figure on uncertain ground print by jenny meehan

jenny meehan fine artist british female jamartlondon

Figure on Uncertain Ground © Jenny Meehan. All Rights Reserved

Figure On Uncertain Ground

This image was created by making a seated figure out of black plasticine, taking a image of this,  and then digitally collaging it on top of two translucent images taken from sections of two of my paintings “Debris” and “Rock Pool”.  ” Definition:  A ground or primer, is the background surface on which you paint. It is usually a coating which physically separates your painting from the support. It is the foundation of a painting, applied onto the raw canvas, paper, or other support.  I have described to you how this work was created to allay the uncertainty.  Yet the body, both material and immaterial, is floating, paradoxically with a sense of stability. 24 x 34cm  #1/25 Limited Edition with image size of 13 x 20cm with slight variations in colour within edition Framed in a black frame

 

pen and ink on torn paper unique print by jenny meehan jamartlondon

pen and ink on torn paper unique print by jenny meehan jamartlondon

Pen and Ink on a Torn Strip © Jenny Meehan. All Rights Reserved

Pen and Ink on a Torn Strip

I don’t wish to offer any text for this, except for this.  I have created this work to be my own recognition that hate violence is a prevalent and deadly issue for transgender communities.  It is also a physical expression of my prayers for healing, recovery, and improvement  in our broken world.

24x34cm external frame size.  Unique Digital Print on Paper  Framed in a black frame  with a black mount and glazed.

Knee, Knee, Knee

My knee, poor knee.  A wake up call to loose weight, and the weight is coming off.  But the pain is near constant and my introduction to the world of chronic pain suffering seems to be just too long.  It has been 16 months since the agonising introduction, which came on holiday in August 2015.  I insisted on carrying on walking even though the ache in my right knee screamed at me, and that was the start of an osteoarthritis “flare up” that never quite flared down.  But that right knee, since my full body weight landed on it in 2010, was  never quite the same again. Such a mistake not to go to A&E.  I think I did not go because of being in shock and not thinking straight.

Feeling like a caged bird.

I go for a  fifteen minute walk, but I pay for it later.

I cut down standing time in the day to just one or two hours maximum, and tried cutting out my exercise session, but that makes no difference.

Most nights I have pain.

But I can swim, and I love this.  If only I could swim around all the time.

I can write, which is good.

I can listen to the wise words which lovely people around me gift me with.

I can hope that it gets treated surgically…

And that makes things better, in the long run.

I do have a pair of socks with “walk” on the soles.

Thankfully, I can now look forward to a knee replacement.  This offers some hope of improvement at least.  Nothing guaranteed of course, and surgery always involves risk.  But a risk I am happy to take, for chance of even a moderate improvement.  What a reality check these last months have been.  How important it is not to overburden ones joints with excess weight.   Weight it was not designed to carry.  But I have been unkind to myself in the past.  Now I can train myself to be kind to my frame and burden it less with excess weight.

 

Interesting read below…. quoted from:

The Nature of the “In-Between”
in D.W. Winnicott’s Concept of Transitional Space
and in Martin Buber’s das Zwischenmenschliche
Laura Praglin

Here is some of the introduction, for a little background:

Introduction
Martin Buber (1878-1965), German Jewish social philosopher and theologian, and D.W. Winnicott
(1896-1971), British pediatrician and psychoanalyst, portray in vibrant detail the reality of
the “in-between”. Although contemporaries, they were separated by country and profession, and
did not know each other. Yet both set forth in their writings remarkably complementary views
concerning “in-between space”–the transitional area, to Winnicott, or das Zwischenmenschliche to
Buber. This is a meeting-ground of potentiality and authenticity, located neither within the self
nor in the world of political and economic affairs. In this space, one finds the most authentic
and creative aspects of our personal and communal existence, including artistic, scientific, and
religious expression.
The creative and moral implications of the “in-between” continue to resonate deeply,
and to claim the attention of recent scholars. Decades after their original contributions, we
witness an ongoing engagement of Buber and Winnicott within a variety of interdisciplinary
contexts. Fields as varied as philosophy, theology, politics, health care, communication, gender
studies, and psychology continue to employ the work of these two thinkers when grappling with
the themes of intersubjectivity, dialogue, and moral responsibility.”

And the section which interests me most, as a creative artist:

“Art and the Creative Process
For Winnicott, life itself is always expressed in symbol, for it plays an integral part in the formulation
and realization of transitional space. Yet, paradoxically, not even an artist creates entirely
new symbols and forms, only, like the child, discovers them. As a result, Winnicott remarks,
“creative living involves, in every detail of its experience, a philosophical dilemma–because, in
fact, in our sanity we only create what we find.”

Such creativity, declares Winnicott–whether artistic, religious, or scientific—is “the doing
that arises out of being.” Using Winnicott’s terms, we may say that the artist, for example,
expresses his/her being by constructing a framed, transitional area in which creativity finds expression.
The artist creates and recreates unconscious processes, and presents these in a manner
which resonate with our shared sense of symbols. By articulating these shared symbols, the artist
invites us into this intermediate area of experiencing. The poet, for example, chooses symbols
and images of a common language, and finds comfort not available in herself. S/he invites others
into this in-between space, beyond the merely private, subjective, or psychological, which serves
as a resting place between inner and outer reality, between psyche and culture. Through art,
therefore, one can move from the private to the social world. Readers find meaning as well, because
they now share in the capacity to articulate experience. Creative expression–through art,
philosophy, religion or mathematics—may thus resolve situations, and allow for new possibilities.
In this way, it is like the child’s experience in imaginative play.

Buber seems to agree that creativity and the discovery of form also occur in the realm
of the “in-between”. Maurice Friedman suggests that Buber views “a work of art is not the
impression of natural objectivity nor the expression of spiritual subjectivity. It is the witness of
the relation between the human substance and the substance of thing. Art is “the realm of ‘between’
which has become a form”: In the creative process, the artist discovers the potentialities
of form, as s/he encounters that which is over against the self. But form itself crystallizes into
structure, and thus non-immediacy:
[The artist] banishes it to be a ‘structure’. The nature of this ‘structure’ is to be freed for a timeless
moment” by meeting the work of art again, lifting the ban of distance or crystallization, and
clasps the form.”

As said, all the above is quoted from: The Nature of the “In-Between”
in D.W. Winnicott’s Concept of Transitional Space
and in Martin Buber’s das Zwischenmenschliche
Laura Praglin

and the full text may be read at: http://www.uni.edu/universitas/archive/fall06/pdf/art_praglin.pdf

WOW..How wonderful to read it put so clearly…The words have brought clarity to my own inclinations and floating feelings and ideas… So glad to have found this.

It is the witness of the relation between the human substance and the substance of thing.  Art is “the realm of ‘between’ which has become a form”.

I could never articulate, or rather define how things are for me in painting so well. Glad other minds can do this!

What a find!

“The poet, for example, chooses symbols
and images of a common language, and finds comfort not available in herself. S/he invites others
into this in-between space, beyond the merely private, subjective, or psychological, which serves
as a resting place between inner and outer reality, between psyche and culture. Through art,
therefore, one can move from the private to the social world. Readers find meaning as well, because
they now share in the capacity to articulate experience.”

“The Realm of Between” Painting by Jenny Meehan 

jenny meehan lyrical abstraction british 21st century emerging artist contemporary, london based female artists fine painting british women artists jenny meehan, christian art contemplative spirituality art, contemplative meditational aids for reflection through art and painting, jenny meehan jamartlondon collectable original paintings affordable,

“The Realm of Between/Pushing it a bit” abstract lyrical expressionist british paintings jenny meehan

 

Thinking on this has clarified for me, among other things, my love of double titles for my work, as above, for example with “The Realm of Between/Pushing it a bit”.  To have two titles introduces a space between the concepts.  It helps to bring an awareness that the painting cannot be summed up, or encompassed, by language, which I like.  That is often the problem with titles. However, it is nice to suggest to others something of the thinking and reflection, of the approach maybe I have had, and people are interested. I always feel disappointed when paintings are titled “untitled”!  But to allude to any sense of the inbetwee-ness  is good.”

It reminds me of what I have read and thought of above, the “transitional space” which though it is not a space between one set of words and another, rather:

“a resting place between inner and outer reality, between psyche and culture.”

and 

“the capacity to articulate experience.”

in that;

“the artist, for example, expresses his/her being by constructing a framed, transitional area in which creativity finds expression. The artist creates and recreates unconscious processes, and presents these in a manner
which resonate with our shared sense of symbols. By articulating these shared symbols, the artist
invites us into this intermediate area of experiencing.

That’s a good space, a good place.

Also my recent clarity on defining myself (for the purposes of publication on the internet) as a “Painter-Poet and Artist-Author”.  Not only does it have a nice alliteration, always pleasing from a language perspective, but it does manage to encompass both the written and the visual aspects of my creative practice, which I do see as holding a very important and dynamic relationship.  And it seems to me that the space between the two is also a place of dynamic tension and creative potential.  Hard as it is to articulate with words, there is a kind of parallel or concurrent-ness which exists between word and image in what I do artistically.

In the end, it’s not about defining anything, but opening up experience.   Such is the purpose of this meandering discourse.  Whatever I write, think, and say about what I do, for the seer of one of my  paintings  it will evoke completely something unique for them, thankfully.

 “Art is “the realm of ‘between’ which has become a form”

Thoughts on Changing Style for an Artist

I have been thinking about my changing style of painting, and am rather amazed as I see my painting go through different phases.  It is as if I am watching it and don’t really have control over what is happening.  Though clearly I do, because it is me that makes the choices.  So there is partial control, just limited awareness!  It is very easy for artists to get screwed up about their work and where it is going, or rather, maybe we just get anxious about where it is taking us and fearful.  One of the good things about not being represented by a gallery is that there is no pressure to produce the same type of work in order to meet expectations.  Or classifications.  Or definitions.  Or all those “tions”!  Looking at an artist, for example, Helen Frankenthaler, when looking over the evolution of her work, the process of development can be seen, and the value of letting it happen appreciated.  This is from https://en.wikipedia.org/wiki/Helen_Frankenthaler

“As a whole, Frankenthaler’s style is almost impossible to broadly characterize. As an active painter for nearly six decades, she went through a variety of phases and stylistic shifts.[11] Initially associated with abstract expressionism[12] because of her focus on forms latent in nature, Frankenthaler is identified with the use of fluid shapes, abstract masses, and lyrical gestures.[8][13] She made use of large formats on which she painted, generally, simplified abstract compositions.[14] Her style is notable in its emphasis on spontaneity, as Frankenthaler herself stated, “A really good picture looks as if it’s happened at once.” [6]

Frankenthaler’s official artistic career was launched in 1952 with the exhibition of Mountains and Sea.[15] Throughout the 1950s, her works tended to be centered compositions, meaning the majority of the pictorial incident took place in the middle of the canvas itself, while the edges were of little consequence to the compositional whole.[11] In 1957, Frankenthaler began to experiment with linear shapes and more organic, sun-like, rounded forms in her works.[8] In the 1960s, her style shifted towards the exploration of symmetrical paintings, as she began to place strips of colors near the edges of her paintings, thus involving the edges as a part of the compositional whole. With this shift in composition came a general simplification of Frankenthaler’s style.[11] She began to make use of single stains and blots of solid color against white backgrounds, often in the form of geometric shapes.[8] Beginning in 1963, Frankenthaler began to use acrylic paints rather than oil paints because they allowed for both opacity and sharpness when put on the canvas.[9] By the 1970s, she had done away with the soak stain technique entirely, preferring thicker paint that allowed her to employ bright colors almost reminiscent of Fauvism. Throughout the 1970s, Frankenthaler explored the joining of areas of the canvas through the use of modulated hues, and experimented with large, abstract forms.[11] Her work in the 1980s was characterized as much calmer, with its use of muted colors and relaxed brushwork.[8]”

Also Different Strands…

Some artists also find allowing different strands to develop in their work beneficial.  Using different materials will result in very different work.  I focus most on my paintings on my website jamartlondon.com, but have another strand of mostly black and white work, which is a mixture of digital collage and physical collage which has been steadily developing alongside my non objective painting.  “Pen and Ink on a Torn Strip” and “Figure on Uncertain Ground” which I posted at the outset of this post are examples of this work.  As I have developed and grown more comfortable with the insecurities which come with throwing myself into my work while simultaneously not having a clue about what will happen, I have become more accepting of diversity in my output, and it is the applying of my mind in reflecting on the work in progress, thoughtful consideration with a lot of pausing, and a lot of retrospective examination, which prove to most influential in determining what happens next I think.

Helen Frankenthaler Quotes

Helen Frankenthaler:

“A really good picture looks as if it’s happened at once. It’s an immediate image. For my own work, when a picture looks laboured and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronised with your head and heart, and you have it, and therefore it looks as if it were born in a minute.”

“In relations with people, as in art, if you always stick to style, manners, and what will work, and you’re never caught off guard, then some beautiful experiences never happen.”

Here is a link to one of my favourite paintings by Helen Frankenthaler, Interior Landscape 1964…

https://www.wikiart.org/en/helen-frankenthaler/interior-landscape-1964

There is a selection of other paintings on that page also.

Christmas Design/Print “Holy, Holy, Holy”

This is not new, but I still love it for Christmas time!

This is my card to you for this year and probably for every year to follow!

jenny meehan, jennifer meehan,all saints church angels project design angel abstraction holy holy holy image jenny meehan

all saints church angels project design angel abstraction holy holy holy image jenny meehan

 

Help me pay for materials and continue my art working

Canvas, paint, all costs money.  Exhibitions charge submission fees.  Travel costs money.

If you would like a way of helping me in some small way, while benefiting from my art working yourself, then scoot along to redbubble.com where you can buy various products with my imagery on them.  It is a good company and they produce and sell their products with my images on.  I get a small royalty payment when something is sold.  It all helps a lot.

https://www.redbubble.com/shop/jenny+meehan+prints?cat_context=u-prints&page=1&accordion=department

 

 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

Jenny Meehan is a painter-poet, artist-author  and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  If you read and enjoy it, this would be an added bonus! 

Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details as availability depends on other commitments.    

 Jenny Meehan works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings and other artwork forms  and affordable photo-mechanically produced prints are available to purchase.  

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:  www.jamartlondon.com

Also, you could follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way. 

Note About Following Jenny Meehan Contemporary Artist’s Journal 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

You tube video with examples of photography, drawing and painting

by Jenny Meehan http://www.youtube.com/watch?v=TAXqzMIaF5k

Website Link for jamartlondon:  www.jamartlondon.com 

A selection of non objective paintings can be viewed on pinterest:   https://uk.pinterest.com/Jamartlondon/

Help me continue art working

If you would like a way of helping me in some small way, while benefiting from my art working yourself, then scoot along to redbubble.com where you can buy various products with my imagery on them.  It is a good company and they produce and sell their products with my images on.  I get a small royalty payment when something is sold.  It all helps a little. Here is the link to the pages on Redbubble.com which show prints with my imagery on them:

https://www.redbubble.com/shop/jenny+meehan+prints?cat_context=u-prints&page=1&accordion=department

My prints and some merchandise which uses my artwork can also be purchased safely and easily through Redbubble.com

Here is the link to the main Jenny Meehan portfolio page on Redbubble.com:

http://www.redbubble.com/people/jennyjimjams?ref=artist_title_name

COPYRIGHT INFORMATION

All content on this blog,  unless specified otherwise,  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 under any circumstances. 

Copyright and Licensing Digital Images Information – Jenny Meehan

www.jamartlondon.com

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.

Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements. There is a contact form on my website www.jamartlondon.com

Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the “Art image” selection on the Design and Artist Copyright “Art Image” page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)

Germination Image

© Jenny Meehan. All Rights Reserved, jenny meehan, jennifer meehan, jamartlondon.com,germination seed image,new life,creativity image, black and white graphic image germination,jenny meehan woman female contemporary british artist 21st century,

germination print jenny meehan jamartlondon© Jenny Meehan. All Rights Reserved;

I have just done some framing.  Knee is painful. Knee cap is grating.  But framing brings quick and impressive feelings to the forefront of the mind.  So nice to see the printed image sitting so comfortably in it’s position.

Escape from Death Image

© Jenny Meehan. All Rights Reserved, jenny meehan,jennifer meehan graphic art print,jamartlondon,escape from death deliverance from evil image, christian art and spirituality,christian artist uk based,british contemporary christian art, jamartlondon.com,life and death art image, birth and death art image,

escape from death by jenny meehan graphic print to buy jamartlondon.com© Jenny Meehan. All Rights Reserved

The actual print has less of a colour contrast than how the image shows here on screen.  I altered it a bit for the print so it is more subtle.

Knee Replacement Season

Well, I start a new journey soon into the land of knee replacement.  So I may be working on some digital images for a while rather than working on larger paintings.   I do have some small scale projects I can work on.  The months of December, January, February and March tend to be a little more sedentary anyway.  So it should work out quite well.

Going into hospital has suddenly reminded me of my “real name”… for I am a Jennifer Meehan not actually a Jenny Meehan.  I have used Jenny Meehan since around the age of 18 when I left home.  When people call me Jennifer I seem to loose a few years and am reminded of how I was when living at home in my parents house.  Well, that is one way to loose a few years I guess!  It is odd when you are suddenly referred to with a name you do not use anymore.  Though it has made me decide to use the “proper” form of my name a little more, in addition to the Jenny Meehan which I work with and use all of the time.  The world is full of Jennifers who are Jennys!

I sign my work with my initials which are J, A, and M.  Jenny/Jennifer Meehan is née Jennifer Ann Gray.  So Jennifer Ann Meehan becomes JAM.  Hence the name jamartlondon for my website.  If I used my maiden name, it would be JAGARTLONDON.  That’s not bad, but JAMARTLONDON is better!

Well, that was a pleasant little meandering discourse!

 

Past painting…

Sack of a Great House/Arise, Sleeper

Painting experiment with acrylic,pigments,textures - Jenny Meehan

“Arise, Sleeper, Wake/Sack Of A Great House” Jenny Meehan 2010

© Jenny Meehan. All Rights Reserved, DACS

This painting is an early example of my experimentation with texture in my work.  It may well be the first time I used fillers of different sorts.  That was back in 2010.

Ephesians 5 v14  “This is why it is said: “Wake up, sleeper, rise from the dead, and Christ will shine on you.”

