Vicentini, Aminder Virdee, Ophir Yaron, and Chan Chung Yuen.
A winning artist, selected by a small panel including Shape Open Patron, Yinka Shonibare MBE (RA), will be awarded £1,000 at the Private View; a second artist will receive the People’s Choice Award of £250, as voted for by visitors of the exhibition throughout its duration. The People’s Choice Award is kindly supported by Crucial Colour Ltd, part of L&S Printing Co Ltd in Worthing, West Sussex.
Full details can be found here: https://www.shapearts.org.uk/Event/shape-open-2019
Travel Information
Opening hours: Tues-Sun, 10am to 5pm
Address: Nunnery Gallery, 181 Bow Road, London, E3 2SJ
Nearest station(s): Bow Road (District and Hammersmith and City lines) is a 6-minute walk away, and Bow Church (DLR) is a 3-minute walk away.
Bus: 205, 25, 425, A8, D8, 108, 276, 488 and 8 all service the surrounding area.”
Last, but not Least… North Pennines AONB Environmental Conservation Organization Subterraneous Exhibition at Bowlees Visitor Centre
I have my work on show at Bowlees Visitor Centre. The location of the centre is within the North Pennines Area of Outstanding Natural Beauty/AONB and UNESCO Global Geopark. It looks like a lovely area. I cannot visit the exhibition but hopefully they will publish online a lot about it soon.
There’s an article here:
https://www.teesdalemercury.co.uk/art-and-leisure/exhibition-celebrates-dales-secret-world-of-bugs
I am very pleased to have my art work in this art exhibition!
My “Ant Parade” surface pattern design is something I was very pleased with and I like my work to be seen and enjoyed by others as much as possible.
Text from the above:
“More than 50 creations are on display in the Subterraneous exhibition at Bowlees Visitor Centre which continues to September 29 as part of the North Pennines AONB Partnership’s Cold-blooded and Spineless project.
Funded by the National Lottery Heritage Fund, the project raises awareness of invertebrates and highlights their importance to our environment and our lives.
Subterraneous will uncover the world of invertebrates, largely hidden from view.
The work has involved artists from the North Pennines and further afield.
Furry creatures will invade the exhibition space at Bowlees Visitor Centre and a variety of sculptures, sound and images will emphasise the importance of invertebrate conservation.
Works include ancient fossils in sandstone, vibrant insects made from recycled silk ties and even a sculpture that functions as a soil ecosystem.
There will also be an “infestation chair”, covered in a screen-printed design, celebrating the beauty and complexity of insect life.”
I like the sound of that chair!
ant parade by jenny meehan ©jenny meehan North Pennines AONB Environmental Conservation Organization Subterraneous Exhibition at Bowlees Visitor Centre
I am pleased to be supporting the North Pennines AONB Partnership’s Cold-blooded and Spineless project by exhibiting my work in the Subterraneous exhibition.
Subterraneous is part of an AONB Partnership project.
Cold-blooded and Spineless is funded by the National Lottery Heritage Fund.
Find out more here:
-
@HeritageFundNOR
And here:
Twitter @NorthPennAONB @northpennwild
Facebook @NorthPenninesAONB
Instagram @northpenninesaonb
My text on Ant Parade
Ant Parade 2019
This small square piece of fabric is an example of one strand of my creative practice which involves experimentation with geometric shapes and patterns. The original form of the ants has been obscured and distorted through my visual interpretation, which I developed in order to emphasise the way ants work together.
Ants live and work together in highly organised societies called colonies. In fact, most ant colonies are so united toward the common purposes of survival, growth, and reproduction that they behave like a single organism, or a “superorganism.”
Pattern is an underlying structure that organises surfaces or structures in a consistent, regular manner. Pattern can be described as a repeating unit of shape or form, but it can also be thought of as the “skeleton” that organises the parts of a composition.
So these little invertebrates, do share a hidden, less obvious skeleton, of sorts. It’s the case in life that often the structures which hold the body together are not obvious at all, and sometimes completely invisible.
Pattern exists in nature as well as in designed objects; it is interesting to look at the parallels between art and nature, also appreciating the less obvious ones. Some formations are obvious and some are not.
An army of ants may well consist of creatures classified as invertebrate, but it’s certainly not spineless! A spinal column gives the body form and function. There’s a hidden spine in this ant parade, which I have interpreted visually in an abstract manner.
About Jenny Meehan British Contemporary Fine Artist and Designer
I am a painter-poet/visual artist, contemplative/poet/writer, art educator, teacher and spiritual mentor (Progressive Christian faith centred) based in East Surrey/South West London, UK.
Support my art working by buying products of my design on Redbubble.com and also of course, original fine paintings, available direct from me!
Geometric and lyrical abstraction from London/Surrey based female British Contemporary Artist.
I’m interested in spirituality (particularly Christ centred spirituality), creativity, emotional and psychological well-being, trauma recovery, and mindfulness.
I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios (KAOS).
I have trained both with SPIDIR and through a variety of other training bodies as a spiritual guide/mentor.
I am a trained teacher (PGCE) and hold occasional small groups in developing painting and drawing skills, as well as offering occasional individual tuition.
Contact me via the contact form on my website http://www.jamartlondon.com
If you are less interested in original fine art and paintings, but would like to have something with my imagery on it, then go to:
https://www.redbubble.com/people/JennyMeehan/portfolio
and
https://www.redbubble.com/people/jennyjimjams/portfolio
Where you can buy selected art and design.
For the more geometric abstract strand of my art and design:
https://www.redbubble.com/people/JennyMeehan/portfolio has more, and for lyrical abstraction painting-prints I will be putting work up on the other redbubble profile:
https://www.redbubble.com/people/jennyjimjams/portfolio
I gain a small royalty percentage which helps me towards the cost of materials and exhibiting my work. Every little helps.
You can contact me via the contact form on my website jamartlondon.com
Some of my original paintings are available for purchase when no longer required for exhibition, and I am happy to license images of my work via the Designers and Artists Copyright Society (DACS).
All content is © Jenny Meehan.
Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts of writing and links may be used, provided that full and clear credit is given to Jenny Meehan with appropriate and specific direction to the original content. Images may not be used without permission.
Please note that all images of my artwork are subject to copyright law: All rights reserved. In the first instance, contact me, and I will refer, as/if appropriate.
If you are looking for artwork, particularly abstract, colourist, expressionistic lyrical abstraction type painting images suitable for book covers etc, then do contact me as I might have something to suit which will be quick and easy to license via DACS
https://www.instagram.com/jamartlondon_jennymeehan/
Erm, better late than never… This JULY post is coming at the end of JULY!
catastrophe becoming painting by jenny meehan submitted to 100days100women.wordpress.com british collectable abstract paintings
Becoming – Painting and Poem by Jenny Meehan
“Becoming
light and colour.
The poetic space
coming together.
In one, long, moment
I will take you there,
and you will see
beauty in brokenness. ”
Jenny Meehan
© Jenny Meehan All Rights Reserved
Posting again…One of my favourite, simple poems. And one of my favourite paintings too!
You cannot see from the image the texture or the light interplay with the texture and colour… The tiny glass spheres which I use on the surface of my acrylic lyrically abstract paintings are a vital part of the exploration of surface, light and space which interests me.
These hard little spheres are resonant for me of trauma… But they are not sharp, and so there is some kindness in their shape. And they are highly reflective of LIGHT! This brings another dimension to my use of them… I like this, for this is what I do in my life. With even these hard little spheres, formed through traumatic experience, maybe, in my thinking, there can still be beauty, and even a beauty which would not be possible without them.
The painting is called Catastrophe/Becoming. The poem “Becoming”. Because I focus on the process of becoming and of forward movement. Forward motion. Lyrically abstract paintings don’t tend to lean towards any particular firm concept or pictorial image, but psychological resonances are something which, as their creator, I can testify, are often very rich and strong. Not at the outset, but as I go through the process of working on the painting and as I trust myself, my intuitive responses bring a sense of sense…That may be a better expression than “meaning”. For meaning is something you know. And this kind of painting isn’t about knowing. It’s about allowing myself to move into the unknown, but into feeling and a poetic presence… It is the case, on reflection and towards the end of the process… And even some time after, that I understand what it meant to me. But the making sense of it must never be the reason for it’s existence. And I hope that the viewer too can experience the freedom of being free from the shackles of needing to understand. For there is much in life we cannot understand and cannot know.
It can be difficult.
But so it must be.
Jamartlondon_jennymeehan Instagram Account now active
I have succumbed! Needs must! I do need support for my creative art working, and I do need to get it out there before I die…Now is the time to do it. Instagram is so different from my preferred meandering discourse, but this journal can satisfy my need to meander on with a long narrative. Jamartlondon_jenny meehan is such a different medium. It’s a kind of funnel for STUFF. I love it and hate it. But needs must. And I must too. However, it’s a good way of organising my imagery, of which I have much. And it is just the way of our era! I sound a bit old, I think. But I am getting used to that too. This being in the second half of my life thing!
Dulwich Picture Gallery Exhibition
I had a nice evening on 19th July at Dulwich Picture Gallery! Though unfortunately I have sprained my ankle which was quite literally, a pain. I strapped it up which helped.
At the moment they have the amazing looking Colour Palace.
Info for the Art and Identity evening and The Colour Palace…
Dulwich Pavilion 2019: The Colour Palace
What’s OnDulwich Pavilion 2019: The Colour Palace
This summer, the Dulwich Pavilion returns with The Colour Palace, created by Pricegore architects and designer Yinka Ilori.
Free and open to all this summer, The Colour Palace will bring our grounds to technicolour life.
A fusion of West African and European influences, the Pavilion is inspired by the buzz of fabric markets in Lagos, and the symmetry, curves and right angles of Sir John Soane’s iconic Gallery design.
The structure
The Colour Palace is a 10 metre high cube with a bold geometric pattern, standing on four huge red cylinders. At its core is an atrium, creating an arena where visitors can view the structure from many different perspectives, including from an interior raised viewing platform.
Start date12 June 2019
End date22 September 2019
Open10am–5pm Tuesday–Sunday (Open late for special events; Gallery closed on Mondays except bank holidays)
PriceFree
https://www.dulwichpicturegallery.org.uk/whats-on/gallery-lates/2019/july/pavilion-late-the-art-of-identity/
Pavilion Late: The Art of Identity
What’s OnPavilion Late: The Art of Identity
Experience the kaleidoscopic Colour Palace after hours in this special Late exploring art, heritage and identity.
In collaboration with Pricegore architects, the design for The Colour Palace was inspired by Yinka Ilori’s memories of fabric markets in Lagos with his grandmother – as well as unique examples of European architecture. This Late invites you to question our relationship to art and architecture through the lens of cultural heritage and identity. The evening includes pop-up talks with print artist The Fandangoe Kid and designer Yinka Ilori, music from Tony Njoku, drop-in art-making including sculpting, stitching and sketching places and stories of personal significance, with delicious food and drink available to purchase.
“Evening includes
Art and Ancestry: pop-up talks from designers Yinka Ilori and The Fandangoe Kid on how their ancestry and heritage has influenced their practice
Drop-in story sketching with Ilga Leimanis
Collaborative textile making with Stitch School
Music from Tony Njoku
Expressions of identity in a display created by artists from Brixton’s SHARP Gallery (Social inclusion, Hope and Recovery Project).
Access to the Gallery and Cutting Edge: Modernist British Printmaking
ARTiculation alumni, Lewis Duncan and Oliver Simpson, discuss Erno Goldfinger’s Balfron Tower, and the Barbican Estate respectively.
On Brand: design your own personal logo or symbol, taking inspiration from The Colour Palace
Speed drawing: sketch a stranger while they tell you about themselves
Tickets free, booking essential!”
Expressions of identity in a display created by artists from Brixton’s SHARP Gallery (Social inclusion, Hope and Recovery Project).
Yep, that’s where my contribution can be found. I might have posted here on it before, so apologies if repeat.
©jenny meehan
mort main by jenny meehan art and identity painting collage dulwich picture gallery
Text for Mort Main by Jenny Meehan .
“Mortmain (Dead Hand)
the oppressive influence of the past
As I am a person who grew up as a child of a mother with a serious chronic mental disorder (paranoid schizophrenia) I am aware of the pull of the past on my sense of identity. I believe this was something my mother also felt, though she did not have the liberty I experience to unpack its meanings for her to the extent I am able to. My creative practice is a vital part of my own identity formation, and in this piece I acknowledge the oppressive influence of the past; the dead hand “Mortmain”. But in making this work I confront the dead hand: by printing my own hand print within the blackness, I make my own impression in a way which only I can do. It’s an affirmation of a sense of self completely separate from the past, while at the same time not choosing to deny it’s existence or influence.
The ways in which I touch the world and the ways in which I work with materials draw my sense of self into a realm of total freedom which is a far cry from any imprinting from my earlier years. I have chosen this corrugated card as the substrate because it came from a cardboard box I tore apart: a container for contents which no longer exist; it’s useful life is over. It once held things inside which were part of its identity as a box but now it is simply a piece of cardboard. In my formative years I held many things inside myself to my own detriment; the way I have torn the box is symbolic of the cathartic choices I’ve made, many helped through my engagement in the process of psychotherapy.
The box would normally be discarded, but I’ve chosen to keep part of it as a metaphor for the way that through the realisation and expression of feelings and ideas previously unacknowledged, people are able to separate themselves from parts of their identity which have acted on their psyche in a dead handed manner. I originally thought about it being displayed by being placed on the floor, which would feel more natural to it (being of waste matter in substance), however, it’s an acknowledgement of a lot of work done both by myself, and indeed many people across the world, in the process of self recovery, so I don’t mind if it is hung in a gallery setting.”
It was nice to go back to the Dulwich Picture Gallery.
I had my painting “Bright and Breezy” selected in their open art competition in 2015
lDulwich Picture Gallery Open Exhibition, Gallery Road, London SE21 7AD 30th Sept – 12th Oct 2015. Juried, (Selection panel headed by Ian Dejardin, and including Rebecca Fortnum, Clive Head, Nicky Hirst and Elo Schuneman).
bright and breezy painting jenny meehan at dulwich picture gallery uk
bright and breezy painting meehan at dulwich picture gallery uk
Bright and Breezy” Jenny Meehan Acrylic and Oil Painting
Hmm, looks a bit darker in this image than in real life. It’s for sale, by the way if you are interested contact me via the contact form on my website please. Most of my work is available for sale, well…providing it hasn’t been sold already. I do keep some back though. Most are looking for new owners!
My, that seems a long time ago! Time does fly!
Like much of my lyrical abstract painting, memory does have an important influence. During the painting process the memories sometimes emerge. Different for different paintings, of course, and sometimes the relationship isn’t there or isn’t direct, but in the case of “Bright and Breezy” a very clear reference does exist.
combe martin bay tuft devon jenny meehan
Happy memories, and I was so struck by the way the tree tuft hangs onto the rocks. It was always there, on every holiday at Combe Martin in North Devon. There were no bad memories of this place. All happy. But yet a reminder of the tenacity needed in life, through all it’s hardships too. Even then, as a child, this struck true.
By the way, you can still visit the Colour Palace at Dulwich Picture Gallery…
“This summer, the Dulwich Pavilion returns with The Colour Palace, created by Pricegore architects and designer Yinka Ilori.
Free and open to the public throughout the summer months, The Colour Palace is a fusion of West African and European influences, inspired by the buzz of fabric markets in Lagos, Nigeria, and incorporating symmetry, curves and right-angles – all elements present in Sir John Soane’s iconic 1811 design of the Gallery. On each side of the Pavilion, brightly coloured timber slats create layers that shift when viewed from different angles, bringing the Gallery’s grounds into technicolour life.
The structure
The Colour Palace is a 10 metre high cube with a bold geometric pattern, standing on four huge red cylinders. At its core is an atrium, creating an arena where visitors can view the structure from many different perspectives, including from an interior raised viewing platform.
In partnership with the London Festival of Architecture 2019″
https://www.beckyinkster.com/summer-2019-conference
Digital Innovation in Mental Health 2019 (DIMH2019) Conference, Lead/Creator, London, UK, 13-14th August 2019
.
Glad to be part of this. I have some work included as part of this mental health conference. It was interesting to combine some ongoing interests in fractals with another ongoing interest in inclusiveness! And so here it is “State of the Art” .
state of the art jenny meehan ©jenny meehan all rights reserved
Accompanying text:
As a person who grew up in the care of a mother with a serious chronic mental disorder (paranoid schizophrenia) I’m highly aware of how less isolated I might have been if the digital technological innovations we have now, existed then. Access to psychological help and the opportunity to share feelings can transform challenging situations we face and make them more bearable. I’ve designed this artwork to be displayed ideally as a projection on a large scale, though it could be shown online or printed as other options.
It features my idea for a new international symbol of access combined with pattern created by using fractal generating software. I wanted to create a positive emblem of mental health and inclusion which conveyed order, balance and light. For people who do not receive the support they need, (maybe due to the limitations on mental health services/ignorance/denial) the internet offers opportunities for communication and expression; both increase potential for life enhancing change.
The use of information and communication technologies to support and improve mental health and health care improves access and awareness, helping people to reach out both in giving and receiving support. I’ve experienced the positives in my own life, and so this is both a personal and wider expression. My ongoing interest in trauma recovery is a source of inspiration in much of my artistic practice so it’s lovely to be able to create this digital image with what seems the perfect medium to use for the purpose!
Jenny Meehan
Jenny Meehan is a Kingston Upon Thames based fine artist and designer working primarily with painting and digital imagery. Following her studies at Kingston University (BA Hons Literature) a Post Graduate Certificate in Education at Roehampton University led to a career in teaching. From 2010 Jenny focused on the Visual Arts, training at both West Dean College and local adult education provision. Selected by a wide range of judges, her work has been displayed across many galleries and museums in the UK. These include the Dulwich Picture Gallery, Pallant House Gallery, and Kingston Museum.
Jenny uses a process led approach to art making, and while the artwork she creates is informed by her research activities, outlook on life, and personal experiences, it is the formal aesthetic qualities, and what she perceives as the presence, or poetry, of the work itself, which she is most concerned with. Her visual art is intimately connected with her writing and poetry, and the relationship between these two strands of creativity is a lively and interesting one.
http://www.jamartlondon.com (Artist’s personal website)
https://jennymeehan.wordpress.com/ (The Artist’s Meandering Discourse Artist’s Journal)
People naturally want to know about the process of creating a piece of art. If my artistic produce developed in a linear fashion then this would be quite straightforward, but I find that isn’t the way it works for me. The reality of my creative process is very piecemeal. Very piecemeal! I work on several things at a time, dipping in and out of them. There are normally several ongoing strands which develop sometimes very slowly over the course of time. I believe creative development happens in a cyclical, rather than a linear way. While the mind can interpret and attempt to explain things, which can be helpful of course, it can also be quite limiting if one attempts to get a grip on something which is very evolutionary!
It’s in the flow, and in the playing around, that very interesting things happen, and so an important part of my creative practice involves a very conscious effort NOT to understand or explain what I am doing. I think that the subconscious mind is vital in establishing what is really important to me, and I like to give that priority. I often find that things do just come together in an organic way. The main thing for me is listening to myself and my emotions and following my instincts when I work with materials and imagery. There’s a huge amount of trust involved really…. And letting go. One has to be prepared to be out of ones depth, confused, and lacking knowledge. It’s a humble place.
I normally don’t realise the significance of what I am doing until a couple of years later. It can happen more quickly, but I guess there is the advantage of not rushing and letting things happen naturally. I sometimes discuss my artistic output with my therapist, as I have been involved in an ongoing psychoanalytic process since 2012, and this can be helpful at times in appreciating what I understand as the grace of God in my life.
I credit the psychoanalytic work I have been doing, the interventions of a compassionate Creator God, and the love shown to me in many other ways through all kinds of people, as the things which enable me to continue to flourishing in the creative expressions which are such an integral part of my being.
E – Mental Health
What is it? E-mental health is the use of information and communication technologies (ICT) to support and improve mental health, including the use of online resources, social media and smartphone applications. This is a very good thing indeed in terms of resources. I do feel there is no replacement for one to one or group psychotherapy…I’m passionate about that, because I’ve experienced the benefits. However, to have a range of resources is really important.
“Digital mental health
In the UK, 38 million adults access the internet every day.1 That’s 76% of the adult population. On average, internet users aged 16 and over spends more than 20 hours online each week and more than 70% have a social networking profile.2
With this growth of the internet, online spaces and smartphone apps, healthcare services are beginning to use these developing technologies to help monitor health and prevent and treat any problems. Digital health (or e-health as it’s sometimes known) is a wide and varying concept that includes the use of technology for digital record keeping, online booking systems, online repeat prescriptions and some more innovative uses of technology for direct treatment.”
https://www.mentalhealth.org.uk/a-to-z/d/digital-mental-health
What is digital mental health?
It might be online self-help, as not everyone feels they need to or wants to speak to someone for professional help. This might include using information to understand mental health, using online self-management guides or using message boards or online programmes for direct support. There’s no waiting list, which is good, and GP’s might be able to prescribe online self-help resources. Local charities may have resources available.
E-therapy
E-therapies are programmes that use the internet or mobile devices to deliver interactive interventions for preventing and treating depression, anxiety, and other mental health problems. They tend to use cognitive behavioural therapy (CBT) and people complete exercises and receive feedback on their progress. Some might even use live therapy through video calling platforms.