 

Jenny Meehan, Oil painting experiment, 2010

UnderPainting for an Oncoming Vision/The River Within  by Jenny Meehan  2010

© Jenny Meehan. All Rights Reserved, DACS

Under Painting for an Oncoming Vision/The River Within is an example of some of my earlier work.  In this painting I was experimenting with glazes.  Oil on board.  In the flesh the painting does radiate light in a very pleasing way.  You cannot quite get that from looking at it on a screen.

 

 

Interesting information on Gloss and Emulsion Paint

Well, you know I appreciate that this won’t get everyone excited, but for me as a painter when I find nice clear information on paint, I am very happy indeed!  Someone mentioned gloss paint to me in conversation and it is not something I have tried, so this maybe something for the new year.

Gloss or emulsion

When we buy a can of paint we expect to be able to apply it with a brush or roller and for it to dry leaving behind a solid film. To achieve this paints are made up of a mixture of different components. Although paints designed for different purposes will have different formulations, they all have some key features in common.
Paints contain a pigment to give colour, including white; a film former that binds the pigment particles together and binds them to the surface to be painted; a liquid that makes it easier to apply the paint and additives to make the basic paint better to store and to use.

The two main types of paint are gloss and emulsion. (My addition, well, not quite, but for domestic household use, yes!)

Gloss Paint
Gloss paint is widely used because it produces an attractive shiny surface that is so durable that it can be used outside. The binder or film former in gloss paint is called an alkyd resin. This is a long chain polymer made by reacting a vegetable oil such as soya bean or linseed oil with an alcohol and an organic acid. The resin is dissolved in an aliphatic petroleum solvent, so that it can be spread easily. When the solvent evaporates, the oxygen of the air interacts with the resin which results in the formation of cross links between the polymer molecules and produces a strong, dry film.
A typical gloss paint formulation
Component Percentage by mass
Alkyd resin binder 54
Pigment 25
Solvent 17
Additives 4
(Additives might be driers and anti-skin agents)
Emulsion Paint
Some paints are emulsions . They are made up of tiny droplets of liquid polymer binder spread out in, rather than dissolved in water. This emulsion can be spread easily.
The polymer is made by the addition polymerisation of alkene monomers such as ethenyl ethanoate, methyl 2-methylpropenoate and 2-ethylhexyl acrylate. These monomers can be mixed in different proportions before polymerisation to form a co-polymer which has exactly the right properties for the purpose it is to be used for.

After an emulsion paint is applied, the water evaporates and the polymer particles pack closely and fuse together to form a continuous film. The use of water rather than an organic liquid means that emulsion paints produce fewer VOC (volatile organic compounds) when they are used.
A typical emulsion paint formulation
Component Percentage by mass
Co-polymer binder 15 to 23
Pigment (white) 20
Pigment (colour) 0 to 5
Extenders 15 to 25
Water 25 to 50
Additives 2 to 5
(Additives might be antifreeze, dispersing aids, wetting agents, thickeners, biocides, low temperature drying aids, antifoam agent, coalescing solvent, ammonia)”

The above is quoted from: http://resources.schoolscience.co.uk/ICI/14-16/paints/paintch1pg1.html

 

I am so happy reading this! Crazy, Yes.  For sure!  Love Paint!

Quotes I like…

This below from http://abstractcritical.com/article/the-language-of-painting/

http://abstractcritical.com/article/the-language-of-painting/

by John Holland

Though it will deeply pain Mr. Gouk, I agree that art is not a language, except in the most metaphorical way. It’s not true to say that, “If art has a meaning, then it must be a language”; language is a particular conception, and all real languages share certain necessary features,such as modular units that must be arranged according to quite strict syntactical rules if they are to make sense. What are the equivalents in painting of tenses, verbs, word definitions? Any metaphorical application of the word ‘language’ to art (or music) is too vague to be useful. Maths, maybe, is the only thing that might meaningfully be called a non-verbal language.

As Gouk suggests, a work like Finnigan’s Wake pushes the rules about as far as they will go before sense breaks down- which is why, by and large, literature has had to ‘retreat’ since then to more conservative forms. There’s no equivalent in Modernist painting.
Art has meaning, but it lies largely outside language- this is why it fails when it tries to operate in essentially verbally structured contexts like political discourse.”

 

Art has meaning, but it lies largely outside language- this is why it fails when it tries to operate in essentially verbally structured contexts like political discourse.

 

Victor Brauner

I have been looking at some work by Victor Brauner recently, who I had not heard of before.  Here is some information on him.

Victor Brauner’s multi-media practice is now most closely associated with Surrealism. During his training at the School of Fine Arts in Bucharest, Brauner had in fact developed an expressionist style, which he later abandoned during his involvement with various Dadaist and Surrealist art publications. It was Yves Tanguy who formally introduced Brauner to the Surrealists and instigated his involvement with the movement. His practice, which included painting, drawing, and printmaking, drew from disparate symbolic systems like Tarot Cards, Egyptian hieroglyphics, and ancient Mexican texts. Brauner asserted that all of his paintings were autobiographical in some way. He led a turbulent life of constant displacement; anticipating the danger of World War II, Brauner reduced the dimensions of his canvases such that each could fit in his luggage for emergency travel—he called these his “suitcase paintings.”  (quoted from Artsy.net) 

And from my reading:

Dialogues; Conversations with European Artists at Mid-Century by Edouard Roditi
An interesting extract:
Victor Brauner interviewed by Edouard Roditi. A small extract from a longer interview.
ER: Do you believe that non formal abstract art can offer an artist a new kind of freedom?
BRAUNER: In theory perhaps, at least as long as it relies on chance to suggest meanings for its formlessness. In practice, however, it generally concerns itself with such problems only superficially and soon degenerates into a style of decoration that lacks any more articulated systems of beliefs, thought and emotion. In any case, such terms as figurative and non-figurative or formal and non formal suggest very superficial categories. An artist such as Paul Klee understood quite properly that he had to try his hand at any style that occurred to his mind, and this is how he managed to leave some works that are figurative and others that are nonfigurative – but all of them equally typical of his very personal genius.
ER So you would not advise an artist to seek too personal a style to which he would remain rigidly faithful in all his work?
BRAUNER : Certainly not. The modern art market requires that an artist specialise and, in the long run, repeat himself too. But what he then produces may no longer illustrate what remains indispensable to him as artistic expression – I mean a sense of adventure, of discovery and perhaps even of danger, of the risk of really making the wrong choice and of losing or destroying himself as an artist. Whenever I face a fresh canvas,I feel like a new man and become an utter stranger in my own eyes. When one faces this mystery of becoming and of self discovery and self-expression as an artist, one can no longer rely very much on what one has already achieved. But this is also why I can never have a very clear long-range plans. I do not want to become a specialist in any strictly limited style or range of subject matter, though I may actually find myself more often preoccupied by some problems or symbols than by others. Nor would I really be able to be such a specialist, even if I wanted. But this problem, fortunately, has never arisen in my life, and this may well be why I continue to feel the need to work and to create, as if I had never yet created anything in the past which I can still recognize as wholly my own”
At the time of this brief interview, Brauner was seriously ill and easily tired. A few weeks later Victor Brauner died and this was his last interview.

 

Interesting with respect to the matter of repetition, and what a wonderful quote:

Whenever I face a fresh canvas,I feel like a new man and become an utter stranger in my own eyes. When one faces this mystery of becoming and of self discovery and self-expression as an artist, one can no longer rely very much on what one has already achieved.

My own experience for the need for constant jumping into the dark, into the unknown, into the not previously explored avenues of the unfolding process of my painting, and how important it feels NOT to simply do something because it has worked well, or is popular, or has some other reason to be done, finds some agreement here.  This may not make commercial sense, however,  I ask myself what matters the most and what I personally think more important.  Freedom is a key not worth throwing away unless it is absolutely necessary to do so.   At the moment I am free to be led by whatever happens next, without needing to know what that whatever will be.  I do find that there are distinctive strands in my work, they resurface again and again; it just happens.  The art is to look back and consider them from a distance of time having passed, to ask if they have any direction to point one to, and to not force any coherence in one’s work, but simply let it happen.

 

Suburban Meditations/Painter’s Development Images…

Once more, a look into what caught me when my camera served as my main tool.  I am thinking of buying a new camera, but so confused by the choice!!!  My extensive archives of imagery lie waiting for resurrection.  But it is nice to look back at what I was looking at (and finding interesting) when I took more photographs more than I painted.  And then I ask myself what the images are saying to me now.   Quite a lot.  Of lovely silent words.

 

suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

jamartlondon. christian artist uk, women artist uk, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

christian artist uk, women artist british, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

women artist british, christian artist uk, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

Types of metal fixings and neglected structures drew me towards them.  Wood and metal were the main materials I took photographs of.  I experimented with colour images but in the end presented a lot of my photographs in black and white as the kind of control over colour was too limited with photography, or at least, in my case, with using pretty limited types of photographic equipment and not printing the images myself.   I take very few photographs at the present time.  I feel I have so many that I have not utilised and engaged with sufficiently.  So much material that could bring forth so much.  So I have put an end to taking more images at the moment. ( Very occasionally I succumb!)  Sometimes I see something I cannot resist, but it is not helpful to try and do too much. We have too many images.  This feeling probably accounts for my getting lost (willingly) into abstraction!

 

There Will Always be a Point at Which We Will Meet

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

 

Past Painting and Poem :  Bandage Box

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

Bandage Box

Gently pressed
fabric
laid over a stretched surface,
soaked in milky balm.
I am tenderly
making, building
a new impression with my mind
whose inner wound cannot be bound
but which seeks
to make
new structure.

Jenny Meehan 2013 (written to accompany the above painting of 2013) 

 

There will be some wounding experience with my knee replacement, but wounding with the aim of healing and repair is quite a different matter to wounding with destruction as it’s intent.

 

 

And Now…

I have been dwelling on similar material recently… Reflecting on the healing process of painting, because it clearly is a healing process for me.  The bringing together, in articulating something, something which I don’t know when I start, but which evolves.  The something which is becoming.  Bringing into being a painting is like realising an emotion…, or maybe not just emotion, something of the heart; a heart connection and an experience felt.  Maybe coming from a memory or experience.  That memory need not be explicit and clear but I can still paint from it.  Paint from its centre, from the time when it started.  It may be from the past but the time doesn’t matter,  The main thing is that it is and that I don’t need to ignore it or push it away. So the whole thing about painting for me is that it is about being allowed to be.  Being and coming into being.  Feeling and experiencing the paint and the material and the process of painting.  And for nothing else to matter.  There is a space in that which is healing. There is a bringing together and a resolution of something within.  There is the fact that it appears and that it now matters.  It always mattered but it could not be seen.  And there is nothing about that painting which is not me.  And there is everything just laid there to see.  Which is rewarding.  And the work has been hard, not easy. Sometimes easy, in a kind of surprise, but often very hard.  But the bringing together of the painting is very rewarding.  I feel engaged in life in a way that is essential to my happiness.  I think I have written about the psychology of flourishing before on this journal.  And that whole thing of “being in the flow” or in your element.   I think some of the recent paintings I have been working on this year may touch on both the experience of flow, of happiness and of healing.  The relief of coming together.

And here is one of  my VERY recent paintings.

This one, “Mending”…It may well acquire an additional title as I continue the phase of contemplation through simple looking for a while.   Sometimes over time a painting speaks of something not so obvious at the time of painting, or even just after it.

But this is “Mending” for now.

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abstract lyrical expressionist british paintings jenny meehan

 

“Mending” uses a mixture of Keim Optil paint, acrylic paint, and household emulsion.  I have also used painted card which is something I have been keen to use for a while.  The substrate is hardboard which has a lovely colour which I have left showing in places.  There are also some areas of paper tape.  The size is just 20x16inches.  This is a good size for such experiments as not too big, and I rather like the aspect ratio.

 

A nice little quote, rather random, but still lovely;

“Conversion, at its root, is not the action performed but the source of that action, the experience of being loved.”
Carroll & Dyckman,  quoted from Inviting the Mystic Supporting the Prophet. 

That is it for now.  Happy Christmas!

 

 

imagined worlds exhibition alph the sacred river coleridge kubla khan jenny meehan

imagined worlds exhibition alph the sacred river coleridge kubla khan jenny meehan

 

As per normal, skim down, as I have written far too much for a single post, but added and added and added!!!!

Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem ‘Kubla Khan’ written by Samuel Taylor Coleridge in 1816.

Good news.  My work has been selected for this touring exhibition “Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem ‘Kubla Khan’ ”

Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem ‘Kubla Khan’ written by Samuel Taylor Coleridge in 1816. This is a celebration by the Friends of Coleridge supported by Somerset Art Works, working in partnership with the National Trust, CICCIC Taunton, and Art at the Heart, RUH Bath.

CICCIC Memorial Hall, Paul St, Taunton TA1 3PF 7 October -12 November 2016 . Special PV 21 October 2016

Mid November – January tbc

RUH Bath Mid January – Mid April 2017

Coleridge Cottage Nether Stowey Mid April – May 2017

I am delighted about this.  Coleridge is a poet I both studied at degree level and very much enjoy.  So pleased to make my own response present in this way.  The work I submitted is here, shown above,  along with the information I prepared to accompany it.
Jenny Meehan is a well established South West London based artist whose art work evolves in a process led way, dependent on both intuition and imagination. She studied Literature at Kingston University and after working as a teacher for several years has spent the last ten years developing her creative practice, which includes painting, printmaking and poetry.
The artwork submitted responds to the water element in the poem ‘Kubla Khan’; “Alph, the sacred river” whose mysterious flow runs through its lines. Resonating with emotional highs and lows and “meandering with a mazy motion”, it carries the listener along with it.
Water is a subject matter which often preoccupies Jenny, occurring as a repeated motif in many of her paintings and prints. An interest in the subconscious and the resulting exploration of “caverns measureless to man” attracted her to this image in the poem.
Other Information
Jenny Meehan
j.meehan@tesco.net
Title of Work: “Alph, The Sacred River 1”
Image sent with email. Price: £ 200
Dimension 36 x 27cm
Medium: Ink jet Print on Cartridge Paper 1/10 Limited Edition

Over the Summer we stopped by outside Coleridge Cottage Nether Stowey.  We had got a little lost but when I saw the sign I took it as an added bonus to see the cottage, if only from the outside!

https://www.nationaltrust.org.uk/coleridge-cottage

It does not seem to be open every day, but a few times a week.  I am very pleased to think of my visual art residing in the same building as the poet himself.   I am very pleased with the way I framed it.. I found the frame over the Summer and instinct told me to buy it…I knew it would be useful.  It works well with the flow feeling of the print.  I am also pleased that there is an illusion of reflection happening.  The photograph here was taken without glazing, yet there is an appearance of reflection which is apt for the piece.  I have now glazed it, and it looks doubly reflective!  Suitable for a poem by Coleridge!

 

 

 

jenny meehan jamartlondon photo black white copper work metal work copper foliage jenny meehan

jenny meehan jamartlondon photo black white

Above:  Copper Fern 1 by Jenny Meehan  (Image of “Copper Fern” by Jenny Meehan)

jenny meehan jamartlondon photo black white copper

jenny meehan jamartlondon photo black white

Above: Copper Edge (Image of “Copper Edge” by Jenny Meehan)

jenny meehan jamartlondon photo black white copper work copper jenny meehan

jenny meehan jamartlondon photo black white

Above: Copper Fern 2 by Jenny Meehan (Image of “Copper Fern” by Jenny Meehan)

 

Ah, October.  Lovely spiders, everywhere.  I walk into them.  Watch them weave. And leaves are changing. Creeping edges of colour; yellow, orange, black, red.  Damp green grass, and the birds sound louder.  I like this time of year. Even the rain.

I planned to start some printmaking, but my right knee, with it’s osteoarthritis, is making everything take longer.  And so time is short; too short to start a new project right now.  I cannot walk very quickly.  I have had a lot of pain in the last few weeks.   I am doing a lot of  exercise, and physiotherapy, and “Better Bones” classes.  But my bones are not better.  It is what is around them that needs attention. My legs are certainly stronger. And I am less heavy.  Let the weight loss continue.  But how I wish I could walk for longer than 20 minutes, without a stick, and without severe pain at the end of it. I do not like this.  It is a miserable matter.  I cry and get cross.  Cry and Cross! There may be a title for a painting there!

So, with domestic work, and various voluntary activities,  plus exercise, exercise, exercise, the time is all used up. But I have managed to make some frames for paintings carried out over the Summer.  Which I quite like doing. And need for next year.  And I have also spent some time discovering more about Bessel van der Kolk…

Bessel van der Kolk

http://www.traumacenter.org/about/about_bessel.php  Very interesting.  Just listened to a talk by Bessel van der Kolk, MD called “Trauma, Body, and the Brain: Restoring the Capacity for Synchronicity and Imagination,” an exploration of how the brain is shaped by experience and how our relationship to ourselves is the product of our synchronicity with those around us.  Wonderful talk, very interesting and inspiring!

I have also been listening to several different talks which I was able to access through an online training summit, all focused on Neuroscience, Trauma, Mindfulness, and Attachment Therapy.  I am a big fan of Margaret Wehrenberg (not personally, because I don’t know her at all!!!) but certainly of her books which I have found very helpful personally, and as she was speaking on one of the sessions, I thought I would sign up for the summit…

Little snippets/notes from listening to Margaret Wehrenberg which I found particularly interesting and helpful…

She spoke on “The Purpose of Worry and How to Manage It” .  Under this banner highlights for me personally were…

how fear and worry are different…

why do we worry? anxiety is a normal condition. it is they way we feel in response to ambiguity.  sensation of anxiety gives us some motivation to look for and identify potential problems and look for them but with a disorder we feel anxiety in the absence of any actual threat or problem…  get into “what if” thinking and worry becomes persistent, disruptive, and robs people of the joy of being alive.

fear and worry distinguished…if there is a distinct threat, basically  something which has an objective observable cause… that is fear and it prompts action, look for a way to escape from what it is that scares us, we can imagine that we would be afraid…that is not the same as worry… worry is persistent however it  never solves a problem where as fear can solve a problem

some people are wired up to be worriers more than others and have not very effective stopping mechanisms or brain shifting capacity… lots of her techniques attempt to equip the person to shift gears manually, and eventually this becomes more automatic with repetition using brain to change the brain.

stress creates conditions of anxiety as an outcome of stress…  so stress reduction is key.    ie body care sleep eat,    causes people to feel generally uneasy..  thinking what could be going wrong…

anxiety is a condition looking for content… asking all the time what could be causing me to have this kind of arousal?  seeking relief, ie with health anxiety..  internet searching!!!    scanning for health concerns.. looking up symptoms and trying to diagnose themselves, does not typically help. Calmness while searching, act of reassurance in seeking, and while online person may feel calm,  but better to respond to the feeling of a needing some reassurance through other ways not internet searching…

people believe if is it is possible to happen then it is probably going to happen….start to behave as if it is going to happen or is even happening right now. But it may only be remotely possible.  Are you worrying about something which is possible or probable? 

do you have a real problem, if so you can plan a way to solve it… so planning is a good tool a real antidote to worry

if you cannot make a plan then it is not a real problem, or at least not yet, so then worry is the problem itself.