Note; Therapy experienced over Skype, for example, is a bit different from having it in person. Quite a lot different…I know because my own therapy is now over Skype, while it used to be for many years in person, but it’s certainly got a place.
Blended care
Blended care involves a combination of face-to-face treatment with online sessions. This could be online treatment sessions with structured delivery and monitoring of the core treatment information and exercises, alongside additional face-to-face sessions. In the face-to-face sessions, therapists can offer customised treatment by responding to the patient’s needs, problems or wishes in real time.
This seems like a great solution. It would have been great for me in the gap between my NHS psychoanalytic therapy finishing and my placement as a training patient which gave me access to psychoanalytic therapy in a way I could afford to access. The period between my NHS therapy finishing and starting work with a therapist was about six months and it was really very hard. Probably one of the hardest periods in my life. I got through it armed with an excellent book called “Ten Best Ever Depression Management Techniques” by Margaret Wehrenberg. It would have been really very good to have a little bit more support and I do think that the kind of things available now with e-mental health would have been helpful. At the time I didn’t know about such things…It was several years ago, around 2010, so I’m not sure what was around.
The 10 Best-Ever Depression Management Techniques: Understanding How Your Brain Makes You Depressed and What You Can Do to Change It
Book by Margaret Wehrenberg
I have posted the link because I heartily recommend this book. It does require focus and action, which is hard when you are very depressed, however, it was a life-saver for me, giving me somethings I could do to hang onto when I was waiting for much needed one to one therapeutic intervention.
What also helped me a lot was a few email exchanges from several charitable organisations. That was very good in terms of helping me to express myself. The situation for me in 2010 was that I wasn’t in a place where I was able to speak…at all…about the traumatic experiences I had had… And I’m sure this is common. When I went to my GP I had to write down what I had come about… I could not speak… It was not possible! I could speak about everyday matters, yes, but not about my feelings or thoughts. So being able to communicate with someone in that indirect way most certainly had a very important place in helping people access psychological health.
My concern is that it has the potential to also reduce funding being put into personal psychotherapy. Psychoanalytic therapy, in particular is absolutely the right thing for someone who wants to explore deeply themselves and sometimes that is the only way, or at least, a key way, which cannot happen in any other way. There’s no substitute for someone engaging in that type of process…There’s no quick fix, or other kind of experience which can replace it. It’s relational and trans formative in a very particular way. I’m a strong advocate of the psycho analytical approach, and quite honestly I think that loads more funding should go into that, but that’s my take!
Psychoanalysis and the psychoanalytic approach certainly is not for everyone. But oh, I do wish the NHS would fund it more, so more people could access it. For me I do think it saved my life…It stopped my situation becoming a crisis, (Well, it was a kind of longish, but at least functional, crisis, but it kept me out of hospital!) and for the NHS it actually saved them money, because though my NHS therapy cost money, I’m quite sure it wasn’t as expensive as a psychiatric hospital admission and the necessary aftercare related to that.
Kingston Artists’ Open Studios 2019 – Done and Dusted
jenny meehan art work at kingston artists open studios ©jenny meehan
jamartlondon jenny meehan british lyrical abstract fine painting by contemporary london modernist artist designer
jamartlondon jenny meehan british lyrical abstract fine painting by contemporary london modernist artist designer
jamartlondon jenny meehan british lyrical abstract fine painting by contemporary london modernist artist designer
I’d Like to tell you a bit more about an excellent project I was glad to be part of at Tate Modern, but I will need to do that next time, as I need to move onto to some practical painting now! I will write more next time.. This below was the background to it though.
Tate Exchange in London
“How can we move freely in our bodies and across borders, in museums and across the cosmos?
Imagine moving without constraint, unhampered by injury or ill-health. Imagine being unrestricted by national borders or proof of citizenship. The universe might feel like it could expand without limit, but human beings seem constantly to come up against barriers. Researchers from across Queen Mary University of London share their work and invite you to explore the different ways we move and the obstacles we face.”
quoted from the Tate Modern website..
https://www.tate.org.uk/visit/tate-modern/tate-exchange
About Jenny Meehan Contemporary British Artist
I am a painter-poet/visual artist, contemplative/poet/writer, art educator, teacher and spiritual mentor (Progressive Christian faith centred) based in East Surrey/South West London, UK.
Support my art working by buying products of my design on Redbubble.com and also of course, original fine paintings, available direct from me!
Geometric and lyrical abstraction from London/Surrey based female British Contemporary Artist.
I’m interested in spirituality (particularly Christ centred spirituality), creativity, emotional and psychological well-being, trauma recovery, and mindfulness.
I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios (KAOS).
I have trained both with SPIDIR and through a variety of other training bodies as a spiritual guide/mentor.
I am a trained teacher (PGCE) and hold occasional small groups in developing painting and drawing skills, as well as offering occasional individual tuition.
Contact me via the contact form on my website http://www.jamartlondon.com
If you are less interested in original fine art and paintings, but would like to have something with my imagery on it, then go to:
https://www.redbubble.com/people/JennyMeehan/portfolio
and
https://www.redbubble.com/people/jennyjimjams/portfolio
Where you can buy selected art and design.
For the more geometric abstract strand of my art and design:
https://www.redbubble.com/people/JennyMeehan/portfolio has more, and for lyrical abstraction painting-prints I will be putting work up on the other redbubble profile:
https://www.redbubble.com/people/jennyjimjams/portfolio
I gain a small royalty percentage which helps me towards the cost of materials and exhibiting my work. Every little helps.
You can contact me via the contact form on my website jamartlondon.com
Some of my original paintings are available for purchase when no longer required for exhibition, and I am happy to license images of my work via the Designers and Artists Copyright Society (DACS).
All content is © Jenny Meehan.
Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts of writing and links may be used, provided that full and clear credit is given to Jenny Meehan with appropriate and specific direction to the original content. Images may not be used without permission.
Please note that all images of my artwork are subject to copyright law: All rights reserved. In the first instance, contact me, and I will refer, as/if appropriate.
If you are looking for artwork, particularly abstract, colourist, expressionistic lyrical abstraction type painting images suitable for book covers etc, then do contact me as I might have something to suit which will be quick and easy to license via DACS
instagram is jamartlondon_jennymeehan
jenny meehan art prints abstract digital collage First Day; Morning abstract art image licensable ©jenny meehan all rights reserved
First Day; Morning
Above: First Day; Morning. Archival Quality Digital Print….
I’m just sorting out some digital prints ready for this years Kingston Artists’ Open Studios…And “First Day; Morning” is one of them. I’ve become fascinated with the circle as a geometric shape and am using it increasingly in my art working. Yet my ongoing interest in texture and surface persist.
In the run up to the Open Studios most of my focus is on organisation at the moment, as well as reviewing work and deciding what to show. It’s a busy time, but rewarding. There’s the odd conflict between selecting work that I hope might sell and selecting work which I personally want to spent a couple of weekends looking at! I do need to sell artwork…Money is needed. And space is needed! The great thing about being so productive, is I have a lot of choice in what I decide to show. There’s only a tiny fraction of my work on the internet, and my archives are huge. But with work which is actually printed or painted… It does take up space. And space is limited!
I’m in the mood for writing now, so I’m going for it! I’d like to write more in the future…More project based and focused…but for now the “meandering discourse” serves me best for it’s function, which isn’t particularly focused (in an “overview” kind of way…with editing and honing and shaping, and all of that): It never was meant to be something which stood on it’s own two feet. Rather a brook through my mind and thinking; sometimes feeling… meeting artwork here and there. Not showing in a conclusive way. But something useful for me to look back on. Indeed, I do. And it serves it’s purpose. Works as a kind of gauge at times. Shows movement in other areas, even though it moves itself. Leaves an indentation, which is easier to see when looking backwards.
jenny meehan art prints abstract digital collage ©jenny meehan all rights reserved First Day; Evening
“First Day; Morning” and “First Day Evening” will be available for sale at this year’s Kingston Artists’ Open Studios!
Sean Scully
I enjoyed the recent programme on Sean Scully. Interesting quote:
He admits to being a bit surprised that his stature has not just endured but grown exponentially. “I think it’s a question of the way the cultural ocean moves,” he explains. “Painting has made a huge comeback. There’s a whole generation of curators out there who are young, but they’re sick and tired of conceptual art, they’re interested in things that are actually made. So all over, in South America, in China, there’s a return to a world of emotional materiality in painting. In a way I was waiting for this to happen for a long time, but no longer.”
https://www.google.com/amp/s/www.irishtimes.com/culture/art-and-design/visual-art/artist-sean-scully-it-s-about-stacking-putting-things-in-order-1.3642099%3fmode=amp
Sat, Sep 29, 2018, 05:00. Article written by Aiden Dunne
Read the whole article.
He certainly has plenty of room (and studios in the plural!) to paint in!
“A mysterious embodiment, it remains silent, yet potentially potent, whilst never entirely giving up its mystery.” On painting, from Metaphor
On abstract painting and music….Kevin Power / Sean Scully October 2, 2002
(Questions to Sean Scully on the occasion of Encuentro, Mudial de Las Artes,
Valencia October 3-6 2002)
“It is sometimes said that all art aspires to the condition of
music. I would like my art to aspire to something like the condition of music:
but a condition that can be felt and experienced in a deep moment. I think
with painting you can get rid of the problem of time. You can feel it abstracted
in the rhythms, in the layers of the painting; but you are, for your moment,
free.
I do believe abstraction is and was meant to embody deep emotion. I believe
that’s its job, in the history of art. The edges of the character and forms in my
paintings should lie against and with each other, with complexity and
emotional depth. Naturally one feels time in my work, because it is layered. It
is repainted many times, in different colors and weights of paint, always by
me: until somehow everything lives, however gracefully or awkwardly, in its
right place. So it’s a façade, but it’s a façade that submits to feeling or is
overwhelmed by it: since nothing is perfect.”
This is something I wish I heard more often:
“You have talked about yourself as a ‘romantic realist”, a stance that given our
present circumstances is not easy to sustain both on account of the geo political changes
taking place in the world and because numerous philosophers seem to be questioning the
gains of our Western humanist tradition to which such an attitude clearly belongs. How
do you see the real as now penetrating the romantic frame through which you “feel” the
world?
This is a very big question, a question about which one could write a book. I
am very aware that the romantic is now seen to be of limited relevance.
However, I have attempted to articulate my idealistic sense of romanticism in
the world, as it is, with its problems now. Without giving up on my true
personal feeling. To say it simply, I think it’s not only possible, but important to
offer a deeply felt example of a humanistic art form: in a world that has
become extremely cynical. I have lived through many changes, social and
political, that have affected me and changed me. However, my art is trying to
address something eternal and universal. So however difficult it may be for
someone with my sense of connection (connectedness) to continue to offer
an idealistic/humanistic view, I have to keep doing it. In fact, the worse it gets,
the more crucial it is to offer it.
I hope my work can stand as an example of another possibility. I realized,
when I moved out of the political arena in my radical days, that I would
experience as an artist moments of guilt and impotence.”
Here’s a bit about the programme I watched:
https://www.bbc.co.uk/mediacentre/proginfo/2019/15/unstoppable-sean-scully
You can watch it here:
https://www.bbc.co.uk/iplayer/episode/m00041pb/unstoppable-sean-scully-and-the-art-of-everything
Signs of the Times… Continues!
One of the great things about art working is the way that things develop over time. I think it may be the best! I love the way I get new perspectives on things I have done often several years ago. The “Signs of the Times” strand of experimentation started a few years back, but set me off on a useful path into working with flat surfaces and geometric elements…A welcome change from the lyrical abstraction. (It’s easily possible to become over saturated with one aspect of your work). Contrasts and changes, trying new mediums, and keeping an open mind are essential in artistic creation. Concepts are all well and good, but the tree of ideas grows from the art working, in my opinion. Life and its experiences enter the life of the artist and strange things happen there! Well, this is the approach which works for me. There are many others. It can work in other ways too. I find the openness and flow essential though, in my own creativity. Openness and flow involve a fair amount of trust, risk, and uncertainty. We get to know our materials well. We need to also get to know ourselves well. Because what we do comes from deep within us. It cannot come from anywhere else in the end. And life changes. It changes us. And the work of any artist evolves along with everything else.
The night time version, maybe calm moment in the dark, partner of calm moment in the light! © Jenny Meehan. All Rights Reserved
Above is one example of my series “Signs of the Times”: Geometric abstraction experiments carried out using vector graphics software. It was a delight to try communicating simple phrases and emotions visually in an abstract form, making simple yet emblematic pieces of affordable art. Affordable because the artwork is printed via Redbubble.com, which is a print on demand site. Yes, it may not be very “fine arty” in the exclusive sense, but it’s no less fine art because it is accessible. I have grown tired of the whole idea of value and art. What I mean is, the connection (which is sometimes made…not by all) that if something is very expensive and out of reach it is somehow more well, “art”. The reality is that sites like Redbubble.com make the work of artists very accessible.
https://www.redbubble.com/shop/jenny+meehan+art-prints
The only thing it will not have, of course is a signature! And there is that point which the item will have never been actually touched by the artist…But that is the object itself. Art is not just about the production of objects and artefacts. “Common place” ones or “exclusive” ones…It makes no difference does it? The appearance of one of my own artworks through the avenue of Redbubble.com is a choice I have made most purposefully. It reflects my feelings and values. It’s part of how I operate, and not just for practical reasons. There are practical reasons. And I carefully selected Redbubble.com because of the quality of the products. They met my own requirements for forms that my artwork might be re-presented through. Yes, I will also have my paintings, and sometimes sell those, from time to time. And some numbered (but not limited edition) prints. But I have no time or desire to do things which distract me from my main focus of innovation, creation, experimentation, and development.
https://www.redbubble.com/shop/jenny+meehan+art-prints
Digital printing is a whole new world!
Part of my thinking in this kind of direction also leads me to an interest in using substrates which are generally utilised in distinctly “non-fine art” realms. Banners and advertising boards. Company promotional material product materials and equipment. Printing is now so wonderful! So much is possible which was not possible before! We see such much printed matter all around us. So many interesting surfaces and substrates. Do I feel that I somehow debase my art work by presenting it on materials used for advertising? Not one little bit. Why should I? This is the matter we meet in our daily life and it should be the material of fine art too. Why not? It’s a most definite form, and we associate it with one type of activity but that doesn’t mean it cannot be associated with another. The longevity possible now, and the quality of printing and inks has come such a long way. It’s amazing! Exciting! Fantastic! If I had more money available to spend, I would be printing my work on many more substrates than I use at present…if it suited the realisation aptly!
Maybe there is a kind of redemption going on for me in this desire? For our desires are so much influenced by what is around us.
“A successful advertising message transcends the audience perceptions of needs and wants. It creates an emotional appeal that subtly convinces the audience that the item being promoted will make a difference in their lives by either making them happy, giving them status, satisfying a desire or providing security.”
I like an emotional appeal to a viewer to come from the imagery I create. But because it is what it is. And it can be to them how they wish it to be. It’s always good when someone connects and it’s helpful to me if they decide they want to buy something. (Why not?) But to replace advertising with my own imagery and take over the territory, even in just a very small way…As a gesture maybe? It feels good to do this. Maybe I have moved myself from the position of passive object of the advertising to the active subject in some sense? I won’t be told what I desire…(I am sure I often am! Not advertising proof!) I will put my expression, the product of my own desire to create, on substrates/objects/forms associated in our minds with advertising.
It’s nothing new. But I need to think it through, so I am doing so.
On a slightly different, but allied tack…
There are various billboard art projects going on/which have happened. The materials and context are often used to great advantage. There are many themes developed by billboard artists, yet the majority address social issues. There’s a kind of takeover bid…using that advertising space (and so the same media). A kind of graffiti form, with just a bit more of an element of disguise maybe?! Billboard artist use many strategies, including appropriating well known ads to alter meanings, making objects which look and function like adverts, and graffiti over advertisement boards.
There’s often text and a clear concept, rather than something which is abstract expressionist though. I like my work to be in the public realm, but it doesn’t have to have the kind of extent of publication that something with a message would be targeted at. (Though wouldn’t the world look lovely if all the adverts were removed? I think we would probably feel all a lot better to be honest.)
So much public space is dominated by the media, corporate culture and advertising.
I’m very fond of the Guerrilla Girls work! (Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world. The group formed in New York City in 1985 with the mission of bringing gender and racial inequality into focus within the greater arts community. The group employs culture jamming in the form of posters, books, billboards, and public appearances to expose discrimination and corruption. (wording from Tate website)
Mmm.
I do remember there being some project I came across years back which put artist’s work up on posters on the tube. Trouble was it did cost quite a lot of money to do so. Nice way to share your work if you can though. I remember coming across some and very much enjoying the fact that I wasn’t being exposed to an advert. Simply a piece of work with a name, which I could look into if I wanted to, but could just enjoy it’s presence in front of my eyes.
And look at this… What an interesting read! Coming from a slightly different angle…Very interesting on “special status”.
https://www.sciencedaily.com/releases/2011/08/110823130029.htm
Fine art in advertising can backfire
Date:
August 23, 2011
Source:
Boston College
Summary:
Fine art has been used for centuries to sell goods and ideas, but a new study finds artwork can lose its special status with consumers if it’s improperly used for product illustration.
“The researchers suggest the responses reflect how humans have evolved to recognize and appreciate art as a special category of expression.
“People have evolved to care about art,” said Hagtvedt. “It is something we have appreciated in all societies known to man, throughout history and pre-history. It is also a magnificent tool for marketers who rely on its communicative power in a thoughtful and honest manner, but those who use it thoughtlessly are not likely to impress anyone.””
Ah! So that’s one way which “fine art” might be utilized, from one direction. Many very successful artists are happy to have their art work used in this way, and often they are very well known ones. While others, far less well known and defensive of the “value” of their work (even though it generates little in the cash sense) may feel horror at the very thought.
It is the sense of being set apart from the objectives of advertising…This is important.
Does my practice of sometimes choosing to manifest my fine art practice on a PVC banner, or in a material form commonly used for advertising change it’s nature at all? No! Why should it? If I think something looks right printed on something commonly used for marketing material, then might I fear it somehow less fine art because of the substrate or the intended purpose of the item when it was manufactured? No, of course not. I can print what I want where ever I want. If it serves the vision and works aesthetically. If the conceptual aspect materialises in line with my intention, then I could print on your bottom and that would be just fine. (Well, maybe not. With consent! I’m sure it’s been done before anyway!).
So the movement of some expressions of my work, which is indeed part of a “fine art” practice, onto objects which are part of everyday life, is a lovely thing, and something I need not ever steer myself away from. Indeed, for many years, I have used table clothes with my digital imagery on them (dye-sublimation printed) in my domestic sphere…There’s been no need for a separation of myself from my art working/results of my art working materialised in every day life. It’s been a necessary combination! I live in an art gallery! It’s called my home. The relative status of such a situation is one thing. Just one thing. Nothing more.
That my home is also my workplace is both great and challenging. It doesn’t offer me the same sense of status (it appears) as someone who works in a separate place, but to be fair, I think that may be partly just an ignorance thing… People don’t recognise what happens in homes as work in the same way they do when activities take place in other buildings. And many people don’t see art working as work. Or indeed, don’t see anything as “work” unless it involves the generation of finances. (However, I have a vague memory that I have probably rambled on about that in some earlier post!)
When writing this artist’s journal, repetition is the name of the game. I’m a stuck record on some things!
I may be digressing a little.
The main thing is that it’s my prerogative to use whatever materials I want, regardless of how they may be normally perceived or used in our culture/society. If, for whatever varied reasons, the appearance of something generated by me on an object of lowly status, be it via Redbubble.com or on an advertising banner, cushion cover, whatever, seems less in value because of it’s form, then so be it. I think maybe just to be aware that artists make very careful choices about what they do, and why: this may help understanding a little. It’s all part of the same thing in the end. What we do. It’s an expression of us. Whoever we are and whatever we do. We all measure up things all the time. Cannot help doing so. But in no way, not one bit, is doing what I do in the way that I do it any kind of indication that I am valuing my artwork any less than someone who only sells to Kings and Queens for large amounts of money. The whole value thing is an illusion. I kind of enjoy breaking through it a little bit. That’s all.
And redemption. Buying back the territory a little bit. I have become so tired of all this advertising so much in my face all the time. Isn’t it tiresome? Isn’t it relentless? Persistent! It’s a pest!
If you are an art collector and want to collect artists work, then please don’t shun any options you have to get the artwork which you want. It’s great to have an original piece of art, but also good to have examples of the artists you collect, across many of the mediums they use. Nowadays print is a medium which cannot be ignored and there are many artists who see through the “value” goldfish bowl and the marketing strategies which often get used by art dealers, etc and which dictate more than they should what art collectors feel is worth collecting. Realise the artificial constructs which are in operation. If you collect art, collect it because you love collecting the art you love to collect, and collect it in all forms, regardless of status or perceived value. The value is what it says to you and means to you.
London Downpour – Lyrically Abstract Painting – Jenny Meehan
We are a little past March and April now, but as I have been working on some editing of past writing “Some Kind of Narrative” my mind has taken me right back to the passage in my life, in 2012, when I started working with a therapist and started along the long road of recovery from much too much trauma! Trauma in early life, I discovered, has a habit of sticking with you, even when you would like to leave it behind. I continue in therapy. But looking back, I can appreciate all the work I have done, and I am reaping the rewards of it too.