 

Well, the above is a little taster.  Excuse the note form.  As said, I use this Journal not as a finished piece of personal narrative, but as an unfolding notebook/journal/record, for my own use as much as sharing it with any interested parties.   If you would like to find out more about Margaret’s work she has a website:  http://www.margaretwehrenberg.com/   The two books I have read by Margaret Wehrenberg are “The 10 Best-Ever Depression Management Techniques: Understanding How Your Brain Makes You Depressed & What You Can Do to Change it” and “The 10 Best-Ever Anxiety Management Techniques: Understanding How Your Brain Makes You Anxious and What You Can Do to Change it”.

I liked very much the writing style of the books as well as the content and organisation.  I read  “The 10 Best-Ever Depression Management Techniques: Understanding How Your Brain Makes You Depressed”  when I was very depressed several years ago, and found the tone very helpful, as not patronising.   I had a pre existing interest in the neuroscience, due to my brother’s head injury, and I found the matter of fact approach, with reference to how the brain works,  good for me personally.  Also, being someone possessing sound intelligence and being of a practical nature, enjoying concrete and material things, as well as theory,  I was glad to find something which suggested that I could manage what was happening to me and that I had some kind of influence over it.  This is always a big step when feeling depressed, however it is a crucial one.  There were so many small and accessible things suggested that one could do.  This was just what I needed.  I never had an expectation of quick and easy answers, and was looking around to access psychotherapy at the time, but as I was unable to access it for six months  I needed something to help me manage things in the meantime. It might not suit everyone, but was perfect for me.

There were plenty of other speakers also. I don’t have the inclination to share any more here, but one of the little bits of information I picked up from another talk was with regard to a term “Window of Tolerance”. “Window of Tolerance” is a term coined by Dr. Dan Siegel, and is now widely used in understanding normal brain/physiology reaction responses, as well in trauma-informed treatment terminology, and in all areas of mental health. Efforts are made to assist individuals to learn how to widen their personal, unique Window of Tolerance, as well as to have methods to stay in the Window of Tolerance via self-soothing and self-regulating behaviours. When an individual “jumps” out, or feels “pushed” out of their Window of Tolerance on the upper or lower sides, the prefrontal cortex is essentially going offline, with only subcortical brain regions (limbic system-emotional brain, and brain stem) staying active, removing ability to think through actions and consequences. Before any type of talking or making sense of a situation can occur, individuals need to find a way back into their Window of Tolerance, through self-soothing and self-regulating behaviours, which will allow all regions of the brain to get back online, and our processing system to function appropriately.

Mmm, as you can see.  I am really into this!

quoted from:  http://www.drmariedezelic.com/window-of-tolerance–traumaanxiety-rela

I found this terribly interesting.  Not quite sure what I will do with it, if anything right at the moment, but wanting to record it here in the Journal so that I will at some point look over it again, and it won’t just disappear in the computer without memory!

This is such a psychological post in the Journal…  I am also interested in numbing!

Numbing is a biological process whereby emotions are detached from thoughts, behaviours, and memories. As I look back into the significant period of depression I experienced, which was over the period  from about 2010 to 2012,  I am aware very much that the numbing I experienced was a traumatic stress reaction, and one which hid what was going on inside emotionally.  It is this, and the feeling of separation from others, because of the emotional disconnect, which makes it all the more distressing.  The impact of trauma is felt very greatly by the person, but is not very easy for others to recognise, because the emotionless-ness hides the distress and masks the levels of stress experienced.   It is efficiently kept to oneself. But it is a sad isolation. Alcohol to self-medicate does not help either.  You cannot deny your emotions on a long term basis.

A Brief Writing on It…

The detachment

The feeling of the

need

to connect

The gap, which imperceptibly widens

The falling apart, within, without

The without-ness growing like a huge plant

Which sucks the water from the soul

This is the abyss in which I have fallen.

 

It’s a long time since I have written any poetry.  Must do some this Winter.  And must put some visual content in this post… I have been doing a lot of research recently and very little painting.  The painting below dates from between 2007 and 2012… (around 2010 I think).  Certainly carried out during those “wilderness years”.  Didn’t like it at the time, but I like it now.

sketch of chessington rear access road jenny meehan

sketch of chessington rear access road jenny meehan

 

Love working abstractly… So interesting.  But great to have something there to bounce off too!

Determined to do some painting, despite the obstacles in the way, the pain, the slowness of walking, the mounting of domestic tasks, the knowledge that as I stand to paint, the end result will be I cannot stand at all in the evening. I must instead tend to my knee with ice, massage, heat, and whatever else I fancy.   Going out to network is out of the question.  I do not anticipate pain coming to me… I am using mindfulness to good effect, however it seems doggedly faithful. And arrives an uninvited guest.  What I will achieve in the future, with this situation of disability is a matter of concern to me, even while taking one day at a time.  So I look back and enjoy what I have done.  I will do more…It just looks like it will be more difficult.  Knee replacement at some point.  Often feel unsure of how long I can keep this up.

Posting Recent List of Exhibitions..

Here is what I have done so far in the way  of exhibitions.  Just skim down quickly if they are not of interest!  Just need to remind myself of what I have done at the moment!

Exhibitions List Up to Date. To October 2016

Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem ‘Kubla Khan’ written by Samuel Taylor Coleridge in 1816. This is a celebration by the Friends of Coleridge supported by Somerset Art Works, working in partnership with the National Trust, CICCIC Taunton, and Art at the Heart, RUH Bath.

CICCIC Memorial Hall, Paul St, Taunton TA1 3PF 7 October -12 November 2016 . Special PV 21 October 2016

Mid November – January tbc, RUH Bath Mid January – Mid April 2017, Coleridge Cottage Nether Stowey Mid April – May 2017
“The Art of Caring” ( second exhibition curated by Peter Herbert) at The Conference Centre, St Pancras Hospital, NW1 OPE 21st July – 13th October 2016
KAOS OPEN STUDIOS 11th / 12th and 18th / 19th June 2016 (Kingston Artists’ Open Studios)70 artists taking part at venues around Kingston. Annual event.
Kingston Artists’ Open Studios Taster Exhibition at Cass Art , 103 Clarence Street, KT1 1 QY in “The Art Space” Kingston Upon Thames. 6th – 20th June 2016
“Anagrams” at Kingston Museum, Kingston Art 2016. Juried. Wheatfield Way, Kingston upon Thames, KT1 2PS. 29 April 2016 to 2 July 2016

“Building Bridges, the Female Perspective” 8th March – October 2016 organised by Southwark Arts Forum & Tower Bridge Art at the Bridge #7. Tower Bridge Victorian Engine Rooms, Tower Bridge Road London SE1 2UP.

“The Art of Caring” Exhibition curated by Alban Low at The Upper Circle Gallery, The Rose Theatre, Kingston-upon-Thames 12th to 24th May 2016.

2015

CornerHouse Charity Exhibition for “Straight Talking Charity at Cornerhouse Arts Centre, Surbiton, Surrey Nov 30th – Dec 31st

Challenging Behaviour Foundation Charity Exhibition Sun Pier House, Sun Pier, Medway Street, Chatham, Kent, ME4 4HF 3 November 2015 – 29 November 2015

Court Farm Cafe Group Exhibition, organised by Kingston Arts Cafe at Court Farm Garden Centre, Worcester Park, Surrey KT4 7QH October 2015 – January 2016

A Letter in Mind – The Art of Journey, Charity Exhibition at Gallery@oxo, South Bank, London SE1 9PH 8th October until 18th October 2015. My donated work sold for this worthy cause.

Brighton Sussex University Hospitals Trust National Transplant Week 2015 (7th-13th September) public art exhibition in Brighton UK at the Brighton Jubilee Library Jubilee St, Brighton, East Sussex BN1 1GE. Items 13 and 14 were my donations.

Jenny Meehan’s donation can be found on page 10 of the following publication:

To bid, go to the Ebay store, here’s the facebook link:

‘The Story So Far’, organised by Acton Arts Forum, at W3 Gallery, 185 Acton High Street, W3 9DJ . From 1 July to 14th July 2015.

KAOS (Kingston Artists’ Open Studios “Selfie” Exhibition in The Art Space at Cass Arts, Kingston Upon Thames. 6 – 14th June

KAOS OPEN STUDIOS June 2015 (Kingston Artists’ Open Studios) at venues around Kingston. Annual event.
“Flying Colours” Joint exhibition of prints, Leatherhead Theatre, Leatherhead (Jenny Meehan and Chris Birch) 3rd – 30th May 2015

“Day of Reflection on Spiritual Homelessness” at St Nicholas Church, Guildford GU2 4AW on 11th April 2015. Six paintings shown as part of a group exhibition.

“Tiny Bones and Lasting Stones of Memory” (poem and painting) shown as part of Holocaust Memorial Day – Keeping the Memory Alive Through Art Exhibition: Kingston University, 16th – 17th March; Kingston Museum, 26 March – 23 April 2015, Kingston College, 24th – 28th April 2015 and at the Council Chambers, Kingston Upon Thames 1st February (Third prize in adult category)

2014 Exhibitions

Holocaust Memorial Day – Keeping the Memory Alive Through Art Exhibition at the Council Chambers, Kingston Upon Thames, Sunday 1st February (Third prize in adult category)

KAOS Exhibition at All Saints Church, Kingston upon Thames
KT1 1JP 11th Nov – 25th Nov. Kingston Artist’s Open Studios Group Exhibition

“Breaking the Chains” (Anti human trafficking) Exhibition at Tower Gallery, Memorial Community Church, 395 Barking Road, London E13 8AL. 16th October – 6th November. Selected

“A Letter in Mind”…The National Brain Appeal’s Exhibition Charity Exhibition) at gallery@oxo, Oxo Tower Wharf, Bargehouse Street, South Bank, London, SE1 9PH. 2nd October – 5th October. Selected and donated work sold.

Dulwich 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).

NewArt@Baker Tilly, Baker Tilly, 3rd Floor, One London Square, Cross Lanes Guildford GU1 1UN 7th June -20th September. Selected

Court Farm KAOS (Kingston Artists’ Open Studios) Cafe at Court Farm Garden Centre, Worcester Park, Surrey. 3rd May – 27th July

Multiple Sclerosis Trust “The Secret Art Show” (Charity Exhibition) Spirella Building, Bridge Road, Letchwoth Garden City, Hertfordshire SG6 4ET. 30th April – 7th May

Artistsmeet Open Exhibition, Rickmansworth, Hertfordshire WD3 1EH. 3rd March – 6th May 2014 Selected.

“Drawn Together” Riverside Gallery, Old Town Hall, Richmond Upon Thames TW9 1TP. 1st March – 25th May 2014 Juried.

“Sacred Spaces” KAOS Exhibition curated by Jenny Meehan, Leatherhead Theatre, Leatherhead. May 3 – 31st 2014. Seven members of Kingston Artists’ Open Studios.

“Speaking Out – Women Recovering from the Trauma of Violence” Embrace Arts at the RA Centre, Leciester University, Leciester. 13 January – 28th March 2014. Juried.

“Drawing Inspiration” Holocaust Memorial Day Trust, A-Side B-Side Gallery, Hackney Downs Studios, E8 2BT. 23rd Jan – 3rd Feb 2014 Highly Commended awarded. Juried.

“Recovery” Exhibition – Institute Of Mental Health/City Arts at Nottingham University NG7 2TU Nov 6th – May 2014

2013 Exhibitions

“Recovery” Exhibition – Institute Of Mental Health/City Arts at Nottingham University NG7 2TU Nov 6th – May 2014

Brixton Drawing Project Exhibition. Brixton East, Brixton, SW9 Sunday 6th October.

Orange Tree Theatre KAOS Group Exhibition. Orange Tree Theatre, Richmond upon Thames, Surrey 23rd Oct – 30th Nov.

PARTIA “Collective Nostalgia” at Aintree University Hospital, Liverpool. 1st Oct-1st Nov 2013. Selected.

Court Farm KAOS (Kingston Artist’s Open Studios) Group Exhibition. Cafe at Court Farm Garden Centre, Worcester Park, Surrey. Sept 3rd – November 2013

“Not The Royal Academy” exhibition at Llewellyn Alexander Fine Paintings. London SE1 June – August

“Allotted” Curated Exhibition at The Beetroot Tree Gallery, Draycott, Derbyshire 15th June – 27th July 2013 Selected.

“Lines” Curated Exhibition at The Strand Gallery, London. Selected. June 2013

Cornerhouse Arts Centre, Surbiton, Surrey. Jenny Meehan Recent Work, Solo Exhibition. June 2013

Group Exhibition “Order and KAOS” (Four Painters from Kingston Artists Open Studios). Leatherhead Theatre (curated by Jenny Meehan) 4th-31st May.

Dugout Women’s Inclusive Festival – The Hoxton Arches, Cremer Street, E2 8HD (2nd March 2013). Juried.

Open Exhibition at The Classroom Gallery, Nottingham. Selected. March 23 – April 5th.

National Open Exhibition 2013 at Electric Picture House Congleton, Cheshire. March 9th -30th. Selected.

2012
September – December Alliance Healthcare Exhibition, Alliance Healthcare, Chessington Surrey (SOLO)

The Bog Standard Gallery, Artistsmeet, Watersmeet, Rickmansworth Hertfordshire. WD3 1EH December 2012

The Ark Centre Autumn Exhibition, Basingstoke, Hampshire RG24 9NN. October/November 2012

Artistsmeet Open Exhibition, Rickmansworth, Hertfordshire WD3 1EH. September/October 2012

Cranleigh Arts Centre Open Exhibition, Cranleigh, Surrey GU6 8AS June 2012

“Some Kind Of Narrative” Joint Exhibition at Leatherhead Theatre, Leatherhead, Surrey KT22 8DN Stephanie Greenslade – Jenny Meehan. 29th April – 25th May 2012. ”

Hidden Artists” Exhibition at Denbies Picture Gallery 2012, Denbies Wine Estate, Charity fundraising event for NSPCC.

2011
Jigsaw4Uinternational.org project “Strong Voices” Event 2011 at The Rose Theatre, Kingston Upon Thames in October. (sculpture and photographs). Charity event.

Cranleigh Arts Centre Open Exhibition 2011 at Cranleigh Arts Centre, Cranleigh, Surrey GU6 8AS June 2011 Juried Exhibition

“Hidden Artists” Exhibition at Denbies Picture Gallery 2011, Denbies Wine Estate, Dorking, Surrey. Fundraising exhibition for NSPCC.

2010
“John Lewis Prize” Exhibition (of shortlisted work) at “The Place To Eat”, John Lewis, Kingston Upon Thames. 8th September – 10th December 2010 Juried Exhibition

Pallant House Gallery/St Wilfrid’s Hospice Open Art Exhibition at Pallant House Gallery, Chichester, West Sussex. 3rd June – 2nd July 2010. Juried Exhibition.

Surrey Artists Network Ist Anniversary Exhibition at Otters Pool Studio, Guildford, Surrey GU1 4QG Ist May – 22nd May 2010. Juried Exhibition.

Denbies Open Exhibition 2010 Denbies Vineyard, Dorking, Surrey RH5 6AA January 7th-17th, 2010.

2009
“Doorway” Visual Meditation 2009 (Jenny Meehan and Mary Reid) at St Paul’s C of E Church, Hook, Surrey. February 22nd.

2008 – 2006

Kingston Contemporary Open 2007 (Stanley Picker Gallery, Kingston Upon Thames, Surrey, UK). Juried.

Kingston Contemporary Open 2006 (Stanley Picker Galllery, Kingston Upon Thames, Surrey, UK). Juried.

SOLO EXHIBITIONS (Self Organised in Community Spaces)

” Jenny Meehan -Recent Paintings and Prints” Cornerhouse Arts Centre, Surbiton Surrey June 2013

“Paintings – Jenny Meehan ” Alliance Healthcare, Chessington, Surrey Sept-Dec 2012

“Inking Outside The Block” (CornerHOUSE Arts Centre, Surbiton) December 5th to December 31st 2011.
PRIZES/AWARDS

Painting and Poetry – Third Prize in “Keeping the Memory Alive through Art”, Kingston Inter Faith Forum, Kingston University, Kingston Upon Thames February 2015

Painting – Highly Commended – Needhams Open Art Competition 2009, Cambridgeshire, UK. Juried Exhibition.

Poetry – Finalist (second place) in “Literary Mary” poetry competition March 2009

Painting – Highly Commended – “Drawing Inspiration” Competition Holocaust Memorial Day Trust, January 2014

QUALIFICATIONS

BA Hons English Literature (Kingston University, Kingston Upon Thames)

PGCE Primary Education (Roehampton Institute, Roehampton)

COLLECTIONS

Kingston Museum

John Lewis Partnership

Bog Standard Gallery

Private collections in the United Kingdom

 

This is getting to be a rather long post… As often happens…

Walter Darby Bannard, 1934-2016

A lovely write here:

http://www.artblog.net/post/2016/10/walter-darby-bannard/

Notes from the Life of an Artist by Franklin Einspruch, an artist and writer based in Boston.

Sometimes I am caught by what I read, and this part caught me:

I’ll let you in on a secret: the scorn never mattered. Darby lived well. His was a life full of brilliant friends, talented colleagues, and passionate relationships. Throughout it all and up to the end, he painted. When he was painting, canvases tacked to the floor, surrounded by jars of acrylics, and an arsenal of squeegees, brooms, and brushes at the ready, his enjoyment was unassailable. Art rides in on pleasure, he says in the Aphorisms.

The pleasure carries something with it, something very precious to us that is inseparable from the pleasure itself.

I live with that something every day, but I can’t say what it is. No one can. If you have an eye, you comprehend it in an instant; you feel it and you know it. That’s that.

And now that really is that.”

The above quoted from:  http://www.artblog.net/post/2016/10/walter-darby-bannard/   Do take a look and read the whole post.

There is such a lot of distraction.  But I will certainly be taking a look at http://wdbannard.org/ and reading some more!

Researching Family History

I have dug around a bit. Stumbled on this:

Some of my family history

While not possible to trace much of my mother’s side due to lack of information,  I was grateful to find this recently:

Born in Boscombe, Hampshire in 1882, Albert was the son of blacksmith, Colin Gray and his wife Selina. He had an older brother, Colin Bertie and a younger sister, Laura. In 1891 the family were living in Victoria Road, Pokesdown, where they also took in a lodger. They later moved to Hannington Road, Bournemouth. By 1901 Albert’s brother was working as a decorator, whilst his sister was employed as a laundress and later as a dye cleaner in the textile industry.

Albert seems to have followed a similar career path to his sister. By the age of 29 he was a wash house foreman, in a local laundry. This is probably where he met his future bride, Gertrude Harradine. The daughter of a railwayman, she was originally from 104 Palmerston Road, Wimbledon but was boarding in Bournemouth, having found work as a laundress. The couple married at Holy Trinity Church, Wimbledon on 3 August, 1912.

During the war, Albert joined the Royal Field Artillery. He served with the 189th Brigade, part of the 41st Division. This was formed in Aldershot in 1915 from units raised in southern England. Comprising 3 – 4 gun batteries, the brigade was sent to France in May 1916 and was initially based in the area between Hazebrouck and Bailleul. As field artillery for the 1st Army, Albert and his comrades would have fought in the Battle of Flers-Courcelette. During this week-long offensive in September 1916, artillery and infantry tried, but failed to break the German line and leave an opening for cavalry attacks. In November the 189th brigade was also involved in the Battle of the Transloy Ridge, part of the third and final offensive of the Somme campaign. Fighting was made all the more harrowing by terrible weather conditions and a battlefield devastated by months of artillery fire.

Promoted to the rank of sergeant, Albert must have shown bravery and determination during his military service, as he was mentioned in dispatches. He survived the war, albeit briefly and died of influenza on 25 November 1918, just two weeks after peace was declared. He was buried at Gap Road Cemetery and is commemorated at Wimbledon Parish Church. His widow continued to live at 28a Wycliffe Road, Wimbledon, after his death.

That widow was my father, Gordon William Gray’s mother. I never met her, as they were estranged.  I don’t know why as it was not talked about.  My maiden name of Gray, yet another interesting journey of discovery!

I had gleaned some of the information myself, but this extract above, which I quote from http://cis.photoarchive.merton.gov.uk/entity/186931-serjeant-albert-william-gray..   contains much more detail than I had been able to obtain on my own.

That’s it, for now!!!!

 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES.

 

Jenny Meehan is a painter, poet, and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  If you read and enjoy it, this would be an added bonus! 

Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details as availability depends on other commitments.    

 Jenny Meehan works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings and other artwork forms  and affordable photo-mechanically produced prints are available to purchase.  

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:  www.jamartlondon.com

Also, you could follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way. 

 

Website Link for jamartlondon:  www.jamartlondon.com 

A selection of non objective paintings can be viewed on pinterest:   https://uk.pinterest.com/Jamartlondon/

My prints and some merchandise which uses my artwork can also be purchased safely and easily through Redbubble.com

http://www.redbubble.com/people/jennyjimjams?ref=artist_title_name

 

 

COPYRIGHT INFORMATION

All content on this blog,  unless specified otherwise,  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 under any circumstances. 

Copyright and Licensing Digital Images Information – Jenny Meehan

www.jamartlondon.com

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.

Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements. There is a contact form on my website www.jamartlondon.com

Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the “Art image” selection on the Design and Artist Copyright “Art Image” page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)

 

 

 

As per usual, I enjoy writing so much I ramble on  for ages, so do skim and skip over content which doesn’t grab you, dwelling only on that which is of your particular interest.  This way, I don’t need to worry about being succinct or structuring my writing more tightly (it serves as exploration for me, and isn’t just written to be read by you.) but can let it evolve as openly and profusely as it will.

West Dean College Visit

A flourish of monochrome images from a recent visit to West Dean College will provide some inspiration for my current experiments with black and white ink, paint, and mono printing.   I have not edited these to cut down time but want them here as a reference I can access easily.  How beautiful is the hand of our Creator God, whose touch never ceases to inspire.

The photographs look nice in colour too, but during the course I have just come back from we worked with black ink on paper, and it is best to stay black and white for a while.  “Drawing in the Garden – Pattern and Place” was a pleasing contrast to my non objective paintings in colour.  The blurb for the course: ” Explore a pattern-based interpretation of the gardens through drawing from observation. Drawing in the garden – pattern and place with Rosie MacCurrach”.  The opportunity to simply do some observational drawing was very welcome, and it is always very interesting and helpful to be part of a group of people being creative.  It is amazing how unique and individual each person is, and the very special characteristics, challenges and triumphs of each person’s drawings were an education in themselves.  A brilliant time.  I will post my work up soon, but still in the whirl of what I have done, and don’t want to share quite yet as I need to continue to work with it.

There are quite a few here, so scroll down rapidly if you don’t want to view them!  The variety of pattern, line, form, texture is immense, and these photographs will serve me as a visual reminder.

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

 

 

Several drawings done, yes, DRAWINGS!  Finally!  Here is one below.  I will be experimenting further with some print making experiments based around the drawings.  That will be the Autumn project.

jenny meehan charcoal drawing west dean college art contemporary, jamartlondon, female british woman artists, emerging art historically significant artist,jenny meehan wordpress journal, drawing garden spiritual contemplation meditation visual art, spiritual growth image for meditation, christian visual artist 21st century

jenny meehan charcoal drawing west dean college art contemporary

 

I LOVE charcoal.  A timely reminder to use it more.  So forgiving, like oil paint.  Cannot wait to get into the studio tent and experiment with some black ink also.  I am going to immerse myself in black for a while.

 

Paintings I like…

I like these paintings very much.

http://www.widewalls.ch/artist/jiang-tie-feng/

Text below is quoted from the above:

“Splendid Watercolor and Serigraphy Works
Jiang Tie Feng was born in Zhejiang Province in China and he discovered his love for visual arts through painting and drawing while he was still a child. Consequently, he studied at the Central Academy of Fine Arts in Beijing. In the turbulent 60s and 70s in China, Jiang Tie Feng was asked to create propaganda posters for Mao’s Cultural Revolution. However, at night, the artist was secretly creating his very own artistic style, based on Chinese mythology and Buddhism. My paintings are not only pictures; they are also music and poetry that is bewitching, sweet dreams that are being dreamed, says Tie Feng about his work. The artist is considered one of the best examples of contemporary Chinese art and he is a truly creative painter, who often creates stained glass windows and focuses on the subject of women, horses, birds, and nature as his main sources of inspiration. He created mainly in watercolor and serigraphy and it is known that his masterpiece serigraph edition as well as canvas-based works have been popular worldwide ever since the early 1980s. The artist was also a member of the Chinese Woodblock Association as well as a professor at the Yunnan Art Institute.”

My paintings are not only pictures; they are also music and poetry that is bewitching, sweet dreams that are being dreamed, says Tie Feng about his work.

Sweet dreams that are being dreamed….

 

More Thoughts from other Artists:

” Lisa Yuskavage
Make art that you want to see that doesn’t already exist. Stand by it regardless of the response. Try to get past the desire to have everyone like you.

All positive feedback is not a good sign. It means you are feeding the views that they already like and not going to change how the world sees.”   

quoted from the article on artnet news; 18 Female Artists Give Advice to Women Starting Out in the Art World
“Try to get past the desire to have everyone like you,” and more words of advice.
Eileen Kinsella, July 21, 2016

Like this one too:

 “Marilyn Minter
Find your strengths and develop them! Don’t waste your time trying to do things that don’t come easy to you.

Go with your gut, even if it goes against all rational thinking.”  

and this:

 Mariko Mori
“Never compare your career with other artists. Concentrate on developing your work and believe in yourself. The necessary path to grow as an artist is all different and unique. Trust in your path as every moment is a gift to strengthen your creativity.”

and this one, which I found particularly interesting:

 Adrian Piper
“First, you should be clear about what you are aiming for: (1) public approval, (2) commercial success, or (3) art-historical significance. These three are not necessarily mutually exclusive, and there is nothing wrong with any of them. But my remarks address only (3).

The best means to art-historical significance is financial independence. Don’t even think about trying to earn a living from your artwork, or else you’ll start producing the artwork that will earn you a living. A trust fund will divert your energies in a different way. The best means to financial independence is a day job in a different field. Waiting tables, driving a cab, office work, and teaching are traditional alternatives for artists, but the digital revolution opens up many others. All of them will free you to make the work you are most deeply driven to make, regardless of whether or not anyone else likes it or buys it. That’s the work that’s most interesting and important to you. You won’t have time to waste on producing work that doesn’t obsess you.

Your day job will also free you to be selective about what you do in order to promote your artwork, and with whom. It will protect your pursuit of quality. That’s one reliable path to art-historical significance (although of course not the only one).”

All above quoted from the article on artnet news; 18 Female Artists Give Advice to Women Starting Out in the Art World.  To read the full article please follow the link: https://news.artnet.com/art-world/advice-to-young-female-artists-542609

 

Thinking about my own work, it is art historical significance which interests me the most.   Who put a stamp of approval on this or that work, in terms of the canons of art history may be another matter.  Women artists have not traditionally fared very well in this respect.  I am not very convinced that things have changed that much, but I may be wrong.  It seems that the people you know, the money you have, if you have it, and the circles you move in may have a big part in how significant your art is thought to be.  However, this then leads me on the the fact that it is not individual artists but movements, and what is happening, which determines the course of developments in culture.  As long as one shares what one does, and gets it out there as much as one can, then this will influence other artists.  It is not helpful to have an individualistic view.  What one does in life may not be fully known, or even known as much as it should be, or even deserves to be. But what matters is that one is faithful to doing it, and that one continues to believe that whatever it is within which drives one to create.. this deserves to be followed.

And so, for any artist, the pursuit of innovation and development, the desire for new discoveries which come from persistence in the task of art marking and art working….this pursuit and desire have their own merit.  Indeed, they become the life-breath of an artist.  It is not a simple matter of making an impression on the world one inhabits.  This may happen to a large degree,  and it may not.. It will happen to some extent, even if that extent is not as great as one would wish.   I do pray that the Creator God, in whom I live and have my being, works in the world through the Holy Spirit to bring people into my life and work who will support it, love it, benefit from it, and propagate it.  But for this, I must trust.

I dislike the term “Art World” intensely.  Because that is a small orb in something much bigger.    I am sure it can be very helpful, as well as a hindrance.  Whatever the result of art working, it must just be got on with.  Glorified or not, it is what it is.

Paintings in Progress….

Here is one recently finished!  Yes,  a Mad Moment!  I titled it “Mad Moment/Water Fight” in the end.  I like two titles. Both are right.   The painting did take several weeks, rather than a moment, but it has a good immediacy and can carry the moment part of the title.  And like many jumps into paintings where one tries out new things, it has an element of madness… into the chaos… about it.  During the week that I finished it I let my son and five of his friends have a crazy limitlessness water fight in the garden.  And it spoke of that too..  So “Mad Moment/Water Fight” it is.

jenny meehan waterfight mad moment abstract painting jamartlondon, christian spirituality visual artist female 21st century abstract expressionist spiritual poetry painting poet-painter jenny meehan, contemplative art practice meditation images,

jenny meehan waterfight mad moment abstract painting jamartlondon

 

Bit different on the corrugated plastic….  Wanted to try it out.  This painting took a long time…  still under review, as all my work, for six months.  But feeling pretty settled about it.  Water, water, water.  Seems I cannot get enough of it!!!

I have experimented with using some synthetic organic dye based paints for this painting.  The colours are terribly intense and suited to the mood.  Rather transparent, in the main.  Quite different from my heavier bodied metal oxide, earth and mineral based pigmented paints. Good for a change.

General information about this type of paint…

By the way  Organic simply means “containing carbon atoms,”

With organic pigment, the molecules are made of carbon atoms along with hydrogen, nitrogen or oxygen atoms and organic pigments are further divided into two subgroups:

Natural Organic Pigments- These type of pigments are derived from animal products and plant products.  We don’t tend to use them anymore as they are not very light fast at all.  Nowadays a lot of these have been replaced by the synthetic organic dyes. They are remembered by their quaint historical names, which are often adopted by the modern commercial paint companies to lend romance in their traditional mixtures, for example, one of my synthetic organic dye based paint is called “Red Madder”  but it certainly does not contain any madder!
Synthetic Organic Pigments- Synthetic Organic Pigments are carbon based and are often made from petroleum compounds. Under intense pressure or heat, carbon base molecules are manufactured from petroleum, acids, and other chemicals and Synthetic Organic Pigments have been formulated from these molecules. Quinacridones Phthalocyanines Perylenes Pyrroles Arylamides Metal Complexes: e.g Transparent Yellow, New Gamboge Miscellaneous: e.g Dioxazsine in Danthrone; These are all synthetic organic pigments.

They are not my preferred colours.  I like the earthy feel of earths, oxides, and mineral pigments.  But again, as with the change in ground, it’s important to push forward.  The only way I can learn about these pigments is by using them.

There are other paintings, many of them, around 30 I should think, still currently in progress.  But they are resting for a while.  Various stages.  It’s good to go back to them after a while and see them with new eyes.

 

St Julian Talk at St Pauls Church of England, Hook – Jenny Meehan

Here are the notes from a mini talk I gave a while back:

St Julian of Norwich…

Not a man, but a Woman…. named after the church she was attached to…. ie St Julian, in Norwich.

She was something called an anchoress….kind of a counsellor/spiritual director who spent her time praying and giving counsel. She lived in an hermitage… which is a small stone dwelling with one or more rooms attached to a church, often with a garden too. She lived by herself but also had a maid to look after her practical needs. When people came to see her, they spoke to her through a little window.

She is well known today because she had a series of visions which she wrote about. These can be easily read today and are published as “Revelations of Divine Love”.

She was the first woman to write a book in the English Language

The Medieval times she lived in were very difficult and life were very hard for people. Famine, war, and early death were commonplace and made people very aware of suffering. It was easy to be tempted to view the suffering as God’s punishment, and to see God as vengeful, angry and harsh.

Haven’t got time to summarise her writings here, but her attention to the loving and caring nature of God is very strong, so I will focus on that. When she asks what God means, and what is the most important thing for us to understand about God, the answer she comes to is LOVE.

“From the time these things were first revealed, I had often wanted to know what was our Lords meaning. It was more than fifteen years after that I was answered in my spirits understanding. ” You would know our Lords meaning in this thing? know it well. Love was his meaning. who showed it you? Love. What did he show you? Love why did he show it? For love. Hold on to this and you will know and understand love more and more. ”

As well as her emphasis on God’s love, she also encourages us to Rest in this love and the goodness of God. She emphasises that God is our resting place and where we belong.

God is our rest: his love is endlessly turned towards us and active within us, whether we directly experience this or not. It is enough to turn and face God.
She writes a lot about the nature of prayer, how the Holy Spirit gives us both the desire and shows us the way to pray.
I think what we can learn from St Julian of Norwich is that we are wise to invest our time into making space in our lives for time to pray and wait on God. That if we want to know more about God’s loving kindness, we are wise to ensure we have set aside dedicated times for prayer, for seeking God in all things. This way we will have clear opportunities to really listen to what God is wanting to communicate to us. We might not live in a hermitage, like her, but we can make room in our lives to listen to our Creator.
Julian understood prayer as consciously choosing relationship with God as our rest… in other words, our resting place.. our place of belonging, where we can know and become our true selves.

That’s the end of the talk notes, but I like this quote from her very much:

“Our Savior is our true Mother in whom we are endlessly born and out of whom we shall never come.”
― Julian of Norwich

 

This was the painting “Comforter/St Julian of Norwich” while I painted over the period of researching St Julian of Norwich and thinking about her theological significance for me personally:

Acrylic, various fillers, acrylic mediums and pigments, and glass beads , sacred art painting religious, spiritual visionary painting, christ centred poetic visual art, The Comforter/St Julian - Jenny Meehan

The Comforter/St Julian – Jenny Meehan
Acrylic, various fillers, acrylic mediums and pigments, and glass beads

Now here is an example of some experiments on the computer… A great way to experiment with colour and pattern.  Rather large watermarking, but I think you can get a feel for the designs OK without them being too much of a distraction!

 

Crystal Cluster Surface Pattern Design

This design, shown below,  was inspired by my interest in quartz, one of the most well known minerals on earth. The pattern doesn’t seek to replicate the form, but suggests the cluster of the mineral reflecting light.  The text is from the Redbubble site the work is displayed on..

Jenny Meehan is a British fine artist, based in the United Kingdom. She paints non objective and semi abstract paintings, as well as working with digital imagery. For more of her paintings see http://www.jamartlondon.com

© Jenny Meehan. All Rights Reserved, DACS

My pattern designs and digital files of my distinctive, colourful and textural abstract expressionist/lyrical abstraction style paintings can be quickly and easily licensed through DACS.

 

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

 

If you scrolled down quickly, your eyes would have been shaken in their sockets…If you didn’t, you might like to try it!

 

More Recent Painting

I consider this painting “still in progress” though I have not added anything to it and probably will not.  But after I think I have finished a painting I always leave it about six months and stay open to the fact that it may not be finished.  So sharing it now may be a little premature, however, I don’t mind popping it up here for now.

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“River Journey” abstract lyrical expressionist british paintings jenny meehan

 

It is not possible to see the surface properly on screen, however there is a good sense of flow which comes in the way the broad white bands of paint have been applied and this inspired the title.  It reminded me of “Resting Place” a little, but as I had another painting painted over this painting session which kept saying to me “Harbour”  and this one had more of a sense of movement and flowing in it,  the two seems to compliment eachother, so I preferred a title with both a suggestion of water and of movement in it rather than something more static.