And so my recollections dug up this painting for me. It was painted during 2012. I went into London twice a week for psychotherapy then. I met my therapist at the Guild of Psychotherapists, Nelson Square, which is not far from the South bank. I would very frequently walk along the river side and often in a state of numbness emotionally. It was exhausting at times. It was nice to sit down and gaze at the water.
And during 2012 there was plenty of water to gaze at, and coming from all directions!
“The 2012 Great Britain and Ireland floods are a series of weather events that affected parts of Great Britain and Ireland periodically during the course of 2012 and on through the winter into 2013. The beginning of 2012 saw much of the United Kingdom experiencing droughts and a heat wave in March. A series of low pressure systems steered by the jet stream brought the wettest April in 100 years, and flooding across Britain and Ireland. Continuing through May and leading to the wettest beginning to June in 150 years, with flooding and extreme events occurring periodically throughout Britain and parts of Atlantic Europe.”
The wettest April in 100 years!
The painting “London Downpour” was painted over several months. I always paint in a piecemeal fashion. Very rarely do I paint from start to finish. The painting was exhibited at The Strand Gallery in June 2013 and was brought by a collector, Roger Lewis. I was very glad of this. Not only for myself and him (for it’s always happy when a person finds a painting they love) but for the charity to which I donated a portion of the price, as part of the arrangement, (as suggested by the exhibition organisers). The painting is a good example of some of the main elements I was experimenting with at the time.
London Downpour- Jenny Meehan painting abstraction at The Strand Gallery London as part of “Lines” visual art exhibition. Lyrical and geometric abstraction painting southbank london from the imagination! painted in a process-led, intuitive guided fashion, external impressions from regular trips to London appear to have seeped into my subconscious!
Floating…. Yes, this is a strand I continued with. Solids and liquids… yes, another. Water… yes, that too. Formal elements…experimenting with paint continued and developed; textural elements becoming even more important and refined over time.
Mostly resonating with those walks along the Thames; past Tate Modern. Which looks quite different now! The sooty feeling of London. Always felt it on your skin. A contrast of buildings and water.
The paint is acrylic, but I see carefully balanced with earths… So important, because otherwise acrylic paint can be far too loud for a restful painting.
jenny meehan artist talk at st joachim’s catholic primary school 2014 on painting techniques used in london downpour painting
I later gave a talk at a primary school and shared a little about how the painting was created. Funny being in a classroom again. I used to be a primary school teacher. I have lost quite a lot of weight since then!
Ah, wow! What a great read!
Anton Vidokle
Art without Market, Art without Education: Political Economy of Art
Read it all… Here’s a little taster! (E-flux Journal #43 – Anton Vidokle – Art without Market, Art without Education: Political Economy of Art)
“But since his time, Warhol’s economic independence seems to have been misunderstood. The independence that came from his bridging of the bohemian sphere and the sphere of day-to-day commerce has been converted into a vast proliferation of so-called artistic practices that treat art as a profession. But art is not a profession. What does being professional actually mean under the current conditions of de-skilling in art? We should probably be less concerned with being full-time, art-school-trained, professional artists, writers, or curators—less concerned with measuring our artistic worth in these ways. Since most of us are not expected to perfect any specific techniques or master any craft—unlike athletes or classical musicians, for example—and given that we are no longer tied to working in specific mediums, perhaps it’s fine to be a part-time artist? After all, what is the expertise of a contemporary artist? Perhaps a certain type of passionate hobbyism, a committed amateurism, is okay: after all, we still live in a reality largely shaped by talented amateurs of the nineteenth century, like Thomas Edison and so many others. I think it’s perfectly acceptable to work in some other capacity in the arts, or in an entirely different field, and also to make art: sometimes this situation actually produces much more significant work than the “professional art” we see at art fairs and biennials. Ilya Kabakov supported himself for decades by being a children’s book illustrator. Marcel Duchamp worked as a librarian and later sold Brancusi’s work to make a living, while refusing to be dependent on sales of his own work.”
Anton Vidokle is an editor of e-flux journal.
Kingston Artist’s Open Studios 2019 in June!
Kingston upon Thames in Surrey has a lovely hub of artists and each year we show our work, dotted around different venues in Kingston Upon Thames.
The Open Studio venues are organised into art trails in and around Kingston, featuring a wide range of 2D and 3D work – painting, drawing, printmaking, sculpture, ceramics, glass, photography, digital art, textiles, paper art and mixed media.
British Lyrical Abstract Paintings: See http://www.jamartlondon.com/
2019 Open Studios in Kingston will be taking place on 8/9th and 15/16th June
from 11am to 5pm each day.
http://www.jamartlondon.com/contact/4569980742
I plan to display a selection of recent work, both original paintings and prints. The price range of my original work is £80 to £600. Most of my original fine art sells for around the £200/£300 mark, making it an affordable buy for any art collector. I also offer a selection of prints for purchase for under £100.
There is a super video which was made last year which gives you an idea of what Kingston Artist’s Open Studios is all about!
Do come along!
“If funders truly believe in the humanistic value of the arts, they must not compel artists to merely adopt the practices of for-profit entrepreneurs. They must advocate for the value in what artists already do: bringing the artistic imagination more fully into everyday life and making creative expression a fundamental human right.They must resist the inexorable logic of the so-called free market, and advocate for the fundamental core value that there are things in this world that are not for profit – they are for something else, something more vast, meaningful and enduring, and that artists can lead the way.”
Quote from Andrew Horwitz
Had to pop that in here… So good. So true!
The downside is we live in a culture which fundamentally devalues artists. This is reflected in the fact that artists don’t get paid for exhibiting their work… rather they are used as a source of income generation, often through so called “opportunities” which involve hiring out space. There are exceptions to this, and what a jewel it is when they come up, but they are few and far between. The majority of the general public are not aware that artists are the ones who pay to show their work, in the main. (Yeah, I am taking about the “Fine Art” strand of creation, so bear this in mind!) They are not aware that the majority of artists probably have an income from their art working of around £5,000 a year (my informed guess, based on conversation and snippets of research done over a few years)….A DACS survey in 2010 found it around £10,000, but I think one needs to bear in mind that this is only one pool of artists, and they are likely to be the ones who have had work published here and there… (like me! but I am rather the under a £1,000 year department! lol!) and this is across the range of visual art, not “fine art” alone. Also bear in mind “Careers typically are sustained by a portfolio of other activities with 35% having a formal second job.” And also need to add other sources of income, ie spouse, partner, etc. So generally speaking, the majority of artists are supported in some way, but not by the the proceeds of their labours… This is important to recognise. But it is not convenient to recognise.
Yes, I am grateful I can do what I do… No taking for granted here, with me…I waited long enough to be able to do what I always dreamed of, but this doesn’t mean that I have money to invest in paying for the luxury of showing my work…and being an income source for others! I’ts my choice to do what I do, and I am glad I have that choice, but it does not make my creative work less work because it doesn’t reap financial rewards sufficient to make it profitable, or a source of life sustaining income.
This is not a rant, (well… OK, maybe it is!) but it needs to said to increase awareness. If the general public, who are able to and so inclined, wish to support artists and are more aware of how much that support is needed and valued, then this is all well and good. Even if they don’t, I still think awareness is a good thing. The reason I think it is important is that artists are often treated as though they operate as businesses when in reality they just don’t. Often by businesses…not so incidentally! Well, yes, there are some, of course, but some of us don’t want to be, don’t choose to be, or don’t want to change our direction/work by attempting to be… This art working matter is a different matter from income generation, and without the financial aspect, it is still a worth while, valuable, and a valid contribution to the world; the life sustaining dimension of art should not be underestimated… It may not be linked with finance in the way many other activities are but that does not make it any less purposeful. Or significant.
However, this doesn’t mean that we don’t need finance, and that we are not going to price our work in such a way that it helps fund our creative project, or that
Do you need exciting, engaging, images for a book cover design?
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.
If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.
To find out more about how you can arrange to use my imagery, see here:
https://www.dacs.org.uk/licensing-works/frequently-asked-questions#FAQ122
British Lyrical Abstract Paintings: See http://www.jamartlondon.com/
A Poem of Panes
A Poem of Panes
It was only when they shattered
I felt the panes of glass between the window frame.
Those who knew me
could not see through my eyes.
I am aware of the surface, and of my own sinking.
I set my face forward,
but cannot progress.
They call my brother’s head injury “the invisible disability”.
The impact of one, booted, blow
also
unseen
in me.
Jenny Meehan 2014
The artwork I produce often relates to my psychological and emotional recovery journey, which is related to past trauma. In this instance, the full realisation of the impact of my brother’s traumatic brain injury on his personality and functioning, our relationship, and of its effect on my own mental capacity, made several years of my life exceptionally difficult. A major part of the difficulty was my inability to express what I was going through. Though able to function through the depression and anxiety (sometimes “just about”) , my awareness was that of being disabled internally, due to the shattering of my sense of self, and the isolation I felt. This is something I will never forget . Art can be a wonderful and powerful communicator of a person’s journey.
I’m working through my own traumas, and very grateful to be able to do so. There is an image for the above poem, but it’s way back in the archives and I’m a bit pressed for time today, but I can dig it up in the future and I will post it. It is the case that it is far easier for me to create visual art and write than it is to verbally speak about my own experiences. I am sure this is very true for a large number of people. While I can talk to a certain extent, it is far easier not to. I do have an ongoing interest in trauma and recovery which just seems to continue and certainly stretches far beyond my own experience.
I think it’s brilliant that mental health is more in the spotlight than it has been previously and there certainly is less stigma about it. Here is an excellent read below. I have just included a short extract here, but do follow the link to read the whole article.
People whose work does not involved repeated encounters with survivors of trauma frequently either cannot believe, or refuse to believe how common it is. For years it’s been assumed that people invented stories of trauma to excuse bad behaviour. The medical profession bears a lot of responsibility for this, largely ignoring the psychological consequences of rape until the last 30 years.”
Long Stream of Paintings
And here lies a long stream of paintings… Or should I say, pieces of paintings, fragments of paintings, parts of paintings?
I take a lot of photographs as I work. It is a good way of considering the material qualities of the paintings. Something about isolating a section in a frame makes the eye think about it differently. It may become the beginning of something new, but if it does not, this is of no consequence. The process of taking images isn’t in order to achieve anything other than looking again and seeing again, and maybe being introduced to the composition within the composition, which I didn’t know was there! It enables me to meditate further on the paint. This may sound unusual for someone who is not a painter, but for a painter, meditating on the paint is very helpful indeed!
British Lyrical Abstract Paintings: See http://www.jamartlondon.com/
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
Breaking my paintings into fragments by taking the images… It is a way of looking closely at them… but also interesting that I create in such a piecemeal way these paintings, pulling the work together into a whole, and then insist on breaking them up again afterwards, in one kind of way, at least!
British Lyrical Abstract Paintings: See http://www.jamartlondon.com/
Into the Studio Tent for 2019!
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
Yes! As the weather warms and I begin to tidy up the mess, so the studio tent becomes a place of artistic production!
Feeling GREAT!
Another good read…
One of my keen interests … I guess that’s what comes of having an exceptionally high ACE score myself! Lol! This is a great read, and very heartening! I have come a long way myself, but it’s a rough road to travel on, and exceptionally challenging at times! All worth while work though.
Jenny Meehan Contemporary British Female Artist
(Just in case you were not sure about that!!!! )
My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces.
While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity. I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!
If you would like to give money to help support my creative practice, I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
paypal.me/jennymeehan
and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. I do need support in order to continue my art working.
http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website
Signing up as a follower on my WordPress blog ( https://jennymeehan.wordpress.com) also helps, as does sharing the posts when you receive them. Anything you can do to help me is much appreciated!
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance.
http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website
Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative. Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious. It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art. I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.
I’m a member of Kingston Artists’ Open Studios: http://www.kingstonartistsopenstudios.co.uk/product-category/artists-m-to-z/
Hot Stuff/Golden Haze by Jenny Meehan jamartlondon.com
Hot Stuff! Golden Haze… Two names for this. It’s one of my “painting to print” series… Need a bit of warming up at the moment. My hot water bottle is a great friend! Sorry if the phrase “hot stuff” sounded a bit more exciting than it is! Lol!
I have had a cold for such a long time, and I have so much mucus never-endingly streaming from my nose, that I think I may be turning into a snail. If I were a snail I could move very fast indeed, for my amply supply of mucus would have me whizzing around for certain. At present I am unable to whizz around, so writing must do.
I’ve put this artwork on Redbubble.com, so you can buy it safely, quickly, conveniently!
I have one version of it signed by me, and this will be for sale at this years “Kingston Artists’ Open Studios”.
Kingston upon Thames in Surrey has a lovely hub of artists and each year we show our work, dotted around different venues in Kingston Upon Thames.
The Open Studio venues are organised into art trails in and around Kingston, featuring a wide range of 2D and 3D work – painting, drawing, printmaking, sculpture, ceramics, glass, photography, digital art, textiles, paper art and mixed media.
2019 Open Studios in Kingston will be taking place on 8/9th and 15/16th June
from 11am to 5pm each day.
http://www.jamartlondon.com/contact/4569980742
I plan to display a selection of recent work, both original paintings and prints, and a couple of examples of mosaics I have been working on as well, (though they won’t be for sale). Working with mosaic is adding some interesting perspectives on my painting, which is much appreciated! The work I have on offer will mostly be available to buy I should think. The price range of my original work is £80 to £600. Most of my original fine art sells for around the £200/£300 mark, making it an affordable buy for any art collector. I also offer a selection of prints for purchase for under £100.
Visual Art and Poetry Linkage!
One of the aspects of my creative work I am enjoying at the moment is the linkage between my visual art work and my poetry and writing. The space between the two… between the visual art work and the words I write, is another space, and while it’s fun playing with space visually and also poetically when writing, there is yet another space created between a visual art work and something that the artist writes about it.
I’m pretty possessive about this space, and I guess I can be, at the point I am with my visual art working. I have contacted people in the past who have used my visual art without permission or payment on their own blogs, and written their own poems about it. I ask that they remove my artwork from their blog. Generally they simply just don’t realise that they need to seek permission. If my visual art practice was not so intimately connected with my own writing, I would maybe be flattered, but as an important part of my own practice, the painting-poetry combination and the integrity of it is something I feel protectively about. It’s part of what I offer to the world, and my painting and digital work is, with increasing frequency, presented for exhibition and display, very purposefully paired with my own writing. Indeed I would go as far to say as the visual work and the writing become one art work.
This happens over time. What tends to happen is I create the visual work… this is one strand. Then, it needs to wait, normally for some time. This is counter cultural, for in our culture waiting is not generally valued very much at all. We are all now now now or never. But I have an ongoing relationship with the paintings and digital imagery I produce, and it continues for several years after I deem the art work visually completed. Because the visual completion is only one part of the process. After this time, I need to dwell with the work for a while. And though I have had a strong sense that the work has achieved something, in terms of emotional expression and I have felt satisfied with it’s state of being, what it means for me is only discovered over time. And so I will revisit it, and reflect, it will remind me of certain things and I will relate to it over time. It is maybe like a kind of proving process? It’s symbolic and metaphorical nature, still always retaining a sense of the unknown, and subconscious resonance (which is very attractive I think, and shouldn’t ever need to be explicit!).
But like all things in life, there is also the application. And I do like my work to be useful, used, out there. (with permission!) It may be mine for a while, but believe me, I am always pleased to see it go elsewhere, and I don’t hold onto it. Part of the process is my thinking and critical evaluation of it. My thoughts, research, interests, and the decisions I make as to how I am going to use it. I’m delighted when it is used in book cover designs, because these are always very carefully thought about and the relationship between the content of the book and the image on the cover is very exciting, especially when I get to read the book! So there is a relationship between word and image there, and it’s a topic I find of great interest and have done for a while. But in relation to establishing a relationship between my own visual artwork and the words I choose to write, it is when I spot a subject of interest that there becomes an invitation to almost recreate the work. For it is a recreation and a new artwork, when married to words I write about it. This is the reason much of my work has two titles. The first title is generally the first one, when the work stood alone, and then in time, with thought, and often writing, the work develops into something else and has an additional title added to it. By writing and re-responding to the visual art work, in my view, I recreate the work.
So once my visual art work; be it digital or painting, or sculpture, whatever; once it has it’s poem/writing attached, It’s become something else… More focused, more specific, more applied. It’s met me in my life, come to be, and then I want it to have a life which has relevance not only for me in that personal way, but has taken on some useful role, which touches shared points of interest, not just emotionally (though this is my main interest, for sure) but which establishes relationships far beyond that which first brought it into being. It needs some action and reaction in the world, some relevance, some other people, things, ideas, missions, purposes to have a new kind of dynamic existence. This doesn’t mean it ever needed any justification…It is sufficient to just be, as indeed any person in the world is sufficient just to be. The value is there, just in existence. But to have application is always good.
I often describe myself as both a fine and applied artist. The main thing is, that at the moment, (most of the time), I create what I do with no set purpose in mind. It’s my working method. It’s the way that I have totally free reign. It allows me to work on several things at once, in a piecemeal fashion, and with no concern for the end outcome at all. This is why I like it. I do enjoy working to specific briefs and for particular purposes; these present their own challenges and that in itself is interesting and enjoyable; but so many of my ideas come from this kind of total free flow possible with a less structured approach. Being less structured doesn’t mean less disciplined. Far from it. The structure has to come from within, and this requires a certain stamina. I love life invested into the realm of creativity, but it certainly is hard work. However, it couldn’t be any other way. And there’s a great peace which comes from doing what you care about in life. It’s well worth the effort, whatever comes or doesn’t come of it. In a sense, my main concern is to maintain my own integrity, and develop, both personally and professionally.
Artistic activity needs to be flexible, and I enjoy the way my own weaves into my other activities and roles in life. I have been thinking recently I need to invest more time into writing, and I am looking into copy writing, proof reading and editing as activities I might develop more experience in. I have two ebooks of my own I would like to work on as well. I had a dreadful habit of trying to do everything at once, but I guess the good thing is that I can catch myself trying to do the impossible and pull myself back!
jenny meehan jamartlondon abstract paintings “Opening the Way”
Opening the Way – Lyrical Abstraction -Painting by Jenny Meehan
I described my painting style as primarily lyrical abstraction to someone recently at an artists’ networking event, as it’s the most appropriate description for my painting, at least, but “lyrical abstraction” is not a term a lot of people are familiar with! I have become quite content with the fact that my painting style might be viewed as a little dated and not current…though of course I do not agree with that perspective one little bit! I think there are many undercurrents in the visual arts, running along merrily, and what surfaces as being “current” at one time or another is a matter of trends and fashions, not a matter of what is really developing as significant. How can one discern the undercurrents which make a large wave? How can you see what happens until it culminates in a bigger movement? What determines the movement…is it due to something which happens above the surface, or underneath it? Who knows? The mystery is good. And here you see, I find myself slipping very comfortably into the category of a lyrical abstractionist (maybe not a word!) painter!
Some helpful pointers and considerations, features maybe, of what would place my painting in this category of lyrical abstraction. Lyrical abstraction is a term, and has it’s uses. (Well, it does if people know what it means!) So hopefully my thoughts shared here will help you in your understanding of what characteristics may be dominant features of paintings defined as being “lyrical abstract” paintings. One will need to detach some aspects and add others, because I do believe that terminology has limitations as well as benefits. Also, what something was in one part of history, is never quite the same as what it is in other parts of history… Our times determine so much, and any artists responses are conditioned by the times they live in. I do, as you maybe know, love looking back into the past, and I think it’s a good practice for any artist to ensure they look at those who have come before them and find out as much as they can, so that the can appreciate the work with the benefit of being able to look backwards… for from the past the future comes…
Anyway, I digress, as is of my habit…
The term “Lyrical Abstraction” is much debated. Which makes it very attractive I think! Larry Aldrich used the term lyrical abstraction in the late sixties to describe some of the artworks he had collected. The feature he felt was important was that they represented a return to personal expression following Minimalism.
An exhibition was held at the Whitney Museum of American Art, New York
May 25- July 6. 1971
“Statement of the Exhibition
Early last season, it became apparent that in painting there was a movement away from the
geometric, hard-edge, and minimal, toward more lyrical, sensuous, romantic abstractions
in colors which were softer and more vibrant. Painters were creating, in significant numbers,
works that were visually “beautiful” — up to then, in the art world of the sixties, a dirty word.
Though they were not going back to any previous style, these new young painters related
to men who have been doing painting of a painterly nature for twenty years or more — Mark
Rothko, Robert Motherwell and others. The artist’s touch is always visible in this type of
painting, even when the paintings are done with spray guns, sponges or other objects.
Surfaces are never anonymous as in minimal paintings; they are delicately nuanced and
often suggestive of cloudy voids. These paintings all represent a distinct shift to an ex-
pressive interest. As I researched this lyrical trend, I found many young artists whose paint-
ings appealed to me so much that I was impelled to acquire many of them. The majority
of the paintings in the Lyrical Abstraction exhibition were created in 1969, and all are a
part of my collection now.
Larry Aldrich
April 1970″
Take a look at the artists shown here:
https://archive.org/stream/lyabstracti00whit/lyabstracti00whit_djvu.txt
A slightly more recent example here: http://palmbeachartspaper.com/art-review-lyrical-abstraction-show-demonstrates-resilience-of-american-painting/
A variation of the term was used decades earlier in the late forties by the French art critic Jean José Marchand; Abstraction Lyrique. This was with reference to a European trend in painting a bit like Abstract Expressionism. Free, emotionally inspired and very personal compositions based not on external appearances but evolving rather from the subconscious, instinctive parts of the painters. The evolution and construction of the painting coming from within. I guess we could go even further back, too to Wassily Kandinsky in the first decade of the twentieth century! Rather than working with images from the external world and altering them in order to express abstract ideas, in the way that happened with Suprematist and Constructivist artists using recognizable forms in their art but in ambiguous, symbolic ways, another group of artists approached abstraction in a different way. Not knowing what meaning there might be in what they painted was just fine! Painting freely, with no preconceived notions and the expectation that things unknown could be expressed through their work. Some likened their paintings to musical compositions.(ie Kandinsky) The general emphasis was that of expression emotion in an abstract form. Paintings were imaginative, expressive and personal. Unashamedly subjective, and poetic. Soulful work…not so much leaning towards objective academic interpretations but learning more towards the mysterious, spiritual, and less tangible aspects of life. Painting as a source of seeking maybe…not attempting something which is defined and explained, but rather being all about personal connection with life and the universe.
Rather good! A search for what is essentially personal.
Harold Rosenberg wrote: “Today, each artist must undertake to invent himself…The meaning of art in our time flows from this function of self-creation.”
That was then, but surely this is also relevant for today? Maybe even more so…because the challenge of the self and the sufficiency of simply being, is with us, and maybe even greater with the influence of media, advertising, internet, etc?
Is “being” enough? This may be one of the most important questions we ask ourselves!
We have so much information and knowledge for the intellect to play with at our disposal now! It’s great, fun, interesting. Yes, all of this. But is knowing things with our heads sometimes a deceptive liberty? Does it prevent us from walking freely in mystery, unknowing, and that which we cannot hold onto in our heads, but which our hearts and souls might testify is good and life giving?
I do ask myself these questions.
I think my work could be said to ask them, but does it need an answer? And if it doesn’t ask for an answer, is it a question?
!!!
“Each artist must undertake to invent himself.” Is sticking with me in this digression…
But what with lyrical abstraction today? Movements move and change… tendencies run this way and that…Who knows? No one has the ultimate view. In the early twentieth Century artists like Kandinsky, Giacometti, Fautrier, Klee and Wols embodied lyrical tendencies in abstraction. Later Mathieu, Riopelle, Soulages and Mitchell moved them forward. When I was growing up in the 60’s and 70’s many artists continued and expanded the movement. There are many voices singing out lyrically in abstract paintings! There is an essential quest of lyrical abstraction, which is to express something personal, subjective and emotive, and to do this in a highly poetic, free and abstract manner.
I think this section of Ronnie Landfield’s “Autobiographical Statement, 1997-2010” speaks with a resonance which I am happy to echo, (in my own unique way, of course!)
“My inspiration has been my conviction that modern painting is fueled by the combination of tradition and the realities of modern life. Spirituality and feeling are the basic subjects of my work. They are depictions of intuitive expressions using color as language, and the landscape (God’s earth) as a metaphor for the arena of life. The revelation of a primal image that delivers an immediate response in the viewer is my goal. Hopefully my paintings convey a felt perception of life, an awareness of the history of art, and a clear expression of my passion and sense of spirituality. I sense a visual music that externalizes what I feel within me and in the air.”
What a fantastic statement…
The revelation of a primal image that delivers an immediate response in the viewer is my goal.
Well, all writing aside, this is most certainly enough, more than enough, and will ever be enough!
Paint on!
Words are words, and paint is paint!
See more of Ronnie Landfield here: http://ronnielandfield.com/
Some contemporary painters which you might like to view…
the Spanish artist Laurent Jiménez-Balaguer
Margaret Neil
Ellen Priest
‘Un’antenna sensibile’
Rather nice quote, for my notes!
Quote by Christopher Adams: Claudio Del Sole: ‘Un’antenna sensibile’
Christopher Adams
“Del Sole saw no contradiction between his predilection for abstraction and his observation of natural phenomena, finding inspiration in the swirling patterns of galaxies and nebulae. Nor did he recognise any distinctions between art and life, asserting: “The artist is not enclosed in a restricted or exclusive world of his own. He is like an antenna, sensitive to all that which happens around him. Therefore, he is attentive to social changes and the progress of science; that is, to the unfolding story of mankind.”
Yes! Like an antenna! I like this very much! And attentive! So true!
We take in all that surrounds us, ingest it… and then do what we do with it! There is some kind of narrative in every person, expressed through words and images. When I work with abstract forms visually, there is no disconnect from the outer world, even though I don’t work with pictures (ie recognisable objects). I approach the matter and materials in the same way that I approach nature, life and all I see in the natural world, even though I don’t seek to emulate it. I am not attempting to create something more distant or disconnected “more spiritual” or “set apart” from the world in any way. It’s rather an engagement, a translation maybe a good word, an interpretation of my being and living based on emotion and experience.
jenny meehan jamartlondon photography monochrome
I take less photographs now than I did, but sometimes you see something you cannot resist! Looking at the sky reminds me of why I don’t lean towards representational painting myself, though I do enjoy looking at others work. I find the work is always before me, far surpassing any emulation I might make of it. I do enjoy a bit of drawing… It’s always good to do from time to time… Mostly because of the mark making though.
jenny meehan jamartlondon photography monochrome
Broken branches in Oxshott Woods. Oxshott Woods has a special resonance for me because as a child we went for a walk there every Sunday. I like this image of mine because it conveys brokenness but also a real invitation to move forwards into the image. I remember the exposed roots of so many of the trees in Oxshott woods and how entrancing they were…
jenny meehan jamartlondon photography monochrome
Another Oxshott Woods/Oxshott Common image. This was taken on the edge of the big “sand pit” area. It’s fun to think I am walking the very same ground I did when we went for walks there when I was a child. It’s amazing how things change, and quite a relief to be honest. I’ve probably written it elsewhere, but I had a really difficult childhood, in so many ways, and I’m now enjoying life more than ever before; so much happier and so much more alive! It’s good I have come a long way, and though it’s easy to feel I wish things had been easier, in the end, the past makes us what we are, and we cannot live without it, but we can move on.
Things I have been reading recently:
Good read on trauma and how it affects ones sense of time:
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4166378/
Lots in there to read and think over, so popping in my journal for now. I’ve skim read parts.
https://journals.sagepub.com/doi/full/10.1177/2167702613495199
Rear Access Roads and Alleyways
rear access road chessington drawing 2 jenny meehan
rear access roads chessington drawing jenny meehan
jenny meehan jamartlondon photography monochrome
I’ve popped these in because I have realised recently how important the “Alleyway” was to me as a child. We lived in Teddington, not Chessington, and the alleyway of my childhood was narrow, and quite different to the rear access roads I have drawn here. However, emotionally there is a strong connection I had previously overlooked. My brother and myself would play in the alley…exploring around the backs of peoples gardens…peeking through holes in fences and sometimes creeping into places we were not meant to be! It was all very exciting and interesting. The drawings of the rear access roads in Hook and Chessington were drawn by me in what I like to call my “wilderness” phase. It was before I really got into painting as my main focus, and yet grew highly aware that painting was the right direction for me to go into creatively, in a big way.
Emotionally it was a tough time, and I struggled psychologically also; I felt very lost indeed, in terms of having a sense of self. I find it interesting that, at this time, I found the rear access roads so comforting, and so safe, and all at the very time in my life when fear grew increasingly severe. It provided an area and space to feel I existed in. I think the lack of facades was helpful, also, for I was aware my own had slipped somewhat! It was a raw, bare, place, of exposure and of no longer being able to pretend I was “all right”. Somehow embracing the “shadow side” had to happen.
I was not familiar with the term “shadow side” at that point in my life, however I do remember being fascinated with the dark, square areas I came across, which I think you can see comes across in the drawings. For me, I saw these as being a void…a place which represented how I increasingly felt inside. Inner emptiness. At times (the worst) where I would rather be: in nothingness. A lot of the areas of interest for me in my frequent walks involved an appreciation of decay, decomposition, and neglect, with some attention to unexpected growth, and finding unexpected treasures. Even in the worst of life’s passages, if looking outwards, beauty can be found with some effort, and I did find it, even though I couldn’t see any inside myself at that point. Carl Jung stated “the shadow” to be the unknown dark side of the personality, which was instinctive and irrational. There was also a sense of this in what the dark, blank areas communicated to me. Like some kind of mirror, they reminded me of how instinctive and irrational I was at my core, and I was certainly more aware of that than I had ever been aware of before in my life!
“For Jung, the theory of the‘‘shadow’’ was a metaphorical means of conveying the prominent role played by the unconscious in both psychopathology and the perennial problem of evil. In developing his paradoxical conception of the shadow, Jung sought to provide a more highly differentiated, phenomenologically descriptive version of the unconscious and of the id than previously proffered by Freud. The shadow was originally Jung’s poetic term for the totality of the unconscious, a notion he took from philosopher Friedrich Nietzsche. But foremost for Jung was the task of further illuminating the shadowy problem of human evil and the prodigious dangers of excessive unconsciousness.”
Quote from Stephen A. Diamond, Ph.D.,
My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces.
While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity. I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!
If you would like to give money to help support my creative practice, I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
paypal.me/jennymeehan
and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. I do need support in order to continue my artworking.
http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website
Signing up as a follower on my WordPress blog ( https://jennymeehan.wordpress.com) also helps, as does sharing the posts when you receive them. Anything you can do to help me is much appreciated!
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance.
http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website
Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative. Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious. It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art. I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.
I’m a member of Kingston Artists’ Open Studios: http://www.kingstonartistsopenstudios.co.uk/product-category/artists-m-to-z/
Great Start to a New Year! Praying the Way!
“praying the way” by terry hinks book published by Bible Reading Fellowship with “leap of faith” image by jenny meehan
What a delight to see this amazing book cover design for the also very amazing and inspiration book of “raw and authentic prayers” by Terry Hinks. Terry Hinks is a United Reformed Church minister and the author of a number of books on prayer.
The cover design and inside pages are the work of designer Alison Beek, Designer, for the Bible Reading Fellowship, who licensed my image “Leap of Faith” through DACS for the cover design of the book.
It is the best thing in the world to see my artwork used for such purposes as this, as close to my heart and faith!
I now have my copy, and am already being blessed! It’s a super book, deep and insightful, challenging and touching. I love the idea of starting this year “Praying the Way”. It is through all the small leaps of faith we make that we move forwards, and it seems to me that the path appears the moment we make a brave jump into the air! Many things change as we mature in our faith; previous beliefs however dear are challenged, and life seems to be a matter of constantly realising how little we know, and how much we need to hand ourselves over to the one who created us and loves us so dearly. While certainties fall away, still the potential to trust ourselves into the hands of the Creator exists, and the path of committing ourselves to Christ (if that’s our faith tradition) and continual desire for repentance, enlightenment, and growth in compassion, can move with strength forwards into the years to come. Well, that’s my prayer for this year I think.
leap of faith jenny meehan (jennifer meehan) geometrical abstract design artwork fine art print to buy
“Leap of Faith” is one of my personal favourites, it’s true.
If you like it, I do have it up on Redbubble.com, which is a print on demand site.
My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces. While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity. I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!
Do you need exciting, engaging, images for a book cover design?
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.
If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.
To find out more about how you can arrange to use my imagery, see here:
https://www.dacs.org.uk/licensing-works/frequently-asked-questions#FAQ122
January and February 2019
Well, it’s one post every two months from now on. My art working has a certain amount of momentum to it at the moment, and I am keen to keep the focus on ongoing art working… however, I do love writing this journal… It’s very useful to me and serves as a small amount of space for contemplation. Reflection, and anticipation. It’s very interesting as a tool. I enjoy looking backwards at earlier posts and hearing my voice at that time often proves helpful in informing the present.
It frequently amuses me how some people, on understanding the contemplative nature of my work, assume I have hours to spare. The funny thing is, for all of us, is that it is very easy to imagine that other people have more time than us. We all do it. I do too. I often remind myself of my own judgements of others, and find some comfort in the fact that our assumptions about others, when properly examined, often can reveal interesting feelings and beliefs we ourselves hold.
The reality is that it is a constant battle to push my art working forwards. It’s a bit easier than it was when the children were younger, but I still have a house of people which needs management, and those who manage a household know that this is something of an invisible role. Things just happen by magic, I believe. It’s unpaid and unappreciated work. But where would we all be without it? If the house is a bit of a mess now, (which it pretty much always is!) then without my labour invested into it, things would be unworkable.
While I don’t mind my work being based in the household (and this has advantages in terms of productivity generally), it is yet another factor which might suggest to some folk that I do not work. I completely get the reality that art working is not a job, in the usually understood sense. It’s a role, but being an artist is not a job. Not if jobs are defined by their capacity to generate income, anyway.
It’s a funny old thing, because there are huge numbers of artists involved in art working, and the vast majority of us earn less than a few thousand pounds a year from our creative activities. Most people don’t realise this at all. Income for artists comes from other people, other activities and roles, and we really need the support of people investing in us and our work. I really need the support of people investing in my work…buying it, sharing it, valuing it. It is my contribution to the world, pure and simple. Not the only one, but the one I care about with a passion and the one I believe I am meant to be pursuing.
Which is why I do it.
Yet cultural richness… The richness of contemplative experiences, dwelling in the moment, inner examination, reflection…individual and shared.
Cultural richness… The world of the imagination, the spirit, the journey we all make through life, which can be enhanced, enlightened, and inspired by the arts of all varieties…
Cultural richness… Of a worth which is often not appreciated as much as it might be…We take it for granted a lot of the time.
So many ways of life shared by so many people. And artistic expression of experience is fundamentally important in communication and understanding. Cultural richness is something which includes diversity in anything that has to do with how people live: music, art, recreation, religion or beliefs, languages, dress, traditions and stories. It also encompasses things like how we organise ourselves and how we interact with the environment, and even the attitudes we hold towards others.
So if you like my art working, and think it brings something valuable to the world in it’s relatively small way, then do consider supporting me. You can do this buy buying my work (very pleasing, as it releases more room for more work!) licensing my art images through DACS, the Design and Artists Copyright Society, buying merchandise with my designs and art on it, which you can do through Redbubble.com (I get a small percentage of the price you pay…Every little helps. You can follow, share and help promote as you are able, if so inclined.
Contact page on my website: http://www.jamartlondon.com/contact/4569980742
I have a lot more art work than I am able to show on the internet. The reason being that my time for marketing and promoting, and putting things onto the internet is very restricted… I cannot keep up with my own creativity. I keep my own archives and that is something in itself! So if you are looking for something specific, then it’s always worth contacting me, which you can do through the contact page of my website. I can produce artworks in a large variety of scales and formats, on different materials and through different techniques. It’s often quite interesting for me to have a focused project to meet precise specifications.
If you just simply wish to support me financially, that’s really helpful too. How? Just here!
https://www.paypal.me/jennymeehan
Safe, quick and easy!
There isn’t a way of me thanking you through this method though, so if you do choose to support me through this system, please send me and email and let me know it was you, so I can express my gratitude. I don’t like asking for financial support, but I have realised I cannot afford not to, and I don’t mind losing a little bit of pride…I have too much anyway!
A lot of people don’t realise that artists, more often than not, have to pay to show their work in exhibitions, and that putting on your own exhibitions costs a great deal of money and time. I am frequently surprised how the general public don’t realise about artists paying to enter their work in exhibitions, in addition to paying commission. However, I don’t think I should be surprised, because it is not something shouted about. It’s one of those mainly hidden matters, which makes it harder for artists to share their work. And sharing our work is something we love to do. However, paying to share it is probably one of the biggest hindrances to a much richer artistic experience for all.
I am always totally grateful that I can even invest my time into doing what I love. I could not do this for many years, due to social and economic reasons, but now I can, I never take it for granted. I am fortunate to do what I love. What is my calling in life. Amazing. It’s less fortunate I don’t get more money for doing it, but it’s well worth the sacrifices made. This investment of time does cost though…It costs me and those around me in many respects, for I certainly could choose to invest myself and my time into more profitable activities. Sometimes good things come my way, and its’ a great boost. To have some finance to enable me to continue what I do is my main objective. Circumstances may change… It’s workable now, thankfully. I would like to show more, do more, submit more work, and push outwards far more than I am equipped to do at the present time.
It’s HARD work, this artist matter. I wonder why I do it from time to time, but the truth is, I cannot not be who I am, and this, it seems, along with being a mother, is my role. I am also a qualified teacher, which is handy, especially for mentoring and art tuition, and a qualified dental nurse (earlier career!) which is also handy, because we all have teeth, and it’s useful to know a fair bit about them. (I still find it interesting!) My interest in health, both physical and psychological, and spirituality, have proved perfect partners for my art practice which is informed by my own experiences, never ending research (I love research!) and the beauty of nature. I have to laugh sometimes: mothering and caring, the unpaid domestic work carried out, AND being an artist! It’s kind of counter-cultural, in terms of value, at the moment!
Recent Work
Well, in these darker Winter days, I have finally gotten around to more computer based work, and this includes posting up some of my recent paintings on my website jamartlondon.com.
This new series has quite a light, refreshing feel to it.
jenny meehan jamartlondon abstract paintings©jenny meehan title breath one
jenny meehan jamartlondon abstract paintings title painting breath two
jenny meehan jamartlondon abstract paintings title Light Touch
jenny meehan jamartlondon abstract paintings
jenny meehan jamartlondon abstract paintings “Opening the Way”
“Release” painting jenny meehan jamartlondon abstract paintings
Gallery Visits
This time of year… Right from October and into the New Year, is a good time to be out and about looking at Exhibitions. I have visited several, but only highlight one here…Telfer Stokes, at the Redfern Gallery.
I really enjoyed the Telfer Stokes exhibition at the Redfern Gallery… Reminiscence: New York Paintings and Metal Objects… It ran from 21st November to 4th December. The Redfern Gallery is one of my favourite galleries to visit…They seem to show work which I find particularly interesting. I did prefer the metal objects to the paintings.
If you follow this link you get to the relevant page on The Redfern Gallery website. There is an online publication you can access there also.
My favourites: Flare, 2017,Welded steel
76 x 79 x 15 cm
https://www.redfern-gallery.com/exhibitions/43/works/image_standalone631/
Also, very keen on…
Linch Pin, 2014, Welded steel
55 x 107 x 3 cm
https://www.redfern-gallery.com/exhibitions/43/works/image_standalone634/
and last but certainly not least…
Crux, 2014, Welded steel
65 x 60 x 60 cm
https://www.redfern-gallery.com/exhibitions/43/works/image_standalone638/
A little bit of reflecting…
Seeing Matisse’s “Snail” aged 9, I said that I wanted to be an artist so “I could do that”. The desire never left, symbolised in my keeping an easel despite countless moves, which I still own now. Since 2005, when I flung myself back into the early impulse to visually create, the desire developed, and I’ve done things artistically in my current situation which weren’t possible earlier in life, due to adverse life circumstances. I love all aspects of my work, and value it deeply, not only that of my current profession as an artist, mentor and teacher, (and mother/household manager!) but past roles as a primary school teacher, dental nurse, and various administrative and caring roles. All these roles and experiences make me who I am, and inform the directions I put my effort into, and my interests and topics of research.
Sometimes past roles can be unexpectedly useful…I was rather amused to find my past skills as a dental nurse useful when seeking to extend my knowledge of materials and techniques by experimenting with mosaic, which is something I did recently through two excellent courses led by Vanessa Benson, both at West Dean College and the City Lit, in London. Some little pieces of glass mosaic are amazingly like little teeth, and having a knowledge of various dental tools and equipment available is also proving useful, as I continue to tinker with the medium! (I’m using syringes a lot at the moment!!!)
My interest in materials, their composition, and uses, from a more scientific angle, was something nurtured through this past career choice, and I discovered, far more recently, how interested I am in the scientific and technical aspects of materials when I started to research the use of silicate and sol-silicate paint. I’ve always been interested in materials to a certain degree, but when I starting using the sol-silicate paint, and experimented with various other similar more ecologically friendly paints, the interest grew. Before I carried out the mineral paint mural at Trafalgar Junior School a few years back, I needed to do a lot of technical research which I found completely absorbing and interesting.
So it’s amazing how little bits of your past seep into the present, so unconsciously and without deliberation, very often. Knowing your materials well means you know their limitations, and you know which technical considerations are relevant to the particular purpose you employ them for. This means that if you decide to stretch materials beyond their capacity, you can exploit what happens in an intentional and knowledgeable way. It also means that if you have particular specifications to meet, ie, in terms of longevity, or resilience to certain factors, you can ensure your art work meets those, and be reasonably confident that they will.
How I choose and use materials in the creation of artworks has to have a solid technical understanding behind it, and I think it’s an aspect of art creation today which in some quarters doesn’t the the amount of emphasis it needs. I spend a huge amount of time researching all aspects of the mediums I work with so that the choices I make when working with them are informed ones. If I want something to last, then I make sure it has all the chances it can to last. If I want something to be temporary and transient, then I can choose to ignore certain things which I know will happen over time to the work.
Indeed, is some artworks, the changes which occur over time and a fascinating dimension of the work and completely integral to its purpose. But if what the artist intends then fails due to a technical aspect being ignored, then this is just poor workmanship. I have seen some horrible examples of artists ideas being badly executed because of ignorance about the materials they are using, and it always makes me feel slightly embarrassed to call myself an artist when I see it happen! There are some situations when crafts-person is a far more attractive word to use!!!!