 

harbour painting lyrical abstraction contemporary artist british, female artist jenny meehan london based, lyrical abstraction process led painting,collectable abstract paintings for collectors, jenny meehan jamartlondon uk, art historical relevant significant art british,exploratory innovative paintings, british women artists current today,affordable original paintings to buy uk, collectable paintings original british contemporary painting jenny meehan river journey christian spirituality contemplative art, jamartlondon collectable british female artists 21st century painting, affordable original abstract art to buy, process led abstract painting, romantic expressionist abstract lyrical painting modern art, uk mindfulness art, meditation art, contemplative prayerful art, christian art london, experimental painting, art and spirituality,

Harbour Painting abstract lyrical expressionist british paintings jenny meehan

 

“Harbour Painting” has a lot of contrast between some very glossy areas and matt surfaces which cannot be seen on screen at all but which add another dimension to the simple composition.

As per normal,  lots of bits and pieces here, just skim down and read what catches your eye.  Always write more than I need to, as I enjoy writing.   This journal serves as a kind of notebook for me, written to share, but not just for reading.  So not finely honed as writing!

I enjoyed reading this article in the Guardian…

https://www.theguardian.com/artanddesign/2016/jun/10/francoise-gilot-artist-love-picasso?CMP=share_btn_fb#_=_

Emma Brockes interviews Francoise Gilot (age 94)   about her unlikely match with Picasso, her own ambition – and why she’s buying back all her paintings.

There is also a book published about  Francoise Gilot, details here: 

The Woman Who Says No, Francoise Gilot on Her Life With and Without Picasso by Malte Herwig is published by Greystone.

Unable to walk very much at the moment due to osteoarthritis in my right knee.   It’s got worse in the last six months which is disappointing and I also have a “slight fixed flexion deformity”.  Which basically means that I walk slowly and cannot straighten my leg fully.  In 2010 I slipped on ice, and this current situation is related to the past injury. Oh dear.  However, though restricted at present, with Physio things should improve.  Doing lots of exercise and need to loose weight.   Good incentive, as knee replacement on the cards at some point.

Looking backwards…

Suburban Meditations / Painter’s Development

Another peep into some careful looking which is part of my development as an artist.  I changed the images to black and white so that I could focus on the composition and texture.  Colour in most cases, was not the main thing.  I do have some images which I kept the colour version for.

christian artist uk, british women artist, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

 hristian artist uk, british female artist, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

suburban meditations painters development series jenny meehan, christian artist uk, british female artist,

suburban meditations painters development series jenny meehan

british female uk artist, christian female artist, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

Water, wood and metal, always attract my attention!

Attention to texture and composition, now such an important part of my current work with painting, sprung from many hours of attentive looking, and continue to inform my experiments.

Interested in this:

The Ideographic Picture

The Ideographic Picture.
“In painting, the trend towards ideographic representation that was first acknowledged in Beaudoin’s Iconograph was furthered by an exhibition at the Betty Parsons Gallery in January 1947, helpfully named “The Ideographic Picture.” The show included work by nine artists, including Barnett Newman, Mark Rothko, Hans Hofmann, Ad Reinhardt, Theodoros Stamos, and Clyfford Still.  Barnett Newman helped to organize the exhibition and wrote the program notes, in which he quoted a definition of “ideographic” from the Century Dictionary; “Ideographic – Representing ideas directly and not through the medium of their names; applies specifically to that mode of writing which by means of symbols, figures, or hieroglyphics suggests the idea of an object without expressing its name.” Ideographic painting was intended to express truths incommunicable through conventional language. The ideographic image, Newman wrote, acted as a “vehicle for an abstract thought complex.” The ideographic painter used the “abstract shape” as a “plastic language” through which to arrive at “metaphysical understanding.”

Quote from “The Culture of Spontaneity; Improvisation and the Arts in Postwar America by Daniel Belgrad.

 

“The definition of ideographic is something that uses a symbol to describe it without a word or sound.”

“An ideogram or ideograph (from Greek ἰδέα idéa “idea” and γράφω gráphō “to write”) is a graphic symbol that represents an idea or concept, independent of any particular language, and specific words or phrases. Some ideograms are comprehensible only by familiarity with prior convention; others convey their meaning through pictorial resemblance to a physical object, and thus may also be referred to as pictograms.”

I looked into the above after reading the following:

http://hamptonsarthub.com/2016/05/04/art-review-will-barnet-paintings-offer-context-to-abex-and-some-questions/

ART REVIEW: Will Barnet Paintings offer Context to AbEx, and Some Questions
May 4, 2016 by Peter Malone Abstract Expressionism, Art Reviews, Mixed Medium, NEW YORK CITY, Painting, Reviews

Quote from the article:

“Will Barnet: 1950s Works on Paper” at Alexandre Gallery is the latest in a string of recent shows delving into less familiar and esoteric aspects of the New York art scene circa 1950. By filling the blank patches of the historical map that once appeared like an aura around the bigger names so often associated with the New York School, the fuller perspective of these shows helps to enrich a narrative that is too easily considered already complete.”

It is an excellent read, and I find the postcards fascinating.   I have a few ideographic experiments of my own hidden away.  They seem best hidden, for some reason.   I think this is maybe because they do feel like improperly formed words, maybe a bit like the experiments of a baby as they babble and accustom themselves to language and using sounds.  Experimental and exploratory sometimes needs to be completely protected and unexposed.  The value of hidden away work should never be underrated.  What artists show to the public is only one small dimension of their work.

 

Christians Practising Yoga

Wonderful quote below from the Christians Practising Yoga website: http://www.christianspracticingyoga.com/

“ARE YOU COOPERATING WITH THE HOLY SPIRIT?

As Christians, we believe only the Holy Spirit can move our hearts and make us free to love as we are called. Transformation, both inner and outer, is the work of God’s healing love and grace. All we can do is cooperate. Are you looking for a magic answer, a surefire path to transformation or simply a means to open yourself to Grace?

What needs to be understood is that it is incumbent on Christians engaging with practices like yoga or zen or tai chi to work with these disciplines in a way that is coherent with Christian faith and to apply to their practice a Christian understanding. One of the primary understandings that distinguishes the Christian approach to a spiritual practice or method is that whatever beneficial effects accrue are not due simply to the method or to my persevering effort. They are only means. Transformation, both inner and outer, is essentially a work of God’s healing, life-giving, restorative grace.”

Christians Practising Yoga is an excellent website, I am very pleased that I have found it.

 

Current Paintings and Process 

There are around 15 paintings I am currently working on in my usual piecemeal fashion.  They are in various states, some right near to their end, others just beginning.  As I am currently using acrylics then I have the advantage of quick drying paint to contend with.  Depending on how quick I want the paint to dry, I will choose different days in respect to the weather to work.  If I am mixing pigments with thick acrylic paint and fillers, then I cannot do this on a very hot day as the paint dries to quickly and I need time for mixing and experimenting with different colour variations and manipulating the paint.  So I choose a cooler day, or work at the cooler part of the day, or early  morning.   Conversely, if I want the paint I am using to dry very quick then I will choose a roasting hot day (not many of those!) and be out there in the direct sunlight, on the lawn with the paintings in progress. Often several layers of a painting can get done that way, on a hot day.  I don’t tend to work much wet in wet with acrylics.

It is paradoxical, I feel, that my paintings in acrylic take so long…….the paint is quick to dry but the process is lengthy as I build them up over a long period of time, often a year, sometimes more.  Occasionally a painting happens very quickly and just falls together in a week or so (or even a day!).  But normally I apply the paint sparingly. (in the sense of maybe just one or two colours at a time).   Then leave and wait.  Look and think.  And having put the painting to sleep, (in some dark corner of a room!)  I then take it out again. (This happens 10/ 20+ times)  This is good because I have fresh eyes.  Fresh eyes are very important with painting.  I need to be surprised by what I have done.  I need to forget it, and then have it placed in front of me as if I had never seen it before.  In that freshness and re-encounter, often the next step presents itself quite naturally. I have had not time to get anxious or worry about ruining it.  Because it is “old matter” and needs it’s next input of life so badly.  The risk of change is welcome.  Needed.  I am not so attached to the painting, as I would be if I had only just laid the paint down.  I can view it with more objectivity.  I can see it more as what it is, and the state it is in.  Normally it is easy to move forward with a painting by only proceeding with small steps in a piecemeal fashion.  If it is not, then I will put it away for longer, maybe even a year or two.  Sometimes a painting “goes down the pan”, but it also gets a resurrection!  In all of it, it is the time between the application of paint where the painting progresses, because I am responding to what is there in front of me.  I sometimes spend five or ten minutes just looking at a painting in progress.  Or hang it on the wall for a few days, to glance at.

For an oil painting,  where the paint is slow to dry, I work quite quickly.  The benefits of moving wet paint around bring a new level of flexibility.  The whole painting just swims around in complete fluidity.   I can remove as well as add paint.  And the colours can be mixed many more times.  Yet working quickly is helpful, and stops any sinking too deeply into colour mixing, which while wonderful, needs careful restraint.

Examples of Paintings in Progress will come soon, after a photo session! For now, some past work….

 

Past Paintings Selection

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

“Goethe’s Delight” above was painting with Keim Soldalit,  a modern silicate mineral paint.  The pigments used are all either metal oxide based or earth pigments. Earth pigments are naturally occurring minerals, principally iron oxides, that people have used in paints for thousands of years. These natural pigments are found in rocks and soils around the world,  and they are sometimes roasted in order to intensify their colour.  Earth pigments include ochers, sienna, and umbers.  Mineral pigments are pigments that are created by combining and heating naturally occurring elements. They include ultramarine and spinel pigments.  Nowadays ultramarine is made by heating soda, clay and sulphur.

The pigments used in the painting above were used in quite small amounts with a near white base paint. The surface is blissfully matt, which makes the painting look chalky but not dry.  Something I like a lot.  Unlike modern dye based colourants, which are very strong and easily overpowering if not used with care, these pigments are gentle to use and sing out in a clear but also subdued manner.  I kept the iron oxide red very intense by means of contrast.

Bit of history:

(quoted from http://www.scienceclarified.com/Di-El/Dyes-and-Pigments.html)

A revolution in colorant history occurred in 1856, when English chemist William Henry Perkin (1838–1907) discovered a way to manufacture a dye in the laboratory. That dye, mauve, was produced from materials found in common coal tar. Perkin’s discovery showed chemists that dyes and pigments could be produced synthetically (by humans in a lab). It was no longer necessary to search out natural products for use as colorants.

 

Read more: http://www.scienceclarified.com/Di-El/Dyes-and-Pigments.html#ixzz4CbER8SFh

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

“Gentle Leaves” above is a digital print, the result of many hours playing around with Photoshop!  Rather fond of the Fatsia, whose beautiful leaves never cease to delight.  I showed this digital image at the Cass Art KAOS Taster Exhibition this year.

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

Above is “Eternal”.  I have used tiny glass beads on the surface of the canvas in areas along with other relief which makes a good ground for resting paint on.  You cannot see from the image but I also use a variety of varnishes and different surface finishes to bring variation into the way that the light hits the surface of the painting.

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

“Cove” above.  Based on childhood memories of the seaside, rocks and water, and a suggestion of the sea.   The vibrant cobalt looks slightly over bright on screen, (often reds and blues are exaggerated in digital images) however it is pretty bright in the flesh also, as I mixed a high proportion of pure cobalt pigment into the acrylic medium.  It has some punch.

 

Yoga, once more…

Interesting Yoga Article

http://www.yogajournal.com/article/philosophy/yoga-s-greater-truth/

 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

Jenny Meehan is a painter, poet, and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  If you read and enjoy it, this would be an added bonus! 

Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details as availability depends on other commitments.    

 Jenny Meehan works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings and other artwork forms  and affordable photo-mechanically produced prints are available to purchase.  

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:  www.jamartlondon.com

Also, you could follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way. 

Note About Following Jenny Meehan Contemporary Artist’s Journal 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

You tube video with examples of photography, drawing and painting

by Jenny Meehan http://www.youtube.com/watch?v=TAXqzMIaF5k

Website Link for jamartlondon:  www.jamartlondon.com 

Digital photography can be viewed on http://www.photographyblog.com/gallery/showgallery.php?cat=500&ppuser=5491

A selection of non objective paintings can be viewed on pinterest:   https://uk.pinterest.com/Jamartlondon/

COPYRIGHT INFORMATION

All content on this blog,  unless specified otherwise,  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 under any circumstances. 

Copyright and Licensing Digital Images Information – Jenny Meehan

www.jamartlondon.com

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.

Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements. There is a contact form on my website www.jamartlondon.com

Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the “Art image” selection on the Design and Artist Copyright “Art Image” page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)

 

Kingston Artists’ Open Studios

Here are some images from this year’s Kingston Artists’ Open Studios.

kingston artists open studios

kingston artists open studios – image of “Rush Hour” (below) and “No Cares” (above)

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan  “laid to rest” and “clog dance/sacred dance” oil paintings by Jenny Meehan

Okingston artists open studios jenny meehan

kingston artists open studios jenny meehan showing various acrylic on linen paintings by Jenny Meehan

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan  “bright and breezy” and “resurrection one” paintings plus the table with information and prints.

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan – “bright and breezy” painting.  this was exhibited at the Dulwich Picture Gallery a couple of years ago but still lives with me at the moment!

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan – “Resurrection One”

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan view showing my work and some of Cressida Borrett’s ceramics.

 

Writing this after the first weekend and before the second.. So still time to come along and visit 13 venues in the Kingston Upon Thames area…

18/19th June. 11 – 5pm at Studio KAOS 3, 14 Liverpool Road Kingston KT2 7SZ to come and say hello to me,  and:

Caroline Calascione, find out more about her work here: http://www.carolinecalascione.co.uk/

Lizzie Brewer, find out more here: http://www.lizziebrewer.com/

Cressida Borrett, see some of her ceramics here: http://www.cressidaborrett.co.uk/

Plus more ceramics from Bali Edwards here: http://www.pots4u.com/

And also Anna Tikhomirova   http://www.artist-anna.com/

Martina van de Gey will also be here from Germany:  www.martinavandegey.de

and Seana Mallen:  www.smallen.moonfruit.com

There are 74 artists taking part showing their work in 13 venues, so plenty to see!  Take a look in the catalogue to plan your route!

It’s wonderful to have other creatives to talk with, bounce ideas about with, and generally spend time with.  We need each other to encourage and support each other.  One of the wonderful things about being part of KAOS I have found is that we a mutually supportive group, rather than competitive with each other, and this means a lot.  While taking part in the Kingston Artists’ Open Studios event does take a lot of effort, it is good to talk to each other and those who visit.

One lady profusely thanked us last weekend for all our time and effort and I was very much blessed by that, as she recognised that we are offering something which we don’t often get thanked for.  While we hope to sell some of our work (of course)  the time and effort of putting on an event like the Kingston Artists’ Open Studios doesn’t normally generate profit for the vast majority of us (even if you sell something, it doesn’t translate into profit!).  So we hope very much that people not only come themselves,  but spread the word, as the more people who know about Kingston Artists’ Open Studios and who come along to the Kingston Artists’ Open Studios weekends each year, the more our work is appreciated.  The process of showing artwork, introducing people to our work, and talking about what we do is a valuable contribution to society which is sometimes not appreciated.   Aside from the practical necessity of selling the work, which does exist,  (both from the point of recovering storage space in our already too “jam packed with artwork” homes and the need to reinvest in the development of our work/materials, etc) it is immensely motivating to see people discover art work which resonates for them in a powerful way.

Artists Need Collectors!  

I have put that in bold, because it is a reality.  We need people who discover that our art works resonate with them to a degree that they purchase them, and also, that they then invest themselves into keeping in track with what we are doing, and make a kind of mini internal commitment to “openness to buy” our work, not as a means of purchasing a commodity, but by way of a creative relationship which supports and encourages the artist, and also benefits the collector.  A ideal collector will buy something not just because they love the art work itself but because they are interested in the artist and recognise that the artist is involved in a creative process which they need support and encouragement in.  It is not simply a matter of buying objects for oneself.  When you buy a piece of art, you help the artist in the creation of their work and support them in their vocation.

While there are some artists whose art working is a business, (among other things) (they have my admiration, and I applaud them on all fronts!) , there are many whose art working will never be, nor does it aspire to be a business (I am one of those!)  What I do is a vocation only.  However, this does not remove the need for money to fund it.  Buying a certain piece of art may not be an investment of the financial type (however… you never know, when I am dead!!!  Ho Ho Ho!!! Give me 100 years…or 300) and there is a challenge in purchasing a piece of art for yourself,  I think. And the challenge is this:  If it speaks to you, do you consider that encounter worth investing in?  I feel personally that buying a piece of art and/or being a collector of art might very healthily be viewed as a type of self investment.  There is a mysterious type of poetic strengthening of life which happens in the face of a deep resonance between a work of art and the human being encountering it.  Sometimes,  just sometimes, this is worth investing in, if the work is such that it has a sustaining effect on you as a person, and that you sense this will be a long lasting affair.

Profit is not simply about money… Indeed, I find it is seldom about money at all.

Where collectors  (I term “collector” as anyone who has purchased one of my art works either to add to an ongoing collection, or who has purchased more than one of my art works) become patrons, is at the point where their relationship with your work of art becomes not something simply to do with them and an object they have paid for, but becomes a recognition that they are part of a creative process themselves.  In collecting a certain artists work they recognise that they have a supportive role.  Not one with  strings attached.  But one which recognises that in choosing to pay money for an artists work they are contributing in some way to the production of future work.  The buying of an art work is not just a matter of themselves,  but might be, if they choose to make it so, the beginning of an interesting and ongoing journey, in following an artist in the creative path they travel down, and periodically assisting in that path by buying that artists work not just once, but over a period of time.

This type of collector-patron, one who will invest in an artist and their work, and pick out specific artists which they develop an ongoing creative relationship with, is something I am mulling over right now, as I bounce around my thinking in this Journal.  I think this is because I have been thinking about the word commodity.

Simple Definition of commodity
: something that is bought and sold
: something or someone that is useful or valued….Merriam-Webster’s Learner’s Dictionary

It is the sick feeling I get each year before the Kingston Artists’ Open Studios event which has led me to start thinking this through.  My experience or rather fear, of my work being viewed as a commodity only... an object brought and sold, probably brings on the dire feeling.    An artists work is so much more.  The usefulness and value of a piece of art is not very measurable at all.  And the buying and selling bit has to happen, such is the world we live in.    But what is the exchange really meaning in all this?  Money is the medium of exchange, but what is the meaning of the exchange, what is it’s nature and what might be it’s potential?   The use and value of someone choosing to buy artwork which you as an artist have created  isn’t simply a material matter.  That someone decides to invest and that this is symbolised partly through the exchange of money is always a great thing.  Useful too, on a practical level. Essential. But the transaction can mean so much more to the artist.  We are separate from our work, and don’t need to hang on to it, control it, or refuse to let go, however, what it will be,  we always hope, will be so much more than something brought and sold.  We want it to have a life of its own. An existence which will live new lives in the people who relate to it.  We want that to be a good relationship.  We poured ourselves into it, and then let go completely.  Even if it ends up in a charity shop, we wish it well, and hope that no one sits on it.  Well, I speak for myself with my very big “We”.  But it writes better to say “We” and I know I am not alone.