But whatever words can be used, expressive colour and mark making; the structure of composition; the illusive space possible across the face of the a substrate; these motivate me to play with visual poetry and this I believe can work on the human soul in an essential and valuable way, enriching our experience of life. It realises for me both an outer and an inner vision. This is a liberty which I don’t take for granted, and I didn’t expect to be able to work with something I love so much. I’m also aware of the restrictions I face in terms of space and money right now. However, thankfully, though I may not be able to work on the scale I would like to, I AM able to do a lot with what I have. Generally in life, though it is important to have aspirations and always look just that little bit further than where you are, this needs to be balanced with acceptance and contentment.
Experimental painting carried out in 2008 by Jenny Meehan based on a sketch by Constable.
Above is a very early painting of mine, which I am very fond of. This was one of my experiments with oil paint. It has just the feeling I like to have, gentle, breezy, light, but not wishy washy, some motion and stillness, with a light touch. This light touch, and feeling of air and space, is something I have continued to explore in completely non pictorial, fully abstracted paintings, as you can see if you visit my website jamartlondon.com and look at my paintings for 2019. I post new work at the beginning of the year. This is because I have had enough time over Winter reviewing progress and identifying new directions.
http://www.jamartlondon.com/paintings-2019/4594054042
“Blue Boat” Oil Painting by jenny meehan (after Ivon Hitchens)
“Blue Boat” is another early painting, same year I think as the one above (off the top of my head) inspired by Ivon Hitchens who is one of my most favourite artists. Bit bolder with the colour here. I still have this one and don’t mind letting it go. If you want to buy it contact me via the contact form on my personal website jamartlondon.com and I will give you more details. It was awarded “highly commended” in the Needhams Competition…quite a few years back now. See my list of exhibitons at jamartlondon.com
Sharp Gallery, Brixton
I am very pleased to be part of the exhibition at the Sharp Gallery in Brixton. The value of creativity and the arts in healthcare of all sorts is widely recognised and projects like this are worth their weight in gold. Here’s the work I am showing, with the partner poems and other text displayed below:
flower dream print by jenny meehan
laid to rest print by jenny meehan jamartlondon.com
Dreams and Dreaming
Framed digital prints and their partner poems – Jenny Meehan jamartlondon.com
Flower Dream
Deep within the pot of me…
Not cracked, like Mummy.
Not hung on the wall,
slipping downwards…
A glassy look
that never met my tears.
I am sad and angry…
I won’t deny it.
For too long it was inconvenient
for me to exist in reality.
As I was saying;
Deep within the pot of me
I hoped for sunlight.
I dreamt of a day
when someone mysterious
would knock at the door, and come,
laden with flowers…
flowers upon flowers…
Come laden with flowers,
and colours, and petals,
and leaves, and stalks…
To give.
To give something
to me.
Not bleeding, or painful; like daffodils when you cut them.
(My sister was horrified).
As I was saying…
I hoped for sunlight
deep within the pot
of me.
But I could not reach out for it,
though I heard it was there…
in the garden.
In the garden of flowers,
which naked, Mummy ran through,
when all was solved
and the world was
entirely
her own.
The birds told me…
Deep in the garden…
In the shed…
I do exist.
This is why
I cry for the flowers.
They took my sister away, because she was too angry.
But keep me here, because I am no trouble.
And who needs flowers, anyway?
As long as your pot is not broken.
As I was saying…
Not cracked, like Mummy.
But empty,
non the less.
And the flowers are so beautiful;
A beautiful dream
for me.
Jenny Meehan 2017
This poem accompanies the Digital C type print “Flower Dream”.
“Flower Dream” is a numbered edition print (NE#1), signed by the artist-poet Jenny Meehan. It’s printed with Epson ink on 300gsm paper. Framed print: £50
See jamartlondon.com, under “Digital Imagery” for information on what a numbered edition print is.
Laid to Rest
Sleep peaceful, daughter, sleep
Dream the pathways through your mind…
leave the troubled day behind.
Sleep peaceful, daughter, sleep
Dream many dances through the sky…
Starlight night, then stepping bright;
A morning bird’s hopeful cry
To see you deeply, freely, sleepy
dropping safely, easy, warm,
into resting places
waiting
ready for the dawn.
Ready for the dawn.
Blessings; blessings; blessings
dreamy…
Dreamy child, of mine.
Blessings; blessings; blessings
dreamy.
Dream-child
of peaceful
mind.
Jenny Meehan 2018
This poem accompanies the Digital C type print “Laid to Rest”.
“Laid to Rest” is a numbered edition print (NE#1), signed by the artist-poet Jenny Meehan. It’s printed with Canon ink on 220gsm paper. Framed print: £50
See jamartlondon.com, under “Digital Imagery” for information on what a numbered edition print is.
About Jenny Meehan
Jenny Meehan is a Kingston Upon Thames based artist working painting, poetry and digital imagery. Following her studies at Kingston University,(BA Hons Literature) a Post Graduate Certificate in Education at Roehampton University led to a career in teaching. From 2010 Jenny focused on the Visual Arts, training at both West Dean College and local adult education provision. Selected by a wide range of judges, her work has been displayed across many galleries and museums in the UK. These include the Dulwich Picture Gallery, Pallant House Gallery, and Kingston Museum.
“I’m very pleased to be part of this exhibition. I have a keen interest in mental health and recovery, partly due to the traumas experienced in my formative years, and the realisation in 2010 that I couldn’t deny the reality of their effect on me any longer. My engagement in psychotherapy has a rich and interesting relationship with my creative output which I exploit with interest.
The subject of dreams is something close to my heart. Finding dreams and allowing them to exist is probably one of many people’s greatest achievements. As is using the darker dimension of our experiences, and seeing light permeate through even the deepest fear.
I hope you enjoy the poetic space I create in presenting both word and image together.”
Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative. Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious. It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art. I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.
I think it probably does this by helping me to identify how past experiences contribute to the present interests I hold. I think developing a clear voice is very useful when you are involved in the visual arts. There is so much wonderful art out there, but in the end, we need to find the motivation and drive within ourselves to persist with the vocation of artist. It isn’t easy, in our current materialistic and capitalistic focused culture. But it is worth it.
Kader Attia’s first UK Survey Exhibition
I like the look of this exhibition very much. This time of year is good for visiting exhibitions, and while I cannot afford to visit as many as I would ideally like, because of the costs involved, to be honest, living in this part of the country, there is so much on offer to see, big and small, that I have more than my fill of gallery going!
Loving Research – The Philosophical, Psychological and Metaphysical Kind! Mostly…
I love researching. It’s something I regularly fall into, and enjoy very much. I don’t consciously draw lines between my researching activities and my artistic production, in the way that maybe a Scientist would with their work… There’s normally no need. But my visual art certainly has a flickering background of thought behind it, which generally only comes into focus if I need to write an artist’s statement, or similar, about a specific piece of visual art work. I prefer to let my research happen organically, tracing it’s pathways through the thoughts, physical artistic output, and my general experiences of everyday life. I remind myself that I am not working for a gallery, and needing to put signs up against every piece of work I produce, so that it might be articulated with the language of words. With so much emphasis on the conceptual today, it’s tempting, maybe, to feel the need to legitimise artistic practice with words, for some. Maybe all? And sometimes. And while bending your intellect, this way and that, is fun…(I love it)…I don’t think it can make a piece of significant art happen, however much someone might try. Because what is significant wells up within for a person. Maybe where the research comes into play is that it can be helpful for an artist in developing a reflective artistic practice. In being able to identify what one is trying to express/do/communicate and what it means to oneself personally, and also to relate it to many other thoughts, theories, approaches, and beliefs.
This may be part of why I have chosen to write this artist’s journal…At least this is a way I can track some of my preoccupations, for the problem I have with note books, of which I have many…is they dance around the house constantly, picked up, then left, lost and then found. It seems right to let this happen. And it’s so interesting when old ones turn up. But with this artist’s journal…There is the constant screen in front of me, and the only thing which changes is what I am writing. I think it may be of passing interest to someone now and again, and I think about the fact it is maybe read occasionally. However, it’s not the same as writing for some other person, because while that maybe one aspect, I allow myself repetition, deviation, and other flaws in the writing, which wouldn’t be acceptable in another form to the same extent. The pleasure in writing this artist’s journal is possibly much greater than the pleasure in reading it, but never mind. It is what it is! It’s somewhere to attach bits of interesting things I have found, and enables me to pick them up when I need to, and rediscover them when I don’t expect to find them again, but with the significant added benefit, that when I feel like a bit of writing, I know where to go!
My reading notes;
Something I am looking at now: John Macquarrie on Language, Being, and God
Author(s): Eugene Thomas Long
Source: The Review of Metaphysics, Vol. 30, No. 2 (Dec., 1976), pp. 255-279
Published by: Philosophy Education Society Inc.
Need to think on this for a while… Very interested in reading more John Macquarrie.
I think I am between a realist and idealist. Objectivity and subjectivity seem to both hold equal sway in reality! I think paradox and tension between things vital and helpful in life. I’m interested in dipping into considering different perspectives, but all my own thinking seems clearly rooted in a firm belief of an external (as well as internal) Creator God who does exist, whatever I might think. And I am so much a lover of the material world, (nature) which I don’t see as apart from the spiritual, but also expressing the wondrous qualities of God. What I do get from reading (admittedly in a somewhat cursory and skimming type matter) is lots of interesting relationships between elements I don’t normally bother to think about!)
Some other reading:
https://www.thoughtco.com/working-with-worry-449711
https://www.tate.org.uk/context-comment/articles/does-beauty-still-matter-art
https://www.huffingtonpost.com/the-daily-princetonian/prosumerism_b_1463166.html
I’ve been thinking about other faith traditions and Christ, and how the tendency to shuffle into thinking one’s own faith tradition is better than someone else’s is so unpleasant and not Christ-like. What we know of the life of the Lord Jesus Christ through the New Testament communicates that Jesus honoured and respected people of other faith traditions without doubt.
In his book “Discover the Power Within You” Eric Butterworth wrote:
“I have often speculated on what Jesus would have done if he had been seated around a table with a Buddhist, a Hindu, a Muslim and a Shintoist—discussing ultimate Truth. I just can’t believe that Jesus would have said, ‘You must all forsake your beliefs and come and follow me.’ I think he might have pointed out that the differences were chiefly a matter of semantics, and that there is an underlying principle similar to the Christ idea in every religion. I think he would have stressed the basic unity within the diversity of religions, pointing out that the greatest need of all persons is to find that indwelling unity with God, which is found in the principle of divine Sonship, that we call the Christ.”
Well, that’s some of my reading for the time being.
Publishing this Post NOW!
I’m going to publish this blog post early rather than late. I’ts got longer than I expected it to!
Now I’ve decided only to post once every two months, in order to reduce time spent on writing it, and hopefully enhance the focus of it, I’ll get it out there and forget any more blog writing for a nice big chunk of time!
November and December!
December 11, 2018
jenny meehan prints ©jenny meehan
November and December are when I tend to turn my attention to updating my website and various other computer based tasks. A good time for more socialising too! While I love and need much time in solitude, I am an extrovert by nature and there are so many fun things to do at this time of year! I have packed my studio tent away for this year. It’s too cold now, and the days are shorter anyway.
Above you see, along with my feet, some prints which were printed for me as part of a prize awarded! It was the 2nd Prize in Digital Art Category of Chester Art Centre Open Exhibition 2017. One hundred pounds worth of digital printing! What a useful prize! I have put them in frames and prepared them ready for next years Kingston Artists’ Open Studios. They are archival quality prints, and look fantastic. I am very pleased with them. Though I won’t label them limited edition, because I feel that is somewhat irrelevant in today’s digital age, (with so many printing options available), because I don’t print and sign much work nowadays, they should probably be labelled 1/1…. for it is very unlikely I will produce anymore. But I don’t know what I may want to do in the future with them. For this reason, I tend to just sign and number my prints without specifying how many I will or won’t make. As said, the reality is that I don’t spend much time on printing my work now or getting it printed. Too busy creating, innovating, and experimenting!
I have made several visits to the British Museum in the later part of this year. Glad of it. Great place to wander through and appreciate the wealth of historical artefacts; all in one place. I love looking at historical artefacts and discovering more about the past. I admire craftsmanship and find religious beliefs and learning about different cultures very helpful. Kind of liberating. The focus of so much creation is bound up in religious belief. I find this helpful to bear in mind.
Ritual. Remembrance. Death. Eternity.
These were the words I left with.
And a focus on the art working I do, which is purely focused on what I am doing. Yes, it’s hard…Because there is a need to share, promote, and put things on the internet. But as the years go by, I am learning to focus more, and in a more refined manner, on the work itself. What it means. What it says. Why it matters.
Helpful.
We have so much. It can get confusing!
Looking Back
Looking back, though not very far, here are a couple of images of my paintings from this year’s Kingston Artists’ Open Studios event. If you like visiting Artists, seeing their work, and getting a chance to ask the questions you want, as well as maybe having the opportunity to buy an original piece of fine art much cheaper than you would probably be able to get it at a gallery, then an Open Studios event is just the thing for you.
Contact me via my website jamartlondon.com and ask to be placed on my mailing list and I will send you information on the Kingston Artist’s Open Studios event in 2019. Surrey artists open their studios each year, and Kingston has a wealth of artistic talent just waiting to be explored.
http://www.jamartlondon.com/contact/4569980742
KAOS open studios jenny meehan paintings
On the left “Joy and Pain” and on the right (face on view) “Father, Son and Holy Spirit/Trinity”.
The latter painting has been licensed for use on one of the Bible Reading Fellowship’s publications, on the cover of a book by Nigel G. Wright titled “How to be a Church Minister”. I am always very pleased when images of my paintings are licensed for use. It’s great when they can be of practical use, and particularly, as a bit of a writer myself, I am pleased when they are employed in the service of writings relating to faith and spirituality. It’s wonderful to see my paintings used in design…As long as a licence has been issued! Being a member of DACS (Design and Artists Copyright Society) has been one of the best moves I have made.
If you want to use any of my paintings, and are looking for something specific, do contact me, because the vast majority of my work is not shown on the internet. I really do work hard, and produce quite an array. It’s quick and easy to purchase a licence through DACS. My paintings have graced many book covers.
waterloo clock ©jenny meehan
Love this clock!
In 2010 the specialist clock maker Smith of Derby removed the hands and many of the internal workings of the clock so they could be re-engineered to work with the latest technology. The clock’s historic exterior was also cleaned and decorated as part of the project. The clock has been a central feature of Waterloo Station since the early part of the 20th century. The clock was made by Gents of Leicester and is believed to date back to the 1920s. My photography now is pretty much limited to the occasional snap here and there, such as this one. I have a huge archive of the years I spent focused primarily on photography but I tend to use it for reference mostly.
under pressure ©jenny meehan
Yes, well, we all feel like this sometimes. An example of some early experiments with Photoshop. The image was based on a cut out and stencil mono type I made at West Dean one year. We live in a society and culture which exerts an awful lot of pressure on us, in a relentless manner. What a challenge it is to even just BE. How do we define ourselves from the inside out, in a strong and certain manner, in the face of all the media? What masks do we adopt and what happens when they fail and we fall? What happens when our vulnerability and fragility need to be faced, our self encountered, and avoidance and repression, distraction and entertainment, fail to keep us afloat?
Jenny Meehan on Redbubble.com
Redbubble is a great “print on demand” website and I have some of my images there. The world is full of fabulous artists and Redbubble is a good place for buying merchandise which is original, exciting and contemporary. The artists on Redbubble get a royalty payment from any items that you purchase there, so it is one way to support the creative community and help artists gain a little bit of income from their work. Do take a look!
https://www.redbubble.com/people/jennyjimjams?asc=u
I only get a small royalty percentage, but it’s lovely to know someone has chosen something with my design/artwork on it. It’s one of those welcome emails…And a small, but vital encouragement to me! I don’t print very much of my own artwork anymore, as I prefer to focus on painting and poetry, but using a company like Redbubble.com does mean if people want to buy something printed they can quickly and easily, and it doesn’t take my time up in order to produce the item.
Follow the link above to see one of my patterns. Using the “Spring Will Come” image. Now the patterns I make tend to be with pieces of stone and glass, as my new venture into mosaic continues. But however they are made, there is something very satisfying about making patterns.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
An early photograph of mine taken at West Dean Gardens. I am posting up rather random images, because I have spent time looking through my archives. Pathways of various kinds have always held my interest. Way forward. Need to move forward. Sense of direction.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
This little decking area is no more in West Dean Gardens. They have removed it. The pond area has changed a lot. This is such an elegant bench. I have so many photos and drawings of seats, benches, chairs…resting places. The need to stop. Dwell. Cease moving. Contemplate.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
And so many photographs of plants, trees, vegetation, and all growing things! Growth, natural form, being essentials for the eye, in appreciation of variety, vast variety, endless variety, of God’s amazing ongoing creative power and endless inspiration to be found by looking at it!
I continue my professional development in the visual arts through the short course programme at West Dean College when I can. It works very well for me, and I find it has been far more useful to me than a fine art degree. My degree is in Literature, and I also studied a substantial number of modules in History as part of my degree at Kingston University.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
Another sweet West Dean moment! And yet another of numerous images of water. Water. Sea. Rivers. All things watery. I love water and rocks, and all the images I have taken, while I don’t tend to refer to them directly, feed into my consciousness and inform my paintings. I think the years I spent taking pictures were a good training in terms of composition particularly. I also reached the point where I had so many pictures they did not interest me so much, and this may be one of the reasons I jumped into abstraction!
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
Lovely light.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
On my most recent course at West Dean College, the box needed a tidy up, but in this image the rounded shapes are very neat and tidy!
jenny meehan jamartlondon photography landscapes in uk ©jenny meehan west dean college time enjoying the garden
Another West Dean Gardens delight.
It’s a bit of a brief journal entry, I know. But I am so much absorbed in my work at the moment. There’s some great relief for me at the present time in not writing so much. Just being totally immersed in experimenting doesn’t seem to need any kind of documentary. I am almost tempted to stop writing this journal. I won’t do that, but it may be shorter and sharper.
Many years ago I used to enjoy the Abstract Critical website.
There were some interesting discussions… It helped me put my brain into action, and introduced me to thinking about abstraction at a time when I was still battling internally with if I should really let myself go down the abyss!
Reading what Alan Gouk had to say was exceptionally helpful to me.
Happy Christmas!
Now I must go. As said, I think it likely that I will now continue just to post once every two months.
Angel print for All Saints church of england CofE Kingston parish church kingston upon thames angel campaign submission by jenny meehan
You can purchase a print of the above art work by me on Redbubble!
grave yard glimmers mosaic and accompanying poem jenny meehan ©jenny meehan
The Grave Yard Glimmers
Under grey ground
my shattered self, recovered
crept gentle, back to the moment
when
a younger me-child
within
Summer holiday sunshine
discovered
picking, glass, stones, off graves
was an open treasure chest.
Even while the body laid low…
sighing with relief…
anticipating release…
for each passing moment.
Simple time steps.
One strand of self to
reflect
back to me.
Porous ceramic spreads moisture
Yet only a shadow
touches
meeting edges
I am sorry that I left, and still sometimes leave
these parts of me behind.
Much later, my rape was a vacation of another kind.
I hover, momentarily, over my body
unable to take in, even in consciousness
the un-do- able
which was done.
It takes years to cry.
And bodies lie under the floor
even in houses.
Light still
makes glimmers
Glimmers in eyes
meeting.
Glimmers in finding
pieces
all broken
but beautiful.
l hold hope, for you
my friend, and myself
on dream-like, flattened
slates… to write all over
a past story, a new one…
We wash the silver ore, and smelt it
in the smiles of those we love.
Jenny Meehan
August 2018
Looking forward to working with mosaic in November, tutored by Vanessa Benson, whose inspirational course at West Dean College this year has kicked me off in this direction!
Realising my poetry and all the visual work I do are inseparable. Well, I knew this already, but now I know it more. Also, I will always be a materials orientated artist. One who handles my own materials.
The most annoying saying “Everyone is an artist”. Is everyone a plumber too? The role of an artist has a broad skill set attached.
Everyone is innately creative, yes, but everyone is not an artist. I hate walking past Cass Art and seeing the motto… it’s something like “Let’s fill this town with artists”. Sounds like a nightmare to me. Do you want a town filled with artists? Would be quite a poor town, for a start! But it would, of course, be ideal for the local art shop!!! At least they are honest!
I was reading recently that a survey found most artists earn between £1,000 and £5,000 a year. That sounds about right. I kind of felt relieved on reading it. It is hard when you live in a world where finance reflects value. I know I am doing what I should be doing in life, and feel extremely grateful, that finally, after years of waiting, I am able to work at the work which feels most natural to me. It’s not to be taken for granted. But it isn’t a “job” in the proper sense. And all the other work I have done in the past is very relevant, and has been valuable in many different respects. It’s made me who I am. I wasn’t unhappy in the work I previously did. Just not quite so fulfilled. But there are many aspect to being fulfilled in life, and there were parts of me which probably developed, in a good way, which I might have avoided, if I was art working then. Discipline is important. For an artist, if you have not got it, you cannot be productive, I don’t think. Getting up each morning to do what you must, is part of every occupation, and we don’t always feel like it!
And now, I cannot rely on a “job” to define who I am. It’s sometimes challenging. Like being a mother, I guess. The key thing is, I think, not to confuse status or money with value. It’s always a challenge! What I do does pay for itself. Sometimes I feel discouraged, but it’s only passing. Thankfully enough good things happen to keep me motivated!