And I guess it varies a lot with the type of work it is, and how much creative energy/significance/effort one has invested in it.  I am thinking of my paintings here, rather than anything else.  My paintings are the spear head of my creative energy and the tool with which I hammer on into reality, searching, but always in the dark! Wonderful abandonment, which strangely, I am found in!  (And probably pretty much any other paradox which could be applied, could be applied!  So words do fail..)

I do ramble on!

To finish on this one, I hope that those who I will call, for the reasons of my ramblings above, art “collector-patrons”; those who buy a few select pieces that mean the world to them, and who follow artists and take a genuine interest in them, recognise how important they are to the ongoing creation of art.  For example, those who have brought my work and continue to do so, encourage and inspire me, by their investment.  Which is not actually simply a matter of paying money for something, but rather the faith that what they have brought matters. That it matters to them, yes, this is clear and true, yet also, in that process, a recognition that it matters to me to the extent that I pour myself out for it.  They see my investment and choose to invest.  That’s a good thing.

I have just found this, which is kind of what I am getting at I think:

Terry Eagleton offers insight into the idea that art may transcend systemic titles of value such as money, by “…suspending itself between life and death. The work of art seems full of vital energy, but is no more than an inanimate object. The mystery of art is how black marks on a page, or pigments on a canvas, or the scraping of a bow on a catgut, can be so richly evocative of life”(Eagleton, 2010, p. 71).”

I have quoted this from: http://www.artandeducation.net/paper/art-as-an-autonomous-commodity-within-the-global-market/

(Art as an Autonomous Commodity within the Global Market
Dan Zimmerman)

Other interesting thoughts:

“It’s cold logic then to think of art as a commodity, but what you are really seeing is a whole generation of peers and people older and wealthier than you deciding whether art history is going to remember you or not,’ said Crow” ( Kelly Crow, The Wall Street Journal’s art market journalist)

quoted from: http://ginafairley.com/artshub/is-art-a-commodity/

Also interesting:

http://archive.boston.com/business/blogs/global-business-hub/2012/04/art_as_commodit.html

from which comes:  “Todd Levin, Director of Levin Art Group, told me, “Art fairs are not places where aesthetic or intellectual fields of value are created. Art fairs are competitive fields where the destruction of aesthetic and intellectual values takes place for the benefit of consumptive value.”

and:

Some artists prefer to see themselves as pilgrims rather than as stock commodities. Regarding the art market, Amy Ragus states: “If possible, make your money elsewhere, so your art isn’t compromised to forces that often seek to exploit and codify your message.”

(My thought,  not inevitable, and not terrible,  (one artist can have more than one single “art” and it doesn’t have to be kept in a protective environment)  however, worth being aware of what is happening and if it is exactly what you want.)

Kingston Artists Open Studios is still on this year:  

https://issuu.com/kingstonartistsopenstudios/docs/cataloguekaos2016 

Follow the link to view the 2016 Kingston Artists Open Studios catalogue

There are  many different KAOS (Kingston Artists’ Open Studios) artists showing this year.

Below an image of the Cass Art Kingston Artists Open Studios Taster Exhibition.

Lovely private view, very much enjoyed. Even with my stick.

Exhibition open to all so do come and see it.  Free. Cass Art, 103 Clarence Street, KT1 1 QY in “The Art Space” above the shop.  Just go in the shop and ask to be directed in the right direction!

 

cass art taster exhibition wall 2016 with gentle leaves Kingston Artists' Open Studios

cass art taster exhibition wall 2016 with gentle leaves Kingston Artists’ Open Studios

 

The quotes  below come from Living Within .  (Copyright Living Within).

http://www.livingwithin.com/20052016-kingston-artists.html

KINGSTON ARTISTS PREPARE FOR OPEN STUDIOS WEEKENDS IN JUNE
Friday 20 May 2016 – Kingston

“This year there will be over 70 painters, printmakers, photographers, sculptors, ceramicists, textile artists, glass artists, and many others, taking part. Open Studios is a growing national movement, with towns all over the UK taking part at different points in the year, and is an opportunity for the artists to share what they do with each other – and of course the general public. Often working alone in their studios for most of the year, it’s great to spend two relaxing weekends sharing ideas and meeting people. It is also an opportunity to show a wider range of work than they can in fairs and galleries, where space is limited.”

 

“2016 is the biggest event yet, with 13 different venues opening their doors, including a ‘taster exhibition’ throughout the week of June 11th, held in the upstairs art space at Cass Art, in Kingston town centre. Providing you live in the area, you will receive a flyer through your door, or alternatively you can pick up a catalogue at Kingston museum, the library, Cass Art, Pullingers or one of the many cafes around town. A trail map is included, or can be downloaded from http://www.kingstonartistsopenstudios.co.uk/show”

Not forgetting the Anagrams Kingston Museum Exhibition.. Wheatfield Way, KT1 2PS runs till 2nd July.

So much to see!

 

Yoga and the Devoted Christian

Sadly, for the last two weeks I have been unable to do my local Our Parks Yoga class, due to my right knee becoming very unstable, and difficulty walking/pain just meaning I need to give it a bit of a rest.  Still doing a bit of Yoga at home and planning a return soon, but waiting till I have seen a specialist as rather worried about what is happening with it  right now.

Despite my current limitations, I am LOVING Yoga, and find it quite a revelation!

Wishing I had discovered it earlier in life, however, there is a time for things, so it being now is just fine!

Reflecting back on how my faith and views have changed… I am now in the second half of life.

There would have been a time, twenty years ago, when I would have viewed the practice of Yoga with suspicion and a certain amount of what can only be called paranoia and fear.

Maybe a feeling of somehow betraying my religion.

However, what has changed?

I think my experience with psychotherapy has changed rather a lot for me.  Because the tendency of all people is to try and avoid that which makes us feel uncomfortable.  Natural.  Understandable.

But our fears are rooted deep within.  We attach them to things.  Fear is good when there is a good reason for it.

A “good reason” for fear with vary a lot, depending on one’s life experience.

Every person has their own sense of integrity, and for some Christians, to practice something like Yoga is something they cannot allow themselves to do.  Others won’t even think about philosophical or religious ideas or possible conflicts and will just worry about if they are “doing it properly”.

I feel that the practice of Yoga is pretty much like anything else, what it means, represents, and promotes varies hugely depending on who is teaching it, how they are teaching it, and what the intentions and objectives are behind it.  As is the case in the vast area of what might be termed Christianity, or in a more expressed in ritual/religious sense “the Christian Church” What is actually going on, being taught and expressed, and how this is being done, varies immensely.    There are all kinds of things going on!

“Nowhere’s Safe” comes to mind…. words I remember from a Graham Greene book I read. Cannot remember which one!

Might seem negative, but for me, not so.

There is a place of refuge in our Creator God.  Yes.  But it is easy to allocate “safe” and “unsafe” places in our life.  We are not always right.

If someone feels they are betraying themselves, their particular religious affiliation, or their innermost being, in some way by practising Yoga, then they should not do it.  It is as simple as that.  If it doesn’t feel “safe” somehow, then it doesn’t feel right.

However, if it seems in accordance with what God and the Holy Spirit are doing in their life, and indeed,  then it may be for them a gift, and a  wonderful thing, liberating, helpful, and definitely in the service of Christ and others.  In my humble opinion.

For me, it is a gift, and I am grateful to receive it.  I see my Yoga teacher’s work as an act of service, which I am grateful to receive.

I don’t feel any obligation to believe what I do not believe, or change what I believe, because of a variances and differences in philosophy  in the context of a Yoga Class, any more than I would in any other setting.  However, it is the case that I feel no imposition or pressure to do so, and this is probably something which varies a lot depending on the individual teacher of Yoga.  There are more religious and ritualistic ways of Yoga, I am sure.  It is doubtful that I would feel comfortable with that, just as someone who wasn’t a committed Christian believer and used to taking Communion at Church wouldn’t feel very right at all about taking Communion!

I am a big fan of Mindfulness as a practice, and I think that probably my appreciation of Yoga is the working together  of the mind and body in what I view as a prayerful discipline, and the whole matter of body awareness and opening myself up to God, (God awareness) which I really love a lot.  I do experience very good  sense of communion with God when doing Yoga, and invite the Holy Spirit into the whole of my being in a very intentional and focused way.

I can see that some folk would  worry about what they were opening themselves up to, if they felt that it was not actually in their own control and that their personal boundaries might somehow be infiltrated by “something else” spiritually without their awareness or consent.  Or if they felt pressured or imposed upon in some way.  But I think a good Yoga teacher is one, like any other kind of teacher, who doesn’t seek to impose anything, but instead, trusts, TRUSTS, in the Spirit of God.

I guess the problem for many devoted Christians with Yoga might be in a belief that there is more than one God and that actually the “God” or “Spirit” of Yoga is a different one to the one that they believe in.  My own belief is that there is only one God, but lots of different ways and approaches, or paths, which people negotiate their way along in their quest for spiritual truth and freedom.  I don’t believe God is an impersonal force,  and I hold passionately to the uniqueness of Christianity in relation to other religions.  Christ is God, and is Saviour.  The ultimate truth. The light of the world.  The point at which all points converge.  I don’t need to argue any kind of case about what I believe being better, or more right, or “the only way”.  Because quite clearly, it is not the only way to experiencing God’s truth, Spirit, and working in the world. God works in people who are not calling themselves Christians.  He worked in me, throughout my life, long before I committed myself to Christ, in many significant ways.

 The fact that I believe the SOURCE of all truth and revelation is indeed bedded in the work of the Lord Jesus Christ, is something I pray I hope to simply live out and testify to, in whatever ways I am given to. The way, it is a way of Love.  So I aim to love, as I am loved by my Creator.    I can express what about Christ, being a Christian, and knowing God through Christ, means, and how it matters, and have open eyes to the wonderful working of the Holy Spirit. In my own experience, I see the Holy Spirit manifest in my practice of Yoga.  It is as simple as that.

It’s not that I don’t believe that there are harmful spiritual influences in the world… because actually, I do believe they exist.   I don’t think a recognition of such is Medieval or delusional.  But I draw my attention to what is good, and orientate myself to  the workings on the Holy Spirit.  And God is using my practice of Yoga in a wonderful and exciting way. Which I am very grateful for.

Suspicions about yoga are shared by many Muslims, Christians and Jews around the world and relate to yoga’s history as an ancient spiritual practice with connections to Hinduism and Buddhism.  It is a spiritual exercise, to be sure, but what it means to someone is what it means to them.   All the things in our lives mean something different to what they mean to someone else, I think.   It is more OUR intention and purpose, which makes things what they are.

And as I mentioned earlier, the variety and differences, the various schools and approaches, the diversity of what Yoga “is” is rather hard to pop into one big lump.    Just because Yoga is ancient, and a bit mysterious, doesn’t make it evil.   You don’t have to agree with philosophies, theories and ideas about how and why it “works” or is beneficial to experience it as beneficial.  God does work in mysterious ways, as that familiar saying goes!  And, if Yoga is a “way” to God, then it doesn’t follow that this somehow supplants Christ, or that it is and “either” “or” situation.  Or that it is in itself some kind of salvation by works. (I am sure it might be practised in this way by some, but that doesn’t mean that it needs to be).  Deep down, we all struggle with the sense that we need to earn favour, approval and acceptance.  This is lived out in our lives in many different kinds of way.  Grace, pure grace, is always a challenge.

Even if yoga is, fundamentally, a religious activity, our yoga practice is OUR YOGA PRACTICE.  It does not belong to anyone else.  Therefore, if we are religious, then it will be, as we are.

No prizes for guessing what “Sun Salutation” is for me!!!!

Basically Yoga is a very broad term and this does cause difficulty.  There are lots of different forms of Yoga and some are more overtly religious than others.  For example, Hare Krishna monks, are adherents of bhaktiyoga, the yoga of devotion. But what most people in the West think of as yoga is properly known as hathayoga – a path towards enlightenment that focuses on building physical and mental strength.  The word “enlightenment” might cause some alarm to some Christians I guess. but what  “enlightenment” means  depends on tradition.  For some Hindus it may be a liberation from the cycle of reincarnation, but it doesn’t have to be.  For many yoga practitioners it is a point where you achieve stillness in your mind, or understand the true nature of the world and your place in it.  In this respect, it appears more to me to be a matter of  Mindfulness. With wonderful physical benefits!

I guess there will always be debate about whether Yoga is  compatible with Christianity, Islam and other religions.  The yogic asanas  might retain elements of their earlier spiritual meanings, however, as I move MY body and use MY mind, in prayer to MY GOD, then I think what is theoretically  “retained” becomes meaningless in my practice, because I do not hold onto it, nor have I even held it.  What Yoga embodies will surely stem from the soul of the person doing it, and no more or less?  It is an art, and like my painting, I use elements of what has gone before, but what I do is not what has gone before, it is what is now.

It is all about intention.

When I take communion, in my local Anglican Church, I take the wine, though I am teetotal.  I do this and it is deeply symbolic and special to me.  It defines the importance of the sacred for me.  I have rejected alcohol in my life, but I receive it in this context, and it deepens the symbolism for me actually, because it is about sufficiency in Christ for me.   Yet I could ,if I wished to, chose to receive wine in other ways, drinking at a party or something.  (Though it would not be a good idea for me!)   It is the intention which is different.  My fallen intention with alcohol was that it was, fundamentally there, as an instrument of destruction for me.  That is what it meant.  But in the rite of Communion, the intention is transformational.  Its meaning is blessedly transformed for me.  It is life, and life through the blood of Christ.

I mention this because taking that communion is not like drinking alcohol, even though it is drinking alcohol.  That is the best way I can think of describing it, and I also believe that kneeling, for example in an asana, is kneeling in whatever way the intention is focused.

Religion is not installed in a person through repetition of outward rituals or practices.  That is quite simply, rather empty. In my opinion.

Faith comes from the inside out, and from an inward working of God’s Grace.  As a sacrament is an outward sign of an inward grace, Yoga practice can be that too.  If you want it to be.

I won’t be chanting Hindu sutras, but I am happy to use “namaste” because I do acknowledge the meeting of God in each other.  I don’t understand God as just an impersonal force, but I do recognise very much, especially as an artist, the creative spirit at work in the world, as it says “In Him we live and move and have our being”.  There is something of the breath of God, which is very wonderfully engaged with by focus on the breath!

I view Yoga as a philosophy and approach, and one which can be very usefully engaged by Christians, without causing sudden destruction to their faith or adversely affecting them in any other way,  as indeed much can be gained from the many rich areas of life and experience, which happen to be new or different to us, in some way.

Quote from Rebecca Ffrench:

“People say that yoga is Hindu, but “Hinduism” is a problematic term, coined by outsiders for everything they saw going on in India.

Yoga stems from the Vedas – the Indian holy texts that were composed from around 1900BC. Besides yoga, three major religions came from those texts – Hinduism, Jainism and Buddhism.

Around 200-400AD, a sage called Patanjali composed the Yoga Sutras. His “eight limbs” of yoga still inform practice today and discuss posture, breathing, meditation and correct living.

For many centuries yoga was all about meditation and austerity practices, such as standing on one leg for weeks or hanging upside-down from a tree. There were only 14 yoga asanas or postures.

The big explosion in hatha yoga didn’t come until the early 1900s in Mysore, India – now there are over 100 postures.”

Well, that’s enough of that for now.

Apart from… Yoga has helped me deal in all respects with my ongoing experience of osteoarthritis, and been a fantastic tool and resource in so many ways.  It seems  a shame to dismiss something  or even prohibit something which is so beneficial to so  many just because of irrational fears…

It is, I think, what comes OUT of us, which is normally the problem.  So much inner trash!

Discernment with respect to our own inner brokenness and our faulty strategies of dealing with it, is probably more useful than avoiding this or that, in case of “pollution”.  However, each should only do what they feel comfortable with, this is the main thing.

Art at the Bridge#7

This exhibition is still up.  Wonderful to see my work in such a prominent place.  Tower Bridge! I never would have thought!    So pleased to be part of it.  “Drawn Together”  my piece of work can be brought as a print on Redbubble.com .  Here is the link;

http://www.redbubble.com/people/jennyjimjams/works/20377969-drawn-together-building-bridges-the-female-perspective-design-by-jenny-meehan

Artist Notes for Drawn Together:

“Building Bridges, the Female Perspective”.
This artwork expresses some of my female emotional experience: the emotion of two parts of my sense of self being pulled together. A feeling of balance and unity, which holds, even when the two sides are different in some respects. The suspended purple and yellow contrasting colours create stasis and tension. Yet, there is also a mirroring of the same essential structure in my composition, drawn together in a pivotal centre, which may suggest movement. This piece also resonates in relation to the Tower Bridge; an engineering achievement involving among other things, precision, balance, and design. Creative energy, both within and without, in both engineering and art.

 

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan, all female art exhibition london, contemporary women artists british, jenny meehan jamartlondon, all woman art exhibition,

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

My friend Denise and me had a great day out!  Loved the glass walkway and the Engine Rooms were amazing!

 

drawn together by jenny meehan, art at tower bridge, abstract art female artist, feminist artist, contemporary women artists, contemporary female artists, jamartlondon,building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan  Jenny’s work “Drawn Together”

 

Here is one of the reviews:

http://whatsgoodtodo.co.uk/art-at-the-bridge-7-review/

Art at the Bridge #7
Tower Bridge, London
http://www.towerbridge.org.uk

8 March to 31 July 2016

Reviewed by Amanda Hayes

“I was privileged to be invited to the press night of Art at the Bridge #7 – Building Bridges: The Female Perspective last night, held in the fantastic setting of the Victorian engine rooms at the iconic Tower Bridge site it was the perfect backdrop to display art works. The engine rooms are very much an industrial setting with uncluttered bare brick walls and this lets the art speak for itself showing off the different genres with clarity.