Thelma Narrative Series
My Thelma sculpture project was in 2014 and it is now 2018! In truth, the project is not finished, because I got a mould made of the essential base of Thelma and intend to make some plaster versions in order to experiment further. Indeed, I will. Yet for now, here are the images with text, which does seem to have a degree of being a complete work. The actual wax sculpture is in a box in my cupboard, and now and again I pick bits off it and add bits on! It is one figure, which I moved through a series of transformations without thinking about concepts in a conscious way.
ONEthelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA ONE
thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA TWO
thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA THREE
thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA FOUR
thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA FIVE
thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA SIX
This is probably my favourite in the series…It’s the one I associate with the ongoing process of participating in psychotherapy! Hard work, at times, yes, but something which can be a tool in bringing freedom from the negative consequences of violence, abuse, and trauma. This time I spend in therapy is an investment I choose because I value self reflection so much. Participation in Psychotherapy can be viewed two ways. One, is that of being a practice of WELLNESS…Which for me, it now is, thankfully. (Mostly) It’s like going to the gym to keep fit. (Mostly, not always! Sometimes it’s painful and hard! Still challenging, still uncomfortable. Always will be! )
I find it very harmonious with being an artist, and working in the way that I do with other people with mentoring/spiritual direction/teaching art. The other way that psychotherapy can be viewed might be summed up with “Gosh, they must be very screwed up to need therapy” maybe? It is the idea that someone would only participate in psychotherapy if they really had to, because it wasn’t possible to carry on without it. Because why would they want to do take part in something like that otherwise? Well, I do understand that perspective.
Personally, I did start my psychoanalytic journey in a very distressing place, and I knew it was what I needed, and things were often very alarming and extremely difficult. So it wasn’t optional in any sense in 2011. Yet my journey, and the experience gained from working with a very good therapist, has been so valuable and positive, it seems needless not to carry on with it, as long as it bears fruit, which it does. I do review it from time to time, but so far, I reach the same conclusion, which is why stop for the sake of stopping? It might be different if I was not an artist, but it’s become part of the process of my artistic creating, and it’s so useful, even for that, even apart from the other benefits.
It feels like pulling a net through my own depths, pulling it along the sea bed. It’s an effort, but somehow drawing deep in myself in this way produces a lot of goodness. Life is vastly improved, and I feel so much more alive than I ever used to be. So the effort is definitely worth it for me.
Thoughts on the sculpture…
Difficulty of wading forwards… Trolling is a method of fishing…. There is a huge sense of continuity and flow, in this one, with metal outside of the figure clearly relating to the which goes through it’s core. Through the waters of my mind, in the psychoanalytic work I am doing. Found this, it’s helpful..
“Bodies of Water and the Unconscious
Often in dreams, large bodies of water (oceans, lakes, pools) symbolize the unconscious. As with bodies of water, we often see the surface, but cannot easily see into the depths.
Also, the vastness of the ocean symbolizes the vastness of the unconscious mind. Jung observed long ago that the unconscious mind was much vaster than the conscious portion. His insight has been confirmed by fascinating developments in neuroscience, where new technologies, such as particularly sophisticated MRIs have enabled brain scientists to see that the unconscious processes in the brain dwarf the conscious mind in magnitude.
In those regions of the brain/mind lies the meaning of dreams. Jungian therapy is always aware that, for each of us, much goes on in the depths of those oceanic waters…” quoted from https://www.briancollinson.ca/index.php/2012/11/jungian-therapy-the-meaning-of-dreams-5-water.html
WOW! The unconscious mind….
Oceanic Waters!
thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA SEVEN
Must be the faith aspect coming through in this one!
thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA EIGHT
No doubt some theme of healing… And in this one, a mould was made, and the body cast in plaster.
Interesting looking back at these. Rather funny that I depicted my right thigh with what looks like a strip of metal along it. This was before my knee replacement and before I was having problems with my walking! Plaster for me is evocative of healing and holding, and showing this liquid flow over the now plaster form, is something I like a lot. The flow may be static in that the plaster is set, but it is suggestive of flow and continuity by it’s very shape, and the meeting point between those forms of underlying form and dripped plaster brings some awareness of touch and being touched to my mind. As the final figure is the model cast, it’s a new creation but still intimately related to the former figure in brown wax. I will continue working with this, and post up soon.
So this is September…OOOps… Late again, October!
jenny meehan jamartlondon art work uk licensable images
Painting “Upper Room” by Jenny Meehan 70 x 50cm This is available, contact me if interested. Use contact form on my personal website jamartlondon.com http://www.jamartlondon.com/
Direct link to contact page; http://www.jamartlondon.com/contact/4569980742
Bit about my painting…
About Jenny Meehan’s Paintings
My process led painting…romantic, expressionistic, abstract and lyrical, is simply the result of my own contemplative practice, which I work through in many ways. Let by instinct and intuition, inspired by my own life experiences, and several much loved artists, including Klee, Hitchens, Claude Venard, Matisse and Kandinsky, it provides the ground for the viewer’s own interpretations and responses, and will be whatever you want it to be. My own titles reflect my own interpretation/,sense of meaning, but the beauty and openness of non objective painting allows you a place in the process exclusively yours!
The image doesn’t show the extent to which texture, and various surface finishes are used in the painting, for example, I use tiny glass beads for their effects on light hitting the surface of the painting. Maybe they could be seen as a dance of light and colour? Certainly, as the light in the day changes, the appearance of the painting changes considerably, with different parts being emphasised and other parts sinking into the background. This painting is one which responds, and I hope you get pleasure from viewing it! See more at http://www.jamartlondon.com
jenny meehan jamartlondon art work uk licensable images©jenny meehan
Boat House, Monotype. ©jenny meehan
Sometimes the simplest of things can give pleasure. I am looking at this one at the moment, particularly as I think about how I will approach working with mosaic in November. I think to start with some kind of simple forms, rectangular, square, maybe a good start. I don’t see myself going into the pictorial. I suspect I will need to seriously spend time considering the materials I use. They will suggest a way forwards, I am sure. And I want to make more effort with this linkage between my poetry and visual expression. I think that’s key for me.
jenny meehan jamartlondon art work uk licensable images©jenny meehan
Icy Landscape ©jenny meehan
A major theme of my work is recovery from trauma. The subject of an internal landscape dominates my creative practice. Tiny glass beads are used in the above painting and they catch the light, transforming the appearance of the work at different times of the day.
“Eternal” Painting by Jenny Meehan
jenny meehan jamartlondon art work uk licensable images©jenny meehan
Eternal by Jenny Meehan ©jenny meehan
This is one of my paintings which has been licensed for use as a book cover. The cover designer was Alison Beek. I really like my paintings being used in this way, and it is a small source of income which helps sustain my artistic practice, so it’s very much valued.
“Finding God in all things, hearing God’s voice for ourselves and others…the Quiet Spaces Prayer Journal will help you to develop and maintain a life of creative prayer. With space to write, quotations drawn from Christian tradition and BRF’s Quiet Spaces publication to aid reflection, this is ideal to buy for yourself or as a gift for anyone wanting to deepen their prayer life. It features quotations to inspire, allowing plenty of space to write.
Quiet Spaces Prayer Journal Spiral bound edition by Mrs Olivia Warburton”
Edited by Mrs Olivia Warburton ISBN-139780857465245Format Spiral bound, Publisher BRF (The Bible Reading Fellowship) Publication date23 Sep 2016Pages192Product dimensions 150 x 210 x 14mm E Weight338g
“Quiet Spaces is BRF’s prayer and spirituality journal. Published three times a year, each edition journeys through up to nine themes drawn from the Bible, spiritual writers, the natural world, the lives of Christians from across the centuries or from Christian spiritual traditions. Each theme is explored in twelve prayerful ways using creative activities, your personal faith experience, poetry, liturgy, reflection, imagining and meditation, helping you into a heart encounter with God. Ideal both for those who have discovered the benefits of reflection, meditation and contemplation and are looking for a resource to guide their periods of quiet and for people coming to reflection and meditation for the first time.”
I use my own copy!
This months post is September and October combined! It’s my aim to write a bit less on my journal each month and work more on my poetry. As I mentioned at the beginning, a brilliant course on mosaic at West Dean college tutored by Vanessa Benson has provided some interesting routes in using mosaic, and along with my other ongoing experiments with silica sol mineral paint I want to immerse myself more in silence and music and poetry than longer blog entries. And drumming too. I am loving my djembe, and enjoying learning some traditional West African patterns.
I think I may have exhausted my writing capacity a little bit when writing “The Very Patient Knee Replacement Story by Jenny Meehan” last year! By the way, the knee is working wonderfully. It’s an “Attune” knee. I am no longer disabled and able to live a full life. I am so grateful for the South West London Elective Orthopaedic Centre, and the NHS. My life would be quite different without such a positive experience.
west dean college short course jenny meehan flora and foliage images© Jenny Meehan
Really enjoying these…
http://openchurch.network/chalketalk
That’s me for now!
Do take a look at my website. http://www.jamartlondon.com/
I will be updating it over December. I have a lot more work than I can show on the internet.
This is not the right time of year for writing blogs…
The sun is so hot, and so good at drying paint! (More on that later!)
I have a lot of work in progress… As always!
There are masses of flies in the studio tent, but thankfully they do leave when I come in and work in there.
Not much sign of snails in there even, except in a few damp crevices!
And I have now realised that I do get sun burnt even when inside the tent… translucent tarpaulin is not great at keeping UV rays off the skin!
(Update..And now in August…The rain has come! Much easier to work now!)
I am going to keep this months journal entry short, but have to say…
Congratulations NHS! On your 70th year! When posting this journal, finally….It’s a long way back.
Thursday 5 July 2018…
And without the NHS I wouldn’t be able to walk or stand as I need to…
It’s freed me to paint and work, and I am grateful every day I wake up with a working knee!
I can carry things, move work around, paint big paintings, and have big dreams. Before my knee replacement my whole life was starting to run into a funnel, with a very narrow spout!
I’m not going to post lots of images of paintings in progress… I really have far too many and it would become quite pointless.
Because I work in such a piecemeal way, I have to work more on relinquishing the work when it is in progress, rather than tracking it.
I find this more helpful to my self.
It’s an odd way of working. But I think its about picking up pieces. And I have so many pieces. Picked up and put down. Not normally advised as a good way to work. For for the abstract painting process it works very well for me. This also applies to my many notebooks, reading and research. It’s a constant process of losing and finding things. And unexpected relationships occurring. With a lot of contemplation in between.
I have toyed with the idea of revealing what I am up to with my work, as it happens, but I need the energy brewing inside with the pressure which comes when something hasn’t been released into the world. It feels like the minute something is published, it’s partly let go, somehow. I don’t mind putting the occasional piece of work on here from time to time, but that’s enough. It feels much better to publish images which I know have stood the test of time. They have proven themselves able to stand on their own two feet. Paintings with feet. Now, that’s a thought…
VOC’s and painting large abstract paintings in the VERY hot sun
I am very much loving the sol-silicate paint I use from Keim Paints.
It’s AMAZING… and as I am working outside in the very hot sun, it is also very healthy!
I do wear gloves if I know I am going to be handling a lot of paint, because it is very alkaline.
It’s drying quick…I use Soldalit.
Very fine brushes are best, I find, but rollers can be useful.
The light bounces off the matt surface beautifully.
It’s a JOY!
keim soldalit sol silicate paint hand mixing up colours for use in fine art abstract paintings by jenny meehan
It takes hours to make many pots of paint ready for a painting session. Well worth it though! I love this paint. It’s heaven!
I first started using Keim mineral paints a few years back.
I do use acrylic paints too, but I wouldn’t use large amounts in the sun anymore.
I did do this a couple of years back…
I could smell the fumes coming off the surface of the paint in the hot weather, and thought to myself, “NO, no NO!” This isn’t good for me.
As I have to paint large scale out of doors, and very hot days ARE quite handy when drying paint matters, having paint to use where I don’t need to worry about what I am inhaling is just GREAT!
I don’t paint if the temperature is more than 30ºC, as per instructions… and find painting in the morning and evening essential at the moment because it is so very hot.
“Important Note – Materials must not be
applied at temperatures below 5ºC nor those
in excess of 30ºC, nor if it is raining, or if there
is an immediate likelihood of rain”
There certainly are no worries about an “immediate likelihood of rain” at the moment. (PS written before the rain came! In the end, there were a good few days above 30% too!)
I do remember having to be very careful when painting my exterior mural all those years back, and needed to hang bubble wrap over the entire surface to protect it from rain!
I am painting on grey board…it is absorbent, and I thought I would need to use some fixative for the first layer, but I forgot to get some. It is indicated, but as the area is so small (compared to what it would be if painting a large wall) I am managing without it. I wish I had got some in order to make the paint layers a bit thinner, but with a fine brush and quick spreading I am getting away without it.
The grey board varies in thickness. It is a little bit flexible, so not quite the rigid surface required but I don’t mind experimenting…It will most likely crack if bent, but I am not planning on bending it. And I am currently experimenting on some flexible surfaces with the intention of cracking the paint layer. So in some pieces I play things safer, using what I know of the materials I work with in order to produce a more predictable result. And in other pieces I am jumping out, breaking the rules of the usual application of the Keim mineral paint, and enjoying the fact that, as I am not using the materials with the requirements of a building application to be met.
I spent a great deal of time mixing up the colours with the selection of Keim mineral paints I have available. And now I need to move forwards at quite a rapid pace, because they won’t last forever…Their shelf life is stated as being 12 months. I have found this varies a lot (and for my purposes, can be several more years, as long as stored carefully) but once I have mixed up the colours, I guess maybe because of air and some evaporation, I need to commit to some steady application!
I love these paints so much…
Yes, all types of paint have their qualities, but it’s so nice to use paint which is healthy and environmentally sound. VISUALLY it is pure as pure can be. None of the plastic quality of acrylic paint.
Yes, acrylics can do many things well…I have not thrown mine out. But I won’t be using mine in the hot sun again for certain.
But working with the Keim Mineral Paints is fantastic.
When I come to wash out the brushes or whatever, I tip the painty water on the garden. Don’t need to put anything into the water system. I am not sure if this is good for the garden but the plants seem happy enough… No complaints as yet!
If there are thicker paint layers in containers, it’s just a matter of letting it set and chipping it out. That goes on the garden too.
I am also experimenting with the Keim Mineral paint in many other ways, which will no doubt seep out as time progresses!
keim soldalit sol silicate paint initial layer of painting fine art abstract paintings by jenny meehan
Above an example of the early stages of one of my paintings. I am seriously into circles and squares at the moment. Rests and motion, drums, drum beats, sound, filling space, boundaries, edges, meetings, ….That’s the poem.
Volatile organic compounds and why it’s worth being aware of them
For those not familiar with the term VOC, paints used in the home contain potentially harmful chemicals such as solvents and volatile organic compounds (VOCs), and when paint dries, these chemicals evaporate into the air where the hapless artist or decorator inhales their toxic fumes. This is true for both water based (acrylic emulsions) and solvent or oil based paints. Inhaling paint fumes can exacerbate asthma and sinusitis, and because the solvents are absorbed into the lungs, then the blood stream, they can lead to headaches and dizziness.
I have experienced this myself when working with oil paints indoors on a hot day. I keep my use of oil paints for cooler days, in a well ventilated area, and not on a very large format, where possible. Though I do confess to liking the smell of turps, I also realise that the fresher the air the healthier is my breathing! It’s worth being aware that when VOCs are inhaled, they can cause eye, nose and throat irritation. In large quantities, animal studies have linked these chemicals to birth defects, cancers and damage to the central nervous system.
Oh er…
So best to breath fresh air!
According to the World Health Organisation, professional painters are most at risk, for they have a 20 per cent increased risk of a range of cancers, particularly lung cancer.
That’s a big percentage increase.
So anyone using larger amounts of paint, regularly, on bigger surface areas, needs to consider VOCs and the effect on their health.
There is even a neurological condition brought on by long-term exposure to paint solvents — ‘painter’s dementia’, which I guess isn’t that surprising. The World Health Organisation has also concerns about the long-term health effects of ‘off gassing’. Off gassing is the release of vapours over the life of the paint. (ie when it is on your walls).
If you do use a large quantities of paint as an artist, then it’s worth using it as safely as possible. AND disposing of your paint responsibly.
Keim Mineral paints have given me the freedom I need as an artist to experiment with paint in large quantities, but free from any concerns of impacting the environment, or myself or other people, in a negative way.
If you are using large amounts of oil or acrylic paint, on a regular basis, then consider using a respirator mask if you want to be keeping your air as fresh as you can, and work in a well ventilated area, taking regular breaks.
Healthy is important.
Now I can walk well with my new knee, I am pleased to say that I incorporated walking into my efforts for a healthy lifestyle.
Still eating a bit too much sugar!
Looking backwards in order to move forwards
the river within jenny meehan ©jenny meehan
I spend a fair amount of time looking backwards at previous art work. I find it essential. As well as looking forwards, into all the ideas I have. But the ideas of the future have no roots, and the past is well rooted. So I need both to work for me well. Constantly I find myself filled with ideas which could happen in the future. But I also find myself finding some ground to stand on in work I have done in the past. I normally don’t realise where I am going at all with my painting unless I regularly look back, and then I see, like an old friend, a painting waving at me and saying… “See… this mattered to you then and now it matters to you again!”
So when I found this one, (above) “The River Within” (quite early…around 2010, I think) I realised another strand…
KAOS open studios jenny meehan paintings
This river business, with arc, is quite clearly something which is going to stay with me. It’s popping up all over the place. For myself, the significance of water is life. This feeds into my faith and belief as a Christian and follower of Christ, and should most accurately be read as an expression of that in most of my work. If someone wants to “read” the “meaning” of my painting in that way. Hopefully little things I write and say don’t detract from the poetry of the work which is my deepest motivation in creating it. Water as spiritual life, flowing from the Creator of all, and manifest through the sacramental incarnation of Christ in the world. Quite a mouthful!
However, for those of you from different faith and spiritual traditions or none, I also, as I play with various concepts in my thinking and enjoy researching many dimensions of things I encounter in life, explore many other angles on the symbolic elements I experiment in my work and all of them add something very great to the whole process, and open many interesting avenues, all resonating in a meaningful way. All faith traditions have many areas of overlap and unity, and it’s vital to appreciate these, share them, and respect differences, accepting the other/s, in the way we would wish to be accepted ourselves. Love is the most important thing in life. Love God and love others as yourself. And communicating viewpoints with respect and peace.
Other Christian people may enjoy the way my faith is centred and rooted, and resonates with their own faith experience, and maybe recognise some themes in my painting practice which stem from my belief system. But I don’t tend to describe myself as a “Christian Artist”. This is mainly because I am not attempting to convey a scriptural narrative or assert my work as specifically Christian, ie for Christians or for a Christian context. Who I am as a person is intimately connected with my work, but the complexity of a human individual goes far beyond their religious tradition and identity within that. All kinds of things have shaped my life. And while how my faith religious beliefs shape it is of interest to many, there are many other people who don’t find this dimension of my work of any interest to them. I paint for myself and, for all who are interested in my work, for whatever reason. For the purposes of search engines, then it’s common sense to use keywords which include Christian, because many Christians do seek out artwork created by others who share the same faith. But it is my hope that this doesn’t ever prove a barrier to accessing or appreciating what I do. I am sure many other artists from different faith traditions and belief systems feel the same way. Art is always there with the aim of opening eyes to new ways of seeing and experiencing the world. New perspectives tend to enrich life, widening and extending the borders of what we had previously embraced.
Ooops, meandering and slightly digressing again! Water, and many other concepts and ideas around it, have a long term thread through my visual art practice. My contemplative practice and the research I do all feed into my painting and help steer the direction of it.
How to pray when we don’t want to pray
I found this very useful…See below, the writing in italics. This was published in Formed by the Spirit, The Newsletter of the Southwark
Diocesan Spiritual Formation Group; Opportunities, events, resources and articles on prayer and spirituality Issue 27: February 2016. It is written by Chris Chapman.
How to pray when we don’t want to pray
There are times when we don’t want to pray. We find that we are too busy to stop – but somewhere recognise that our activity is a way of avoiding the pain of silence where we might meet our own raw emotions or unresolved history.
Underneath all, we might not be sure we can trust this God with what matters to us most. We don’t want an answer that isn’t our answer
Or perhaps we are fed up with sitting there in the place of prayer and not getting anywhere. For all our efforts we remain distracted and restless, so far from the place of peace and understanding we desire.
How to begin to pray when we don’t want to pray? Here are some suggestions:
1] Begin from where you are and how you are: So, perhaps your prayer starts ‘I am sitting here unwillingly’ or…’I am not able to trust you’ or …’I am angry with you’…or ’I wonder whether you really care about me’…or ’I am afraid of what you want from me’.
2] Acknowledge that part of you that doesn’t want to pray…look without judgement at this side of your being. Now seek out that part of you that does feel drawn to pray: a sense of invitation that arises somewhere from within, an impulse that comes not as an ‘ought’ but as a longing that perhaps you are not used to listening to. Listen to that desire now.
3] When are you most relaxed: walking, cooking, gardening, knitting, or losing yourself in a book? Imagine yourself sharing this time with God. You are not so much looking at each other face to face as being side by side, comfortably sharing the experience. Perhaps some words flow one way or another, but being alongside might be enough of a beginning.
4] Let go of trying too hard. So, rather than summoning up your concentration, fighting distractions that come, or trying to squeeze wisdom from bible verse that mean little to you…relax. Prayer does begin with intention, and with choosing to place ourselves in a listening, attentive place, but the rest belongs to God. Leave what comes or does not come from your time of prayer with God. Everything is gift.
5] Use you body to help you to pray. Hold you hands closed to make fists. What is held inside there…feelings, experiences, repetitive worries or thoughts? Now open your hands and turn them palm upwards. All those things are still with you but now there is air around them…now you are open to God who cares about you and about what you carry. Keeping your palms open, turn them so they face down. Now you allow what you carry inside to fall away.
6] Be present: When we step into the present moment we also step into the ‘always’ of God. Look up from your work desk and watch the moving clouds. Open your window in the early morning and listen to birdsong. As the sun gathers strength enjoy its warmth on your back. Give thanks for what you receive in that moment.”
All very helpful!
In the garden
I am spending a lot of time in the garden right now. It is the largest area I have for painting in and so when the weather is good painting weather it is a priority for me to be there.
I enjoy gardening too.
Here are a couple of poems I wrote inspired by the beauty of creation.
January
to merge – climb – burst forth
written forms vibrate each shoot
trees majestic stand
(Jenny Meehan copyright 2009)
Blossom and Bamboo
curved tips arching low
in stillness dips light-flecked wish
white blossom pleads pink
(Jenny Meehan copyright 2009)
Blossom, Bamboo, and Branches all feature in my visual art quite regularly. Here are a few examples:
oriental blossom by Jenny Meehan © Jenny Meehan.
and a more recent monotype. I used cut paper, ink and rollers to create the art work below:
bamboo blowing monotype jenny meehan
© Jenny Meehan.
jenny meehan drawing painting uk ©jenny meehan
“Crouched and Facing Bamboo in Light and Shadow” is an experiment with the shadow of the bamboo in my garden and a drawing of a crouched figure. It’s still in progress as I am not 100% happy with it, but it has potential. It’s expressive of struggle, pain, pressing forwards.
Bamboo is VERY useful!
I have a lot in my garden. It makes very good paint mixing sticks. It makes useful paintbrush holders. And it is great for hanging things on. I love looking at it blowing in the wind. It’s so strong, and yet bends. It is spreading year by year. So I think I need to think up some other uses for it. I did make some bamboo pens, which worked quite well.
I have a tree in the garden with blossom. The blossom is beautiful, but delicate, and it does not last very long. It’s fragile and white. The wind takes it and scatters it like snow. It looks just like snow when its falling.
The London Plane Tree at the front of the house is another source of interest and inspiration . I’ve moved computers recently and cannot locate the full image digital file, but the purple picture on the top right is “Notation” which is based on an image of the London Plane Tree. And the blue image on the left is the base image I think. I took many, so not sure exactly but it looks like it. I do have extensive archives on hard drives and could locate the image quite quickly but I am so behind on so much I cannot be bothered to do this right now.
Take a look on redbubble.com at the fabric design I created from one of my images of the London Plane outside my house:
And the Fatsia in the front garden…
I also have many photographs of blossom, which I focused on one Spring;
jenny meehan jamartlondon.com photography ©jenny meehan
jenny meehan jamartlondon.com photography ©jenny meehan
jenny meehan jamartlondon.com photography ©jenny meehan
I tend to use ice, glass, frost, snowflakes as metaphors for trauma, and the way that blossom, though soft and beautiful, looks like snow when it is falling, fascinates me. Falling snow melts, and snowflakes are beautiful, things can viewed as one thing soft, and alive, or conversely hard, sharp, painful. Falling implies surrender, even death. Healing from trauma when it happens is trans formative. It changes the way things are seen and experienced.
Just a few here shown. But blossom and bamboo continue to inspire me!
Some information from Wikipedia;
“In Japan, cherry blossoms symbolize clouds due to their nature of blooming en masse, besides being an enduring metaphor for the ephemeral nature of life, an aspect of Japanese cultural tradition that is often associated with Buddhist influence, and which is embodied in the concept of mono no aware. The association of the cherry blossom with mono no aware dates back to 18th-century scholar Motoori Norinaga.[11] The transience of the blossoms, the extreme beauty and quick death, has often been associated with mortality; for this reason, cherry blossoms are richly symbolic, and have been utilized often in Japanese art, manga, anime, and film, as well as at musical performances for ambient effect”
and
“Mono no aware (もののあはれ?), literally “the pathos of things”, and also translated as “an empathy toward things”, or “a sensitivity to ephemera”, is a Japanese term for the awareness of impermanence (無常 mujō?), or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life.”
Mono no aware… How beautiful…
Redbubble.com
I really need to put some more of my artwork on Redbubble, but never seem to get around to it.
I get a small royalty when someone buys merchandise on the site with my design on it.
new era rainbow coloured abstract design by jenny meehan ©jenny meehan
Please note, all my images are copyrighted and should not be used without permission under any circumstances.
If you wish to obtain a license to use a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.
This is quick and easy for both parties and is organised either directly with the artist or through a collective management organisation; DACS, depending on nature of use.
Good Quote:
“Shortcomings, both real and imagined, when deeply seen and accepted, are an important part of the transformative process of learning to let go. If we do not let go of the need to be perfect, our need to be perfect will get in our way. Likewise, if we do not let go of our fear of failing, our fear of failing will get in the way. But as we learn to let go of the need to be perfect and the fear of failure, the intimate, earthy stuff of being a vulnerable, loving human being begins to shine through. In an ongoing process of learning to let go we bear witness to the great truth that the master limps. The mastery of life is intermingled with the ongoing weaknesses and limitions that gives life its rich and many layered texture and meaning.”
Copyright © 2013 Dr. James Finleyhttp://contemplativeway.org/newsletter/contemplativeliving.cfm
Langstone Harbour – The Tide Comes In
This painting is one from the past, but still available to buy if anyone would like it. It is a rarity in my work, as it was painted outside, as you can see from this image.
langstone harbour painting by jenny meehan
Langstone Harbour lies between Portsmouth Harbour to the west, and Chichester Harbour to the east. It is a tranquil and beautiful place, the heart of a dynamic urban area, and a vital part of an extensive biological system.
The harbour is home for charter fishing boats and commercial fishermen, and hosts two commercial aggregate wharves. Many recreational activities including yachting, canoeing and windsurfing are also well established in its sheltered waters.
Langstone Harbour is recognised internationally for its importance for nature conservation, and is a haven for aquatic wildlife and a myriad of bird species.
The Langstone Harbour Board works to ensure the harbour remains a safe place for work and leisure, as well as an area rich in plant and animal life. Quoted from the http://www.langstoneharbour.org.uk/
I love water and water appears time after time in my work. As said before! This painting was a very immersive experience, and as the tide came in, my feet did get wet! The canvas blew off a couple of times too! It started off with a very blue sky and then the weather changed for the worse, but I kept some blue in there!
Jenny Meehan, of the mud flats at Langstone Harbour 2009
Well, better late than never, this post, originally for July, will have to suffice for August as well!
I sell my paintings when no longer needed for study and exhibition purposes. At between £200 and £500 only, they are very good value indeed. For a high quality original abstract painting, you may need to look quite a long way for something in this price bracket. I sell my original paintings to enable me to continue to invest my time and effort into the painting endeavour. Developing my work, materials, research and study all involve time and money. It’s a matter of passion in the end. Any support is welcome and appreciated. Please contact me via my contact page on my website jamartlondon.com if my painting practice interests you and you are looking for high quality contemporary abstract painting by British female artists. I also have extensive archives of my paintings and photography which can be licensed quickly and easily through DACS.
small world futures chapbook
I enjoyed taking part in the Small World Futures project earlier on this year.
And look here….. The delightful chap book!
HUGE thanks to Collect Connect for all their hard work!
Title: Small World Futures – A CollectConnect Production at the #unsettledgallery
It’s published by Sampson Low Ltd, 2018
Chapbook 24
LB088
ISBN 978-1-910578-80-3
All rights reserved.
Text quoted from the sampson low website:
“The tradition of chapbook publishing in England is a long established one and here at Sampson Low Ltd we think it’s the perfect format for our most exciting authors and artists. Although small (A6) and relatively brief (16 printed pages) our punchy publications share their ideas with you in one delicious sitting.” and see here:
https://www.bl.uk/romantics-and-victorians/articles/chapbooks
This wonderful chapbook is the remaining evidence for the exhibition which took place in public spaces around London Bridge.
“Info: Small World Futures is a collection of 38 miniature sculptures depicting what life could look like in years to come. Each of these small artworks will be placed in public spaces (#unsettledgallery) around London Bridge. A writer will also use the worlds as inspiration.
Venue
#unsettledgallery
Starts
Thursday, February 1, 2018
Ends
Wednesday, February 28, 2018
Address
London Bridge, London
Location
London
Organiser
CollectConnect”
I love this kind of thing… I sometimes moan a bit about not showing my work as much as I would like because of costs involved. Something like this gets the work out there on the street. OK, you have to be prepared to loose it. But that’s not a bad thing now and again. I liked very much the writing on my work…I am pretty sure I published it here on this Journal a few posts back.
How good to now have this chapbook as a record! Do go and buy one for yourself.
https://sampsonlow.co/chapbooks/
vibe drome by jenny meehan
Kingston Artists’ Open Studios (OS18)
Kingston Artists’ Open Studios (OS18) took place on 9/10th and 16/17th June 2018 from 11am to 5pm each day.
It was a really good year, and very enjoyable.
Here are some images of my paintings in situ…
KAOS open studios jenny meehan paintings
KAOS open studios jenny meehan paintings
KAOS open studios jenny meehan paintings
KAOS open studios jenny meehan paintings
Kingston Artists’ Open Studios is a voluntary group, and we need and appreciate all the support we can get. If you think you could help us in anyway, do contact us via the link below. Visual art is important to the health of society, bringing pleasure, connection, and space for contemplation. The value is not easy to measure maybe, but it is always worth investment.
Hope to see you at this even next year, maybe? !Jenny Meehan
http://www.kingstonartistsopenstudios.co.uk/
kingston artists open studios jenny meehan image from 2017
Image shows paintings of Jenny Meehan and ceramics by Cressida Borrett http://www.cressidaborrett.co.uk/
Contact me via my contact page at jamartlondon if you would like more information!
http://www.jamartlondon.com/contact/4569980742
Looking backwards and moving forwards…
Or moving forwards and looking backwards? !!!
This old post from 2012…
This painting… I liked it, and it was exhibited at The Ark Conference Centre in Basingstoke. Titled “Sorrow for Myself”.
The narrative: The weight is heavy. The sun sets. Broken fragments are carried away. Down stream. This is sorrow. Sorrow for myself. Blood is shed, but it is the blood of Christ which covers. God is compassionate.
The reference: “Yet it was our weaknesses he carried;
it was our sorrows that weighed him down.
And we thought his troubles were a punishment from God,
a punishment for his own sins!”
We think about being sorry for ourselves as a bad thing. But it’s not what I meant with using the term “Sorrow for myself”. I have allowed myself to feel sorrow for myself, and to feel the sadness which I previously did not allow very much room for in my life. It seems to be for me a process of allowing myself to feel compassionate towards myself. I picked up this painting last year and decided to continue to work on it. I have now titled it “Kaleidoscope” …
Not a great image of it… Main archive image is still in the camera, but this will do for now.
Also I am increasingly deciding to put watermarks over my images. It’s a boring job to contact websites and get them to remove images they have no permission and/or license to use. Very boring.
kaleidoscope painting jenny meehan ©jenny meehan
The story behind this title is as follows; I had a vision while at an Ignatian Retreat Day at the Mount Street Jesuit Centre a while back where I could see I was holding a kaleidoscope in my hands and lamenting the broken pieces in it. Then Jesus, or rather, Yeshua the Messiah… (Digression! So many people just use the words “Jesus Christ” meaninglessly, I am seriously wondering if I might be best to use Yeshua, as it’s more in the historical context and I don’t hear people using it carelessly!) Anyway, back to the point. He placed his hand on mine and told me to lift the kaleidoscope to my eyes and point it at him. He guided my hand to turn it and as I did so beautiful light and patterns flowed through it, and the patterns went on forever and ever and they were always changing and all completely different. Both looking at the brokenness, which was a sorrowful process, and looking through the kaleidoscope, which was wonderful, are important. It was hard to allow Yeshua to touch my hand. Maybe I felt like a leper, as we had been meditating on Yeshua healing the leper? Maybe? I wonder if the turning motion was the process of repentance? It would seem so based on my current reflections and thoughts. A continual process. Allowing our Creator God to turn us around? Writing words about it seems shoddy and clumsy. But I continue to think about it. And to title the painting with its continued work “Kaleidoscope” is just right.
Here it is now. I showed it at this years Kingston Artists’ Open Studios.
I sell my paintings when they have been exhibited and/or I no longer need them for study and reflection. I don’t sell more than a handful each year. It’s great when they find someone to own them. Makes more room in my house for the new ones too! I am increasingly not using frames as they take up a lot of room. I am now starting to work on card and other substrates rather than stretched canvas.
Tiny Bones Poem by Jenny Meehan
Tiny Bones
I trod on fragments of bone;
Homosexual, Jew and gypsy.
Unknowingly desecrating
precious loved ones,
with my soles.
A heartless, human realisation –
I did not know, until the man told me.
When he spoke,
my world changed.
Brokenness took a new meaning.
Even the tiniest
prejudice
is a terrible thing.
I took one of the splinters –
pressed it
into my skin
and wept.
Jenny Meehan
lasting stones of memory painting by jenny meehan for holocaust memorial day kingston
“Surface Work” Exhibition across Victoria Miro’s London galleries VERY GOOD INDEED!
This was good… VERY GOOD. When I found out about it it was straight into the diary. Essential viewing for any female abstract artist. And other folk too, of course! I wrote about this a little bit in my last post. But here is more information…
Some text from the website:
“An international, cross-generational exhibition of women artists who have shaped and transformed, and continue to influence and expand, the language of abstract painting.
Information
Private View 6-8pm, Wednesday 11 April 2018
14 St George Street, London W1S 1FE
Tuesday-Saturday 10am-6pm
Taking place across Victoria Miro’s London galleries, this international, cross-generational exhibition is a celebration of women artists who have shaped and transformed, and continue to influence and expand, the language and definition of abstract painting.”
It included the following female artists:
“The exhibition includes: Rita Ackermann, Etel Adnan, Gillian Ayres, Sara Barker, Lynda Benglis, Suzanne Blank Redstone,
Betty Blayton, Sandra Blow, Sarah Cain, Varda Caivano, Lygia Clark, Prunella Clough, Angela de la Cruz, Jay DeFeo,
Svenja Deininger, Lucy Dodd, Louise Fishman, Helen Frankenthaler, Mary Heilmann, Ilse D’Hollander, Loie Hollowell,
Tess Jaray, Martha Jungwirth, Bharti Kher, Lee Krasner, Yayoi Kusama, Agnes Martin, Joan Mitchell, Katy Moran, Annie
Morris, Rebecca Morris, Victoria Morton, Elizabeth Murray, Dala Nasser, Elizabeth Neel, Tomie Ohtake, Betty Parsons,
Howardena Pindell, Liubov Popova, Fiona Rae, Mary Ramsden, Dorothea Rockburne, Jackie Saccoccio, Mira Schendel,
Yuko Shiraishi, Raphaela Simon, Pat Steir, Hedda Sterne, Alma Thomas, Mildred Thompson, Adriana Varejão, Paule
Vézelay, Jessica Warboys and Mary Weatherford”
List of works:
Quote from press release:
“Surface Work takes its title from a quote by the Abstract Expressionist painter Joan Mitchell, who said: ‘Abstract is not a style. I simply want to
make a surface work.’ The exhibition reflects the ways in which women have been at the heart of abstract art’s development over the past
century, from those who propelled the language of abstraction forward, often with little recognition, to those who have built upon the legacy of
earlier generations, using abstraction to open new paths to optical, emotional, cultural, and even political expression. Historical and
contemporary works shown in dialogue will create a series of conversations across the decades, touching on themes such as the monochrome,
process, geometric abstraction, seriality and gesture.”
News coverage example:
Guide to the exhibition:
http://viewer.zmags.com/publication/8554a0b8#/8554a0b8/1
I posted some images last month.
victoria miro surface works visit 2018
The painting above, WELL…That’s paint! It’s inspiring!
Adriana Varejão
Azulejão (Moon), 2018
Oil and plaster on canvas
180 x 180 cm
70 7/8 x 70 7/8 in
On the way home I sat at Waterloo station and enjoyed the view!
Romantic Abstract Expressionistic Lyrical Paintings by Jenny Meehan British female painter
When I get to archiving my current work by processing the images and information I promise I will post them up on this journal. But this time of year is the important and vital painting season for me. I need to paint now because I use my studio tent and it is most usable at this time of year. Kitchen and garden are also handy, but as my paints and tools are all out, sorted and ready to roll, painting has to come first. This is the least piecemeal part of the year… from March to September and this is because I focus and drive ahead in all respects. Practically it works best. Image taking, admin, and all the rest are confined to the darker weeks and days, the colder and the wetter times. Yes, times like that still occur, this is the UK, of course, and I let the weather determine my course of action and artistic activities. So my website remains a little need in an update, and digital tasks pile up. Housework piles up. All piles up, but the most necessary. It’s actually much easier to structure things this way than try and equalise the process. I do write this artist’s journal, but that is because I love to write! However, this explains the lack of new images of more recent paintings. So repetition of paintings displayed on this artist’s blog is the necessary result. Never mind. Cannot do everything!
catastrophe becoming painting by jenny meehan submitted to 100days100women.wordpress.com british collectable abstract paintings ©jenny meehan
This is one of my personal favourites. It’s got a great surface…I am pleased with what I have achieved. This is one of my best achievements.
seaside details ©jenny meehan DACS
This is a detail from “Sea Side”. How annoying… The full painting image is on one of my hard drives and not on this newer computer. I have extracts but no full view available right now to post. Never mind!
seaside details
seaside details ©jenny meehan DACS
seaside details
seaside details
seaside details
seaside details
seaside details
seaside details
seaside details
seaside details
summer seaside details romantic expressionist lyrical abstract painting by jenny meehan jennifer meehan
seaside details
seaside details
seaside details
seaside details
seaside details
seaside details
seaside details
seaside details
©jenny meehan DACS
romantic abstract lyrical painting british female contemporary artistseaside details
All this dancing and prancing around with painting… lyrical and brushmarks, experimentation and exploration. I am pushing ahead.
This is another sound painting. As it is the seaside time of year here in the UK…As much as possible, this is a good one to show now. The side side is one of my favourite places. Both positive memories from the past and current pleasure inform the feeling. As my childhood was more sad than not, I hold onto the happy parts most keenly because they were gifts and I am glad I received them.
british collectable abstract paintings ©jenny meehan DACS
romantic abstract lyrical painting british female contemporary artist
Ah thank goodness for that “Drop in the Ocean” painting is at least to be found in completeness!
These two go very well together. Not surprising really! I am selling these, so contact me if interested, via my website; jamartlondon.com
I sell my paintings when no longer needed for study and exhibition purposes. At between £200 and £500 only, they are very good value indeed. For a high quality original abstract painting, you may need to look quite a long way for something in this price bracket. I sell my original paintings to enable me to continue to invest my time and effort into the painting endeavour. Developing my work, materials, research and study all involve time and money. It’s a matter of passion in the end. Any support is welcome and appreciated.
It’s bye bye for now.
Cannot believe it took until the 18th of the month to get this done.
Never mind.
Victoria Miro Trip – Surface Work Exhibition
A quick shimmy around some of the paintings on show!
victoria miro surface works visit 2018
victoria miro surface works visit 2018
victoria miro surface works visit 2018
victoria miro surface works visit 2018
victoria miro surface works visit 2018
A bit of self indulgent selfies and digital alterations!
victoria miro surface works visit 2018
victoria miro surface works visit 2018
victoria miro surface works visit 2018
victoria miro surface works visit 2018
victoria miro surface works visit 2018
https://www.victoria-miro.com/exhibitions/521/
You see, I may not be hanging in a gallery like Victoria Miro’s, but I can still hang around in one, and be inspired. Many muses sit on the shoulders of those who carry a paint brush (or any other paint applicator!)
It was great just to be there…Great encouragement among some of the remains of work done by other women. The older I get the more wildly I feel I love painting and the more it matters. Yet I was also thinking very much, and reflecting on the words:
“Business! Mankind was my business; charity, mercy, forbearance, and benevolence, were, all, my business. The deals of my trade were but a drop of water in the comprehensive ocean of my business!” is a quotation from A Christmas Carol, by Charles Dickens
“Business! Mankind was my business; charity, mercy, forbearance, and benevolence,
were, all, my business. The deals of my trade were but a drop of water in the
comprehensive ocean of my business!”
Reflections on Artists and what their “Business” is!