Tower Bridge work with a range of community partners such as Variety & Southwark Young Pilgrims and has partnered with the Southwark Arts forum since 2011 to provide an annual exhibition at the Engine Rooms. This year’s exhibition is entitled Building Bridges: the Female Perspective and showcases the very different art forms from a network of local artists, 15 of which have gone through a judging process to exhibit at this prestigious venue. The works are a selection of paintings, photographs, mixed media, drawings and lino cut prints each showing their unique view, either literally or metaphorically of what building bridges in a modern world means to them.

Whilst the moody photograph Momentary Flight by Ana Katrina Giles-Myers, and the lino cut Albatross from Charlotte Tymms portray bridges in a more literal sense Donna Leighton’s etching entitled The New Baby explores building bridges in a completely different way by portraying the bond between mother and baby. A particular favourite of mine was Bound to Remember by Victoria Coster, a collage on canvas layering paper that would typically be discarded such as receipts for food and travel from 2006-2011 bridging together the space between those times.

Running from International Women’s Day on 8 March until 31 July 2016, Building Bridges: The Female Perspective is a must see exhibition set in an atmospheric setting. Art being a truly personal taste I highly recommend you go along and find your own personal favourite.” 

Bits and Bobs

This is a nice little run down of exhibitions by British female artists happening in 2016:

http://www.culture24.org.uk/art/art548364-International-Womens-Day-2016-19-must-see-exhibitions-by-women-artists-this-year

More interesting reading from Gresham College:

http://www.gresham.ac.uk/lectures-and-events/contemporary-christian-art

 

That’s it for now….

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

Jenny Meehan is a painter, poet, and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  If you read and enjoy it, this would be an added bonus! 

Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details as availability depends on other commitments.    

 Jenny Meehan works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings and other artwork forms  and affordable photo-mechanically produced prints are available to purchase.  

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:  www.jamartlondon.com

Also, you could follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way. 

Note About Following Jenny Meehan Contemporary Artist’s Journal 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

You tube video with examples of photography, drawing and painting

by Jenny Meehan http://www.youtube.com/watch?v=TAXqzMIaF5k

Website Link for jamartlondon:  www.jamartlondon.com 

A selection of non objective paintings can be viewed on pinterest:   https://uk.pinterest.com/Jamartlondon/

 

The usual assortment of bits and bobs from me!  It’s a bit of a scrap book really!   This journal is an invaluable tool for me, in that it enables me to look back and see what is happening with more detail than would otherwise be possible.  It is also a way for those interested in my work to delve a little deeper and pick out what they are interested in, while discarding the rest.  The internet is a wonderful tool.  Sometimes I cannot find things myself that I am looking for, be they notes or images, and if I cannot find them at home either digitally or on paper, I can often find them by looking in this Journal!

In this vein, do take a look at my pinterest board.  I often post my work up on there as it is a quick and easy way for people to look at my artwork .   https://uk.pinterest.com/Jamartlondon/abstract-expressionist-paintings-jenny-meehan-jama/

The Art of Caring at the Rose Theatre

It was nice to go to the launch and be able to speak to people in person about my photographs on show.  I had three on display, of the late Reginald Driver.   Reginald Driver was a prisoner of war at the stalag at Teschen, Stalag VIIIB.  I just checked this out, as someone asked me.  I couldn’t remember which camp he was at, but  I had a photograph of a postcard which Reg had shown me, and it says Stalag VIIIB on it, dated 1945.  I remember he told me about the “Death March”, and mentioned Poland.  But I wasn’t sure so hunted through my archives to find it.

reg driver christmas card stalag at Teschen Stalag VIIIB

reg driver christmas card stalag at Teschen Stalag VIIIB

I was pleased that one of my photographs,  “Reg: Support System” has been selected as one of 20 to be part of a further exhibition at the Arts Project exhibition space in St Pancras Hospital from July – October 2016.

 

 

Reg Driver of Chessington Surrey, photo title Support System. photo copyright Jenny Meehan DACS

Reg Driver of Chessington Surrey, photo title Support System. photo copyright Jenny Meehan DACS

Description of the submission:  “The photographs show a neighbour (died 4th January, 2015) Reginald Driver, and were taken when Reg was 88/89. Reg’s experience of being a prisoner of war and fighting in the second world war included many very traumatic memories which stuck in his mind, and my own belief in the value of listening to people’s life stories as part of valuing them as a person and communicating love, motivates me to submit them to this exhibition.

The titles are as follows:
Reg: Incline Your Ear by Jenny Meehan
Reg: Support System of 2008 by Jenny Meehan
Reg: Sharing Memories by Jenny Meehan

Reg Driver Incline Your Ear photo copyright Jenny Meehan DACS

Reg Driver Incline Your Ear photo copyright Jenny Meehan DACS

reg driver for art of caring

Reg Driver “Sharing Memories”

There was lots of amazing work on show, but my favourite has got to be “Praying with Mrs. Cooper”.  You can see an image of this, and the source of the quoted text below by following the link.

This year’s crop include 3 artworks from The Rev. Robin Pfaff, he told us about his motivation to get involved, “As a hospital chaplain I often meet people at a time of intense change, but these encounters usually show me something of the indomitable human spirit. Healthcare professionals, however, who are regularly exposed to highly traumatic situations need to find their own way of coping and build up a resilience that is both sturdy as well as tender. Talking about what we do and see can be extremely difficult, as we all have a tendency to avoid emotional pain.”  (quote from http://caringandcare.blogspot.co.uk/ by Alban Low)

Rev. Robin Pfaff’s paintings are AMAZING, I love them so much, and I have only seen a few digital images and the print at the Art of Caring Exhibition.  They are the kind of representational painting I love, rich with emotional  depth, profound, touching, sensitive.  When I looked at the small print of “Praying with Mrs. Cooper” it was as if the whole painting had been totally immersed in experience, dipped in and pulled out, saturated with reality and also with compassion.  This is the kind of painting I could look at for hours. I just count myself blessed to be able to see it.  Goodness knows what it must be like “in the flesh”.

 

Biggs & Collings present Turn the Colour Down!
Frank Bowling | Marcus Harvey | Tess Jaray | Chantal Joffe | Mali Morris | Justin Partyka | Dan Perfect | Fiona Rae | Biggs & Collings

16th April – 7th May

Talk: Saturday May 7th 5.00-6.00

“Colour in art can be powerful by being subdued. Muted colour is often what you’re seeing in work by artists known as colourists.  Many people’s idea of colour in art is something bright, like children’s toys or Pop Art, and it’s not particularly part of what’s celebrated in contemporary art.  It’s unusual today to come across anything like the sophisticated colour arrangements of historic art, which must now include Modernism. There are new technologies and the new sensibilities they produce, but these developments mean that some old sensibilities may be lost. There’s no material need to find colour now. It’s found for you in the popular medium you’re using — your camera, for example, with its colourising menu. If it’s rare for artists now to come up with the kinds of colour subtleties in painting that existed in the past it’s at least partly because the ingredients are no longer there in the social imagination.

We’ve brought together these works as an indicator — to our mind, at any rate — of the present’s difference to the past, even the recent past. But also — because we feel they have a rare intensity — as an example of how the lost is never really lost. We think there are possibilities for surprise. A law or rule that’s gradually set in can be joyously broken. Abstraction or figuration is a red herring, the world is the issue, and art turned towards it and interested in interpreting it can easily be abstract in form.

How do the works in this show express the world around us? Chantal Joffe strips away at figuration — people she knows; her family — until she arrives at a rich faux-simplicity with powerful abstract values. In Mali Morris’s painting scrawled maroon surrounds a thick, palpable yellow.  These contrasting presences and the painterly drama of accident and control suggest reality apprehended through light. Tess Jaray’s distilled geometric work with its play of edges and planes, and its subtle surfaces where many layers of oil are freely brushed onto wood, is one of a recent series. Recurrent shapes and colours echo the polychrome patterned entrance to a mosque she saw in Aleppo, the city whose destruction we’ve all witnessed on the news.  Because of the way he’s captured available natural light: low, dim, Goyaesque, Justin Partyka’s photo of a scene on a Norfolk farm is epic and tragic. Fiona Rae summons up the look of early abstract painting a century ago with its characteristic voids and floating objects, and air of the inner world, the unseen. In her painting she refracts all that through the kind of forms anyone might generate today on a screen: a balance of transcendence with the close at hand. Marcus Harvey shows a seascape with an imposed presence that suggests natural patterns, an earthy ceramic object that confounds the photographic context spatially and at the same time eerily connects to it. Dan Perfect paints what seems to be a 1950s lyrical abstraction suggesting river, rocks and wind. This painting on paper is a study, a halfway stage before he processes that pure lyricism into something more multi-dimensional. With our works, we try to achieve a quality of shimmer and vibration like the multiplying patterns that exist in the surviving religious art of late antiquity, but which also suggests its illogical ravages of time and repair. Frank Bowling is the only artist in the show that makes colour synonymous with materiality, the stuff of the world, as if there’s colour substance somehow on the tips of his fingers that he’s agitating and manipulating. He makes a living surface with it, which is also a picture.”

Biggs & Collings 2016

 

Ahh, Drat.   I liked the writing above so much, that I thought I will certainly go to the talk and see the paintings.  It is always a relief to find interesting and engaging writing on painting.  However, after going to visit the Original Print Fair,  my heel, which has been giving me sharp pain for over a month,  and my knee, which has been playing me up for ages, decided to get worse, and even with a stick, I really could not walk any further.   I am very disappointed.  Hopefully soon to see a specialist about the knee!

The Print Fair was enjoyable.  My favourite stand was the August Laube stand.   I was kindly given the annual catalogue by Brigitta Laube, and I will be feasting my eyes on that for a long time.    I love the selection of prints, so rich and interesting.  It must be my German-Swiss heritage (mother) that pulls me this way.

The catalogue can be viewed here: http://www.augustlaube.ch/fileadmin/user_upload/catalogues/72.pdf

One delight, a German Single-Sheet Woodcut, from about 1420-1440 showed Saint Veronica holding the Sudarium and two Apostles St. Peter and St. Paul on either side.   The Sudarium… Here is some information quoted from Wikipedia:

The Veil of Veronica, or Sudarium (Latin for sweat-cloth), often called simply “The Veronica” and known in Italian as the Volto Santo or Holy Face (but not to be confused with the carved crucifix Volto Santo of Lucca), is a Christian relic of a piece of cloth which, according to tradition, bears the likeness of the face of Jesus not made by human hand (i.e. an Acheiropoieton). Various existing images have been claimed to be the “original” relic, or early copies of it.

The final form of the Western tradition recounts that Saint Veronica from Jerusalem encountered Jesus along the Via Dolorosa on the way to Calvary. When she paused to wipe the blood and sweat (Latin sudor) off his face with her veil, his image was imprinted on the cloth. The event is commemorated by the Sixth Station of the Cross. According to some versions, Veronica later traveled to Rome to present the cloth to the Roman Emperor Tiberius and the veil possesses miraculous properties, being able to quench thirst, cure blindness, and sometimes even raise the dead.

The story is not recorded in its present form until the Middle Ages. During the fourteenth century it became a central icon in the Western Church – in the words of art historian Neil Macgregor – “From [the 14th Century] on, wherever the Roman Church went, the Veronica would go with it.”[1] The act of Saint Veronica wiping the face of Jesus with her veil is celebrated in the sixth Station of the Cross in many Anglican, Catholic, Lutheran, Methodist and Western Orthodox churches.[2][3][4]

 

https://en.wikipedia.org/wiki/Veil_of_Veronica

more info, follow the above link.

The worm holes in the print were wonderful!

I want to keep this reference, so include it here.

Keith Vaughan 1912 – 1977 Old Seaweed Hoist, Lithograph, Window Landscape, and The Walled Garden, stood out for me, stunning.  

https://aberystwythuniversitycollections.wordpress.com/2013/06/11/keith-vaughan-figure-and-ground/

http://www.invaluable.com/auction-lot/keith-vaughan-winter-landscape.-655-c-f25ffa4e33

http://www.originalprints.com/printview.php?dx=1&page=1&id=21761&sid=ff7adddc9f0ce40761b8a4c2ff26afe9

 

Art at the Bridge #7

Launching on International Women’s day,’Art at the Bridge #7′, showcases the talents of 15 local, female artists.

8 March – 31 July

Celebrate female artistic endeavour this spring with Tower Bridges new ‘Art at the Bridge’exhibition. Now in its seventh iteration, this long running exhibition in partnership with Southwark Arts Forum will display the works of 15 female artists as they explore the theme ofBuilding Bridges: The Female Perspective’.

The exhibition aims to reflect upon female perspectives in the community, providing a platform for artists to express their ideas through a variety of media including paintings, etchings, video, photography and drawing.

Each of the artists have drawn inspiration from their own experiences and these artworks offer a striking contrast to the huge and beautifully maintained steam engines that surround them.

Tower Bridge is committed to engaging with, and acknowledging, the talents of the local community. Through its regular exhibitions in partnership with Southwark Arts Forum, we are delighted to provide an opportunity for artists to gain exposure to an international audience of approximately 2,500 visitors daily.

Learn more about our community partners here.

Entry to ‘Art at the Bridge #7’ is included in the admission price.

Book your tickets online now to receive your discount!

 

Well, yes, another plug from me for the above exhibition.  I am mega pleased to be part of it.  I had such a lovely day visiting Tower Bridge too, a real highlight of the year.

 

Art and the Subconscious

I remember well the day I realised that the inner world was just as an important a subject of my artistic interests as my external surroundings.   Around 2009, when the children were younger, just before I started to really get on track with my work, I went on a short painting course, and while I had produced some nice paintings, one afternoon, in a slough of despond, I painted this:

© Jenny Meehan. All Rights Reserved, DACS spinning table painting jenny meehan

jenny meehan spinning table painting

© Jenny Meehan. All Rights Reserved, DACS

Based on the sight in front of me, I looked into the darkness of the bushes and into the shadows, and worked into the background experimentally.  I played with the relationship of stillness and motion, and also with perspective, and while giving a lot of attention to the little naturalistic apples in the centre of the table, I took great care to ensure that the fact they were rotten was accurately depicted!  I realised the desire to experiment was more important to me than painting pleasing pictures.  I felt that my artistic endeavours shouldn’t just be to render what is seen accurately.  When I look back on this strange little experiment, I am glad I went with the flow, though it felt hard at the time as I didn’t have any understanding of the direction I was heading in.  It’s quite a significant piece, on reflection, as it marks a turning point.

Nature and the natural world is wonderful….There’s no rejection of that, because everything in my mind got in there somehow.  But I have little desire to attempt to copy what I see.  I admire others who do it wonderfully, and I enjoy and take in all that is around me, but to paint it?  That I am able to, is not sufficient reason to do something.  I have several older paintings which show me that I am able to paint representationally.  Occasionally the urge strikes me, though this is more likely to happen with drawing.  But I have fallen into paint, as into the ocean!    I can imagine in the future I might do some imaginative representational pictures, based on memory.  But it is not possible for me to force myself in one direction or another.  And I think, with painting, one should walk in the dark, just seeing a fraction of the way ahead sometimes, and glimmers of possibility.  But no more than that.

 

Interesting thoughts from “Mothers at Home Matter” on Facebook this March…

“How do global decision-makers measure ‘equality’ and by what criteria?
Where does care work fit in?
As mothers, do we agree with their interpretation of what constitutes equality and ‘progress’ i.e prioritising more hours of paid work for all family members whilst downgrading the value of caregiving work?

It seems to us that what tends to get overlooked in fight for women’s freedom is for caregiving work to be treated as equally valuable work – 100 percent equal alongside other forms of ‘contribution’ in society.

Sadly, because of the way care is devalued and disrespected, it means that equality is measured by minimising the amount of caregiving time women engage in, whislt maximising time spent in other kinds of work! But that means women lose the freedom to nurture their own infants and care for their families, which in many ways is the antithesis of progress surely? Mother-child separation doesn’t sound progressive to us.

Also it’s time to debate how/why poverty in developed economies is rising (and the gap widening between well-off and least well-off) just as there are more adults (men and women) in the workplace than ever before. So it’s clear that more paid work doesn’t equal less poverty or income equality, in fact it seems to correlate with a period of rising poverty and more income inequality. Perhaps rising housing costs/rents has a lot to do with it – ordinary folk can’t catch up no matter how many hours they put in.”

Well said!

Spiritual Direction Ministry Information

I often look out for different definitions/descriptions of what the art of spiritual direction “is”.  So many people have not heard of it.  As I am currently training in this area, I pop an occasional thought up on this blog from time to time.  So here is another:

Quote below from the Guidelines of Good
Practice for offering the
Ministry of Spiritual
Direction  from the Diocese of Liverpool

 

“Spiritual direction is described as being a way of helping
people ‘to pay attention to and to share with another member
of the community experiences of God, and, in the process, to
learn how to discern what is authentically of God from what is
not. In this way they also learn how to talk about their
experiences of God with other members of the community.’1
Spiritual direction then, is seen as having a communal dimension
which enables the individual to look within to the movement of
God, to bring this through reflection, and maybe with cognitive
reasoning, into conversation with another, and then into forming
and informing their way of life. This way of life is both personal
and corporate.
Reflecting upon the presence of God means that the time of the
director with the directee becomes a ‘holy time’, as a ‘sacred
space’ is created between each, and each with God. The director
offers a total and unconditional listening, putting their own self
away for that time to focus upon the directee. The spiritual
director offers to the directee, ‘the gift of disinterested, loving
attention’.2
It is a vital support for all people, lay and licensed alike.”

 

I am personally mulling over the possibility that it may be helpful to view it as a modality of psychotherapy… there is a lot of overlap, in many ways, though the focus on relationship with God is more central/explicit.  And the desire is, for both people, an invitation to the Holy Spirit, to meeting, hearing, and receiving from our Creator God.  The emphasis on the Holy Spirit as the source of guidance is very specific to Christian Spiritual mentoring/guidance ministries.  It may provide new perspectives and bring release and growth, (I would hope so!) but theses things are blessed additions to the central work of making space for both ourselves and our maker.  And seeing what happens.  I like the description I quote above very much indeed, in particular”enables the individual to look within to the movement of God, to bring this through reflection, and maybe with cognitive reasoning, into conversation with another,”

And the movement of God which happens in all people, should we open ourselves up, believe, and receive.