With all the ambitions in the world, all the hopes of being remembered, and of having one’s painting remaining, after you die, (and hopefully in more than a charity shop), in all of the random thoughts about the significance of the work you do, and whether it would ever have a high value placed on it in the realm of financial exchanges or not…Many of us artists entertain such fancies, even though we might not admit to them. It seems that in this current time, artists are treated as entrepreneurs, who operate primarily in order to make money. Yet the vast majority of us, in my opinion, do what we do in order that we might continue to be able to do it. This is a non-profit making endeavour. The motivation is not financial. It is much, much greater than that. It’s about humanity, culture, depth of experience, connection with others and with oneself. It is creating a vessel for inner life. The inner life of us as individuals, yes, this is an essential part, and even doing this can be quite a challenge, but this also applies to a much larger expanse… Our relationships with the world around us and the inner life of not just our own body but humanity in it’s most inter-relational dimension and expressions. Art is essential, not a side line matter, or something to hold status just because of monetary value, or not. Any trade is always going to be a drop of water in the comprehensive ocean of my business. And I am very glad I have sorted this out in my own head!
Thoughts of success in the business sense of the word are most probably an illusion. For me, personally, I think this is the case, and I have happily dispensed with the ambition, (for it has popped its head in the door on a few occasions). It’s taken time to sort out WHY I do what I do, and WHY it matters. Art making is NOT business for me and it won’t hold that place in my life either. It’s been perfectly acceptable for artists in the past to have day jobs and also be an artist, and there hasn’t been any shame in that. For me, my “day job” is a mother and homemaker, and undervalued in our society as this job is (not even claiming the merit of being a “job” because it is not paid work), it’s an important and worthwhile occupation. I have to confess to being grateful that as my offspring get older, I have more and more time released for my artistic endeavours! There is always a (mostly) healthy tension between the two. Both affect each other and it’s an interesting relationship. Less frustrating now than it used to be when the children were younger.
For some artists, for their art working to be a business, may be what they want and aim for…It may matter a great deal, and/or it may need to matter. It may just happen; a fortunate combination of the right factors and knowing the right people, having the funds to get where they want to go, or other advantages which pave the way forward. Or it may be a huge struggle of the most difficult and challenging type with very little advantage or fortune, yet they manage to do it anyway. Or a bit of both, from time to time. This is all very admirable, and I think it’s great. It’s not my path though, and I will always be content as long as I am able to work with materials in the way that I do. For me it is ALL about working with materials, enjoying writing, and loving relationships. That is loving…and relationships, and loving relationships!
I think that even if an artist’s work does enter the business arena, this does NOT actually make it more valuable in any but material currency. The value of your work is the value of your work. It is part of your life story, and it’s significance lies mainly in that. It is the expression of your very self and that is why it matters immensely. I read recently somewhere…I cannot remember where it was… that art is “a vessel for the interior life” and I just love this. Love it to bits. Involvement and commitment to the arts is a humanistic endeavour; it’s about relationships and interactions with other people and our environment. Ideas, thoughts, new perspectives, spirituality, insights, human development. Emotional, spiritual and mental engagement, reflection, and creative regeneration. Now, more than ever, the interior life is in danger of being depressed. The time to dwell, reflect, and just be… The time of gazing, experiencing, allowing space and light to exist with no other reason to need to be than that they are. I guess that is my painting popping into my head now.
Artists bring the artistic imagination into everyday life.
Creative expression is a fundamental human right.
Let’s not forget that.
We all, naturally, are pleased when people appreciate our work as artists and show they value what we do. We are especially pleased when collectors decide to buy our work and pay money for it, because money is very useful indeed and can open lots of creative doors in terms of enabling us to try out new ideas, develop professionally, and increase our skills. Unfortunately, this cannot be counted upon. It isn’t sufficient to keep us to the task we are engaged with. A lot of strength and determination need to come from within. If thoughts of public appreciation and recognition are realistic or not, (and it’s always nice when work is appreciated) ultimately, it doesn’t really matter one bit, because indeed, it’s just “a drop of water” anyway, this money matter. The business of life, in truth, is much greater. I find it helpful to remind myself regularly of this though, because I get so caught up in what I am doing it’s easy to loose all perspective! Such is the problem of any passion, I suppose. This is most probably why I am taking the time to write what I am now. I write to myself, as much as to anyone else!
So I am content with my selfies in this gallery, with esteemed work behind me, even though not my own! Great inspirational visit, much appreciated.
Kingston Artists’ Open Studio!
http://www.kingstonartistsopenstudios.co.uk/
Kingston Artists’ Open Studios (OS18) will be taking place on 9/10th and 16/17th June 2018 from 11am to 5pm each day. I will be enjoying the kind hospitality of one of my KAOS artist companions just a short walk from Kingston Town centre, not far from the Kingston Gate of Richmond Park. I will be part of the KAOS 9 studios which is based at 14 Liverpool Rd KT2 7SZ Parking available (metered Sat)
It would make a lovely day out to follow a few of the trails in and out of artist’s homes and studio spaces, so do come along!
For more details, please contact me via the contact page on jamartlondon.com. I will put you on my mailing list and send further information as soon as available!
http://www.jamartlondon.com/contact/4569980742
Hope to see you! Jenny Meehan
I need and appreciate greatly your support! I don’t take part in any other event, so the Annual Kingston Artist’s Open Studios in Kingston Upon Thames Surrey is the only time I get out there and invest time in this type of activity. Most of my collectors come across me in other ways. But it’s a good way to meet me and other very talented creatives!
Basically I work on a non-profit making basis, as any money I get from my creative activities gets fed straight back into my creative project. Materials, professional development, research activities and writing, plus all the associated tasks which are part of my practice all take time and money. I am fortunate that I can work in the way I do, and I never take it for granted.
Like many artists, I don’t have profit making aspirations, for me it is simply a matter of wanting to continue to be able to do what I do in life. To be true to myself. And share what I have with others, if it helps and enhances their life in any way possible. I sell my paintings when I have spent sufficient time learning from them and when they have been exhibited.
I sell my original paintings for between £200 and £400, which is amazingly affordable. I do this deliberately because I would rather my paintings be affordable and bring pleasure to others in an accessible way. If something strikes a chord with you about my work, then follow your instinct and buy one if you can. If your are not able to, then thanks to the wonders of the internet, I am glad you can at least see them that way.
There is such a wide variety of artists and their work. All so different and wonderfully unique.
So come along and support your local creative community. Kingston Artists’ Open Studios is a voluntary organisation which supports creativity!
joy pain painting by jenny meehan © Jenny Meehan DACS All Rights Reserved lyrical abstract expressionist colourful textural art painting spirituality christian religious faith licensable image book covers etc see jamartlondon.com
Joy/Pain Painting by Jenny Meehan . One of the works which will be displayed as part of this years super Surrey arts event: “Kingston Artists’ Open Studios”. VERY busy at the moment getting work ready for this.
“My Muybridge” Exhibition at Kingston Museum
At the same time as the Kingston Artists’ Open Studios is the “My Muybridge” Exhibition, flyer below.
My piece is rather dark and delves into the subconscious mind of Eadweard Muybridge as I imagine it might have been. Work is a funny thing. We can do fantastic and amazing things, but in the end it is our being which makes the most significant mark of our existence. What we do matters, of course, but nothing can take the place of happiness, contentment, relationships, love. It’s very important for artists to remember this, because we get so caught up in our work. This is lovely, and yet our work is only one little aspect of us in the end. I guess I felt I wanted to go beyond his work, as this has had its impact, and it’s out there, well known, appreciated, clearly seen. And it will always be seen and noted. But I tend to be interested in the things which are not so obvious, and while speculative, and imaginative, it gave me a lot of pleasure to make this painted collage. I did this after doing a great deal of research on reports and perspectives, both factual and imaginative, on Eadweard_Muybridges personal life, as much as we know.
If you are not familiar with Eadweard Muybridge you can do your own little bit of research here…
https://en.wikipedia.org/wiki/Eadweard_Muybridge
Here is an extract from my statement about the work. Unfortunately the artist’s statements are not shown in the exhibition. This is a bit of a shame I think, as often new perspectives on a subject are made much clearer when the artist’s thinking and approach; their rationale, is at least glimpsed at.
“My creative practice includes poetry and painting and the relationships between the two. My interest in the subconscious provided the foundation for this work which touches on both lack of affect and the murder of a man.
The Mind’s Eye
What thoughts and memories
unsettled
might dwell in the unconscious mind of the artist
as he works?
Projected onto models…
Figures of his own past
laughing
moving
strangers
touching new pain in the mind’s eye?
Shot images…
they infiltrate the heart
yet, even the most animated
leave it
still
so solitary.
Jenny Meehan 2017”
Quite a nice change for me to produce something with a particular subject in mind from the outset. Immense amount of research went into the work.
minds eye muybridge artwork jenny
Kingston Arts at Kingston Museum My Muybridge exhibition surrey cultural event 2018
Things which make me happy: Art Collectors who kindly let me know how they feel about my work!
This lovely quote, written by one of my collectors! It is always a great happiness to sell and painting, and this is not a simple matter of money, though we all need that, it is far, far more!
“I thought your picture was the finest thing in that exhibition — I am very pleased to be acquiring it. I have lots of things in my collection — Terry Frost, Clifford Fishwick, Sandra Blow, Barbara Hepworth, John Hoyland, Keith Vaughan … Also a fin de siecle artist called Charles Conder.”
I keep the buyer confidential as I am not in the habit of listing other people’s personal possessions, but it’s bringing a smile to my face, of course! It’s a few years back now.
Kaleidoscope: Colour and Sequence in 1960s British Art
Looks very good!
Text copied and pasted from the website:
“An Arts Council Collection Touring Exhibition
British art of the 1960s is noted for its bold, artificial colour, alluring surfaces and capricious shapes and forms, yet these exuberant qualities are often underpinned by a strong sense of order, founded on repetition, sequence and symmetry. Bringing together outstanding examples of painting and sculpture from the Arts Council Collection and other major UK collections, Kaleidoscope examines 1960s visual art through a fresh and surprising lens, bringing into view the relationship between colour and form, rationality and irrationality, order and waywardness.
As the first Arts Council Collection survey of 1960s British art in over twenty years, Kaleidoscope assumes a wide angle, looking across media and movements to find fresh correspondences. From this perspective, the mind-bending surfaces of Op Art, the flattened repetition of Pop, the mathematical order of Constructivism, and the sequential placement of brightly-coloured abstract units found in New Generation sculpture find a common language shaped by sequence and symmetry.
Kaleidoscope represents the work of over twenty artists including: David Annesley, Anthony Caro, Robyn Denny, Tess Jaray, Phillip King, Kim Lim, Mary Martin, Eduardo Paolozzi, Bridget Riley, Tim Scott, Richard Smith, William Tucker and William Turnbull.”
I am not going to get there to see it in person, but thankfully so many resources online, I can have a very good research session!!!
“Christ Under the Tree/Contemplation/Garden of Gethsemane”
It is always a great pleasure to sell a painting. I find it interesting and exciting to meet those who decide they like my painting so much they want an ongoing relationship with it!!! Some of my painting I hold onto, (often for quite a while!) maybe because I am still learning something from it, or I am wanting to hold it for an exhibition or event, or I would like to do some writing around it. I am always happy to let it go… I see this as part of the process in fact, and I have no wish to die under a pile of my own work! But I do not paint in order to produce. Bit of a paradox there! I have realised I need to keep the creation process completely separate from any other journey the work might make. The painting has a second life, apart from me, and it has the life which has been happening during its creation. The two are not connected. The reason for the paintings existence cannot be equated in any way with what will happen to it. It must speak only for itself. And that must be completely enough reason for its existence.
I have painted only a couple of works as commissions over the last ten years. I don’t doubt there’s a place for this, but it is not my usual way of working at the present time. The very good thing about painting something for an external reason or purpose, is it can introduce very specific challenges which are great to get stuck into. The “Mind’s Eye” painted collage was like this. And I enjoyed it, for the challenge. It involved a lot of research which takes time. But it is interesting intellectually. In creating something for a particular purpose things often get more conceptual at a stage when I wouldn’t normally think in clear thoughts. Usually the thinking and reflection comes long after I have painted something. So getting all conceptual can be an interesting dimension to a work. Or sometimes the challenge can be practical, as it was when I created a painting for the company “All Glass” So I am always open to external reasons for a painting to be. However focused I am on what I am doing, I think I always need to be open to change, development, challenge, debate, discussion. But above all, nothing should interfere with the process of creation, and the relationship I have with my painting needs to be focused. This seems to be the main challenge in painting, for me I find. It’s an act of contemplation which takes time and discipline. It’s great!
The painting below “Christ Under the Tree/Contemplation/Garden of Gethsemane (yes, THREE titles!)
holy week art church of england hook jenny meehan
I am pleased that this has now a new home. Also such a lovely comment and feedback on it. As recent I am not going to quote, but as always, thank you.
Another Exhibition at Kingston Museum
me in front of anagrams kingston museum banner
Gracious! This was me in 2016… I have lost quite a bit of weight thankfully! Kingston Museum chose to use part of my painting on their banner which was good, and here I am standing in front of it! That was before my knee replacement when I couldn’t walk very far or well at all! Apologies, this is a bit of repetition. I write in a piecemeal fashion. Happens sometimes. Cutting down time by leaving as it is!
You can see some very interesting pieces of art, including my own offering, at the My Muybridge exhibiton! Details: Kingston Art 2018: My Muybridge’ exhibition at Kingston Museum 4 May – 7 July 2018 Wheatfield Way, Kingston upon Thames KT1 2PS
Kingston Arts at Kingston Museum My Muybridge exhibition surrey cultural event 2018
Ooops! Bit random, already wrote about that. Must remember not to write my blog in the same way I paint my paintings! Piecemeal!
Wrote that earlier too! Ha Ha! More of the same!
Studio Tent… In the Spring and Summer it’s a wonderful place!
There’s a lot of work going on in my studio tent at the moment. This time of year in the run up to the Kingston Artists’ Open Studios is always full on! Love it! Yet I don’t tend to share my work at this stage in the making…It feels better to keep it to myself. There is a lot of colour mixing going on. A fair amount of finishing off too. A lot of preparation for the Kingston Artists’ Open Studios.
So what I can show you now is a few past photos from the archives. Though I don’t tend to paint from direct observation very much at all anymore, I still get my inspiration from creation around me. Everything goes in through the eyes. I love looking and look hard as much as possible. Taking in all the wonder and beauty around me. Endless beauty and design, beautifully expressed. So much. So immense. So inspiring.
©jenny meehan
Creation and nature is so wonderful, I love it! Cannot bear to copy something like this flower above, because it is so perfect anyway! Do enjoy taking photos though! It’s all colour, light and composition which are such a joy.
A small selection of memory images
I’ve posted these because I don’t tend to show my photography anymore…it’s all paintings I exhibit. But my archives are full of photographs and my photographs are memories which still beckon in visual directions and serve some kind of purpose for me in reminding me of things which have made an impression on me and which I thought worthy to remember. Though my photographic output is not what it was, due to the need to focus on painting, I like to share past digital imagery.
jenny meehan jamartlondon photography monochrome
jenny meehan jamartlondon photography monochrome
jenny meehan jamartlondon photography monochrome
jenny meehan jamartlondon photography monochrome
jenny meehan jamartlondon photography monochrome
jenny meehan jamartlondon.com photography
As you can see, water is a repeated theme. In various forms, from ice to unfrozen! Vast amounts and small amounts. I spend a lot of time looking at water! Water is an element which repeatedly inspires! It’s immensely relaxing, interesting, and amazing!
Digging Up Old Posts…Fragment from 2012 Jenny Meehan WordPress Artist’s Journal
I always enjoy a reminisce, and here is one:
“If you are in London this Summer, take a look at the “Not The Royal Academy” exhibition of original artwork at Llewellyn Alexander (Fine Paintings) Ltd situated very close to Waterloo Station. There is a varied selection of paintings on show, and seeing them makes me think I really ought to try to enter something into the Royal Academy Summer Exhibition next year. It helps to think that if you don’t get something in the Royal Academy Summer Exhibition itself, you could have a chance of getting something on show at Llewellyn Alexander’s “Not The Royal Academy” exhibition instead.
http://www.nottheroyalacademy.com/#salon
The exhibition of paintings at Llewellyn Alexander is changed around every three weeks, so I think I need to go and take another look soon. The paintings are representational and taking a quick look at the website it looks like the prices are around the £400 mark in the main. It is a very pleasant gallery, they are always very welcoming and though the space is quite compact, they always seem to use it well ensuring that the do have quality, fine painting on show, rather than paint squeezed out a tube, with a long explanation of what it means!
Thinking about the Royal Academy Summer Exhibition , and possibly entering a painting in it, it is a lot of hassle for a very small chance of success, but on the other hand, “Nothing ventured, nothing gained” comes to mind. You never know. It’s all a bit random I am sure, pot luck really, but it is exposure and I have realised that I can save some money by reducing the pages on my website next time it comes up for renewal, so I might just re allocate the money saved to enter the Royal Academy Summer Exhibition next year. If I paint a representational painting, it might get into the Llewellyn Alexander show, so I might just do that.”
I was up in London near Waterloo Station recently and noticed that Llewellyn Alexander was, by all appearances, at the end of its’s life. And I find it is all done and dusted!
“After 31 Happy years of trading,
the Llewellyn Alexander Gallery
closed its doors on February 24, 2018.
Best wishes to the many customers
and artists who enjoyed our exhibitions.”
Well, all things do come to an end. But I will miss the gallery immensely. It was a lovely place to visit…I particularly liked their miniatures and the “Not the Royal Academy” exhibitions. The year after I wrote the text above I did submit to the Royal Academy and then, rejected in due course, trundled over to Llewellyn Alexander with my painting “Upper Room”. Interestingly, though it is an abstract painting, they received it and exhibited it, and this is something I am very grateful for. I felt it somewhat of a compliment, bearing in mind the work is so abstract. It’s a great relief when people can see quality in an abstract painting. For indeed, though bold, abstract and bright, the painting did involve a sensitivity and discernment which is not always spotted by all who cast their eyes on it.
lyrical abstract painting selected for “Not the Royal Academy” exhibition at Llewellyn Alexander Fine Paintings Waterloo in 2013. For sale.
I do still have this original painting, so contact me if interested. I am normally happy to part with paintings if they have been shown in a public exhibition at least once. And if I have dwelt and learnt from them long enough, which is the case with this one. I am happy for it to go to another life now. It’s a signature painting…What do I mean by that? I think it marks a decisive point in my creative evolution. It was awareness of presence and the importance of this in a painting which became a clearer goal. And those glass beads, of course, and pure pigment. Which continue to feature in much of my painting. I sell my original paintings, when ready to roll away with the waves and embark on their new life with another person between around £130 – £500. I would rather have them appreciated by other people than just hanging around here, so keep the price on the low side… Gotta be realistic. There’s a lot of wonderful art work in the world. A lot of choice. My prayer is simply that the paintings find a friend they can live with, are appreciated, and that the person that buys them LOVES the painting, and continues to get a lot of solace and enjoyment from gazing at it. Then it has done its job and I have done mine. And as long as I can continue to do the work I do I am happy. Here’s some old text about the “Upper Room” or “The Upper Room”.
Here’s some information on my painting “The Upper Room” which is to be included in the “Not the Royal Academy” exhibition at Llewellyn Alexander (Fine Paintings) LTD. (I just love to include the “fine paintings” part! I know I could miss it out quite easily!)
“The Upper Room” is a painting in which I started with no idea of the direction it might take me in, instead responding to each mark and colour as the painting progressed in a process based approach. Using both my instincts and formal considerations, I ended up with this. Emotionally, it made me think of the New Testament account of Jesus taking the Last Supper with his disciples, I think because of the sense of presence and warmth it communicated to me emotionally, (The Holy Spirit, the comforter, “I will be with you”) even though it contains a large area of black. Also, because of the way it is held together with a building type structure; upper and a lower areas, and suggestions of both entrance and exit. Pentecost also happened in an “Upper Room” though not the same one, I don’t think.
Well, that is more than enough for this month! I have a habit of continually popping different pieces into place!
PS…
If you would like to give money to help support my creative practice I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
paypal.me/jennymeehan and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. Unfortunately there doesn’t seem to be a way via this system for me to send a “Thank you” to you, so you will need to just simply know that I appreciate it very much indeed! Putting work into exhibitions does unfortunately cost money, and yet I like to get it out there. Submission fees are the bane of my life, and I will spare you the moan. Because I have moaned before on this blog and there is no need to moan again! (The Kingston Museum Exhibition was fine, by the way, and no gripe with that, very very good arrangements, and very fair, but so many exhibitions require considerable chunks of cash JUST to submit…) That’s even before you get your work shown, (or not).
My ego doesn’t matter, it’s not about that. It is NICE to have work selected, yes, it’s a nice affirmation, but only a bonus. An artist makes their work for themselves primarily. The have to hang it in the gallery of their soul and be completely happy for its presence to inhibit them forever! But when it gets hung elsewhere, it’s great too, because it is shared, and who wants to keep something all for themselves when it can be shared? But It’s the way things are this paying to show your work to others. A right pain. Sometimes just a small amount. Not a problem. Just a bit of a shame when money is made out of artists wish to exhibit their work, sometimes so ruthlessly. As an artist, you just want your work to be seen, because as music is made to be heard, art is made to be seen. Simple as that.
Jenny Meehan on Redbubble.com
Redbubble is a great “print on demand” website and I have some of my images there. The world is full of fabulous artists and Redbubble is a good place for buying merchandise which is original, exciting and contemporary. The artists on Redbubble get a royalty payment from any items that you purchase there, so it is one way to support the creative community and help artists gain a little bit of income from their work. Do take a look!
https://www.redbubble.com/people/jennyjimjams?asc=u
I get around 30% of the price you pay for the merchandise you buy. Every little helps!