 

Boat House acrylic painting in progress Jenny Meehan 2012

 

the boat house lino print, jenny meehan jamartlondon

boat house lino print jenny meehan © Jenny Meehan DACS All Rights Reserved

The Boat House – Lino print and The Boat House -Painting, are two examples of a strand in my work based on the motif of the symbol for rest used in musical notation, which I used in combination with the concept of a river journey. A rest is an interval of silence in a piece of music which is marked by a symbol indicating the length of the pause. The rectangle shape I adopted is the musical symbol for a half rest, or minim rest, which denotes a silence for the same duration as a minim note. Half rests are drawn as filled-in rectangles sitting on top of the middle line of the musical staff.
Removed from their musical context and placed in the visual landscape, where they relate to the deeply resonate symbol of a river, the motif provides a way of expressing the importance of retreat, rest, contemplation and prayer for the human being on life’s journey. Symbolically the river represents the flow of time, and the river, on its long journey, is symbolic of life in general and our lives in particular. There are periods when the river experiences turbulent, chaotic and disturbing times; there are periods when it experiences twists, turns and pauses; and then there are periods when the river flows peacefully, smoothly and calmly. A pause taken on the journey, a rest in a metaphorical boat house, is a vital part of it.
In my own artistic practice and life I have found that time taken to pause, to interrupt the often frantic pace of life which seems to be something that our particular culture encourages, has fed into my creativity and enriched it by increasing both the potency and depth of my work. Allowing me time to mull over what I produce…the pauses between painting and writing, thinking and doing, might seem like gaps in activity, but it is in these spaces and what I like to call “the in-between-doing places” where we have opportunity to draw meaning from both our being and our doing.

The “rest” in the painting looks a little like a sofa, which is good!

 

Nicked image…

If you see this on the internet on http://1.bp.blogspot.com/-j-0oyT3yeUA/UNC-e4mLUFI/AAAAAAAAATk/ij1eNODkPPk/s1600/sketch-book-sketch-leith-hill-jenny-meehan-drawing-web1.jpg

You will notice that it is MY drawing, and nothing to do with the young man who has posted it on his site.

Oh, so so sad.  To do that.  Much better for that person to learn to appreciate the value of their own work!  mshazis.blogspot.com is nothing to do with me or my work in any way.

Leith Hill Surrey Pencil Sketch Jenny Meehan Contemporary British Artist surrey artist artwork for sale to buy affordable english romantic artist modern, tree trunk bench resting place,

This pencil sketch is by Jenny Meehan.
Copyright jenny meehan.

 

http://www.methodist.org.uk/static/artcollection/image41.htm

Image of Christ walking on water by Maggi Hambling can be seen here

Good Friday (Walking on the water)
Maggi Hambling (b.1945)

Quote below from http://www.theartsdesk.com/visual-arts/theartsdesk-qa-artist-maggi-hamblingtheartsdesk Q&A: Artist Maggi Hambling
The flamboyant artist talks to theartsdesk about sex, death and the sea.
by Hilary WhitneySaturday, 01 May 2010

 

“When I paint the waves I want them to seem as if they are crashing in front of you, right now. That’s the magic of oil paint over any bloody photograph because a photograph is just a single moment, immediately consigned to history, whereas an oil painting is the result of many hours’ work, culminating in a single moment. If you look at a late Titian or a Rembrandt or a Van Gogh, it’s as if you’re there at the act of making the painting and that’s what’s so exciting about paint to me. It’s something photography can never touch, no matter how moving the subject.
Although they are ostensibly very different, I can see a lot of similarities in the sea paintings with your other work, such as Laughing Mouth and Good Friday 2004.
What? You see Jesus in the sea? But yes, I think a lot of things have come together in these paintings – they’re full of mouths and animals and all sorts of things that people tell me about which I haven’t noticed – and I did paint a Christ of the waves although I only do him on Good Friday. It’s a kind of bad habit which comes from childhood memories of Good Friday being such a miserable day. My mother was quite churchy and it was instilled in me that you couldn’t have any fun so I find it very difficult to think of anything else on Good Friday but Christ on the cross.
And of course, it is an extraordinary image combination of life and death at the same moment. I think great art inhabits the place that is both life and death and that’s rather the point of it.”

 

“I think great art inhabits the place that is both life and death and that’s rather the point of it.”

VERY interesting!

 

Tips for Commissions

Find out if the person has commissioned art before, and how it went.

If they are new to commissioning art, get a good idea of what they want and make sure that their expectations are realistic.

Find out what they want to see in their painting…aim for getting a general idea, an also find out what they definitely don’t want.

Check out who will be approving the art, is it just them or a larger group of people.  If it’s a large group then it’s going to be less likely you will please everyone!

Make sure you  write and sign a contract or agreement.  This should include a description of the art, physical characteristics such as size and medium, payment schedule, late payment fees, how many times you meet to see the work in progress during the course of the commission, completion time and final delivery.
Take a percentage of the full fee in advance, and explain it is non-refundable.   If the client backs out before the work is completed, they need to understand that you have still invested a lot of time and effort, plus materials into it and therefore the advance is non refundable.
Arrange viewings as the work progresses, three or four is plenty.  And encourage plenty of dialogue and keep conversation channels open.   Stick to what you agreed and if you want to move the painting in a different direction then check this out first

 

Oh America!

http://www.markelfinearts.com/blog/

I am glad I have found this.  I find it encouraging to see what is happening in America with abstraction and painting.  There is a lot going on here in Britain, of course.  But we do like a picture, and one we can get a grip on.  There seems to be more of a sense of abandon and acceptance of abstraction over there.  Well, thankfully because of the internet, the sea is not so wide!  This blog here makes a very interesting read. Kathryn Markel has conversations with the artists she works with, and I have enjoyed reading with a lot of pleasure!

 

Steve Chalke – Why I’ve Created a Church Charter…

I am pleased and so glad for the worthwhile work of Steve Chalke in this area, and I hope and pray for this man and his passion and love, which brings the heart of Christ into being in our world today.  What a relief to hear and what a balm for the wounded soul, wounded by prejudice, ignorance and fear.   Christ knows all about that.  He really does.

With time, I hope, love will reign supreme, on earth as well as in heaven.  But for now, we pray that eyes and ears be opened and that hearts be opened, to the Love of God, which has no bounds.

https://www.premierchristianity.com/Blog/Steve-Chalke-Why-I-ve-created-a-church-charter-for-gay-marriage

https://www.oasisuk.org/sites/default/files/A%20MATTER%20OF%20INTEGRITY%20Expanded%20version.pdf

 

http://www.acceptingevangelicals.org/

 

Zachary Keeting

http://www.conversationprojectnyc.com/blog/2016/5/21/zachary-keeting

I really like  and enjoyed reading this conversation very much!

 

Kingston Artists Open Studios

Well, yes, I have to plug this, as it is coming up soon!

I will have six paintings on show, plus images of others, as I cannot bring all my work to the KAOS 3 venue!  I will also have some greetings cards and smaller framed prints.   Here are three of the paintings I will show this year at the Kingston Artists Open Studios event.

 

copyright jenny meehan DACS clog dance, sacred dance, dance inspired painting,clog dancing, jenny meehan, jamartlondon, licensable painting, painting for sale, contemporary british abstract painting, lyrical abstraction,colourist expressionist abstract, modernist romantic, 21st century painters,

clog dance/sacred dance abstract paintings colour copyright jenny meehan DACS

 

copyright jenny meehan DACSBright and Breezy" Jenny Meehan Acrylic and Oil Painting, jenny meehan abstract colourist expressionistic, modernist lyrical abstraction,female british uk 21st century artist jenny meehan, contemporary painters in uk,

Bright and Breezy” Jenny Meehan Acrylic and Oil Painting
There’s a little memory from childhood of a tuft of a tree growing on the edge of a cliff

 

copyright jenny meehan DACSBuried Mother/Laid to Rest Oil Painting - Jenny Meehan

Buried Mother/Laid to Rest Oil Painting – Jenny Meehan

 

If you are interested in coming along, then take a look at the online catalogue:

 

Contact me via my website and let me know you are coming along, or just turn up!

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

Jenny Meehan is a painter, poet, and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  If you read and enjoy it, this would be an added bonus! 

Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details as availability depends on other commitments.    

 Jenny Meehan works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings and other artwork forms  and affordable photo-mechanically produced prints are available to purchase.  

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:  www.jamartlondon.com

Also, you could follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way. 

Note About Following Jenny Meehan Contemporary Artist’s Journal 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

You tube video with examples of photography, drawing and painting

by Jenny Meehan http://www.youtube.com/watch?v=TAXqzMIaF5k

Website Link for jamartlondon:  www.jamartlondon.com 

Digital photography can be viewed on http://www.photographyblog.com/gallery/showgallery.php?cat=500&ppuser=5491

A selection of non objective paintings can be viewed on pinterest:   https://uk.pinterest.com/Jamartlondon/

COPYRIGHT INFORMATION

All content on this blog,  unless specified otherwise,  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 under any circumstances. 

Copyright and Licensing Digital Images Information – Jenny Meehan

www.jamartlondon.com

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.

Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements. There is a contact form on my website www.jamartlondon.com

Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the “Art image” selection on the Design and Artist Copyright “Art Image” page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)

COPYRIGHT INFORMATION FOR OTHER IMAGES

Permission is always sought before use. When I include images,  I do so in the belief that this will not cause commercial harm to the copyright holder. I  believe that this is fair use  and does not infringe copyright.  Images are used in order for me to comment and reference them in relation to my own creative and artistic practice.  When I include extracts of text, I also do so with the understanding that again, this is permissible under the widely accepted fair usage terms with respect to copyright. 

Outline of my “Fair Use”  rationale, which is applicable to all images from other sources which I include on this blog:
There is no alternative, public domain or free-copyrighted replacement image available to my knowledge.
Its inclusion in my blog adds significantly to my narrative  because it shows the subject which I want to refer to and relate to my own artistic practice and is necessary in order for me to communicate accurately my observations/critical appraisal/appreciation/educate my readers, in understanding my perspectives on art and life.  Inclusion is for information, education and analysis only. The text discussing the significance of the included  art work is enhanced by inclusion of the image. The image is a low resolution copy of the original work of such low quality that it will not affect potential sales of the art work.

 

 

 

Welcome to the flowers, the buds and all that is growing!

At last, May  is here!

My studio tent is still standing.  Yet another storm, Storm Katie, which came in April or the end of March, I think, threatened to blow it over!    Since I put up the Studio Tent I am a lot more aware of storms, though we have had rather a lot of late! I see it is the eleventh storm to be named since last Autumn!

Storm Katie will batter Britain with 80mph winds as the tempest aims to put a miserable end to the bank holiday when it hits our shores tomorrow.
The Met Office has issued a national weather warning today as forecasters predict blustery conditions will fell trees and disrupt power lines.
The north of Scotland will be the first to bear the brunt of the storm as hurricane winds hit Orkney and Shetlands tonight, while 70mph gusts will later blow onto the south coast of England.
Katie is the eleventh storm to be named since last autumn and will arrive over Britain by Monday morning, after being blown across the Atlantic in just 30 hours by 200mph winds.”

A few things got blown off, but still intact and ready for more intensive painting sessions soon.   At the moment I am tidying, thinking and pottering around.  All part of the painting process!  Still looking back an reviewing.  Reading and thinking. Wondering. Waiting. Mulling.  All part of the painting process.   I am pushing forward with various pieces of work, but all in a very piecemeal way!

Interesting recent read:

http://hamptonsarthub.com/2016/04/19/talking-with-vincent-longo-discusses-pollock-neolithic-abstraction-and-working-from-the-center/

Talking With: Vincent Longo Discusses Pollock, Neolithic Abstraction, and Working from the Center
April 19, 2016 by Janet Goleas Abstract Expressionism, ARTIST PROFILES, Contemporary Abstraction, HAMPTONS, Hamptons & East End, Painting, TALKING WITH

Vincent Longo, quote on his process:

“VL: It’s all predicated on a statement that Picasso made many years ago. He said “I don’t seek, I find.” I start with one thing and it leads to another. That’s it. It keeps going until either I see something happening or not, and decide what to do. My overall intentions—what I hope the results turn out to be—is that whatever seems like a finished product, I want that to have a kind of particular action with the viewer that puts the viewer in affect. If I’m successful, the viewer is accepting automatically what is going on in the front, in terms of the meaning. That person has more chance of seeing what might be happening.”

Love that:  “I don’t seek, I find.”

Finding can be tricky…. You can have something staring you in the face and not recognise it.  Or Miss it.  Or find it and ignore it.  I was talking to someone recently about the importance of waiting and looking when painting, and of the value of the distance of time; it is good to leave long spaces of time as a painting develops, and helpful to go off and do something else, do nothing, or work on another painting.  Do a bit of gardening, or dancing, or whatever you want. But the temptation is to move forward before you have properly seen what is happening with the painting and what you have done.

Pretty much true in life, also!

Another quote:  (best to refer to the whole article and see the question, but snippets serve well in this blog)

VL : Overall. I don’t think the act of painting is changed in that sense at all. Ever.

Audience 1: I say in relation to the representational in painting. There the viewer can easily relate to what’s going on whereas in abstraction…

VL : When people say this to me I really would like them to look a lot longer at what they call “representational painting” and you’ll see a lot more than what it looks like. Painting is really about creating something that hasn’t existed before. That’s what we all strive to do and it’s not about copying nature really. If you look at Monet, he wasn’t copying nature. He was redoing it and he was celebrating it. There was a show at Gagosian few years ago of his late paintings. He left white around the canvas and that white in no way interrupted what happened inside. These are all about color. I think it’s fine to have certain preferences of subject and style and what have you, but you remind me of a woman that I encountered when I was still a kid at Cooper. I was looking at White on White by [Kazimir] Malevich at the Modern and she comes up next to me. She said, “You call that art?” or something like that. “Why are you looking at this?” I said. “If you really want to know what’s going on here, you have to take longer looks at Rembrandt.” It’s all a continuum.

“Painting is really about creating something that hasn’t existed before. That’s what we all strive to do and it’s not about copying nature really.”

Not the first person to say that painting isn’t about copying nature, of course.  However, it is amazing how, to the person who has not had reason to think through what painting is, how the “copying” and production of a good copy holds so strongly as a gauge of assessing the value of a painting.   Of how “good” or “bad” it is.  With the forthcoming Open Studios in June,  I find it helpful to bolster myself up in terms of reminding myself of what I am about, as a painter.   I know it, deep inside, and lots of people are content to look, see, perceive, and just be, in front of a painting without needing to control the process in some way.  However, for some people, an abstract painting can push them into a sense of insecurity and confusion, unease, and even indignation.  Or just walk quickly past, to avoid the encounter!  Well,  this is the way it is.  Will always be.  Others can go with it.

However, I do find while I love lots about the Open Studios, it can be a little stressful opening ones painting up to all and any comments!   One needs resilience as well as self-belief!

2016 Open Studio Event – As part of Kingston Artists’ Open Studios Jenny Meehan will be showing some of her latest work on the weekends of the 11/12th June and 18/19th June. 11 – 5pm at Studio KAOS 3, 14 Liverpool Road Kingston KT2 7SZ

 

If you are reading this and would like to come along, do contact me via the contact page on my website http://www.jamartlondon.com    Let me know you are coming, and I will look forward to meeting you!

 

The Art of Caring Exhibition

http://caringandcare.blogspot.co.uk/p/artists.html

I’m always very pleased when I can exhibit my work locally…For one thing, it is easier!  Luckily, living  where I do in the outskirts of London means there is lots happening and it’s not too far away.  Having things happening in Kingston is even better!  Myself and many others will have small postcard sized prints on show in the Upper Circle Gallery, The Rose Theatre, Kingston-upon-Thames, UK from the 12th to 24th May 2016. The private view is  on International Nurses Day, Thursday 12th May 2016.  Some of the work will also be selected for a show at the Arts Project exhibition space in St Pancras Hospital from July – October 2016.

My work shows one of my neighbours, Reg Driver, now no longer here on earth.  He was an amazing man, and I am grateful to have known him.

The exhibition will be open daily from  10am-6pm at
Rose Theatre,
24-26 High Street,
Kingston upon Thames,
Surrey KT1 1HL

 

Art at the Bridge #7  “Building Bridges, the Female Perspective”

drawn together by jenny meehan, art at tower bridge, abstract art female artist, feminist artist, contemporary women artists, contemporary female artists, jamartlondon,building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

Above “Drawn Together” by Jenny Meehan.

So pleased to have one of my art works in the Building Bridges, The Female Perspective, this year.  It’s on now and runs for about five months.  http://www.southwarkartsforum.org/index.php?pagename=Art-at-the-bridge

I saw it with a friend recently and will post more up about that in my next post!

If you like “Drawn Together” you can get your own print of it quickly and easily by using the print on demand Redbubble.com website.  It is quick, easy and safe to buy via Redbubble and the quality is excellent!

http://www.redbubble.com/people/jennyjimjams/works/20377969-drawn-together-building-bridges-the-female-perspective-design-by-jenny-meehan

Last year there were over half a million visitors to the  exhibition, and so you can imagine I am exceptionally pleased about my work being on show at the Tower Bridge Victorian Engine Rooms.   Thanks indeed, to the Southwark Arts Forum (SAF) who work in partnership with Tower Bridge.

The exhibition opened on Tuesday 8th March 2016  and there is plenty of opportunity to see it at the Tower Bridge Victorian Engine Rooms.  It’s a very good show, with plenty of very interesting work based on the show’s theme “Building Bridges, The Female Perspective”. Art at the Bridge #7 is exclusively for women artists, as it was felt this would be a good way to profile the work of women artists in celebration of International Women’s Day.

Wonderful, an international audience of approximately 2, 000 visitors daily!

Bit more about the exhibition and the partnership between Southwark Arts Forum and Tower Bridge:

“Our aim in launching this exhibition is to provide a high profile platform for some of the brightest aspiring artists who live and work in our local area whilst offering an interesting new dimension to what we offer visitors to the Tower Bridge Exhibition. London is one of the art world’s most vibrant and culturally diverse hubs so to be able to give exposure to just some of these inspiring artists in such a spectacular setting as Tower Bridge is a privilege for us.” – David Wight, Tower Bridge Director

I’m so grateful for this opportunity, and SOOOO much wish that more of this kind of thing went on.  There are so many wonderfully talented artists who WANT to share their work.  However, we are often prevented from doing so by over high submission fees to enter work into competitions and exhibitions, which often, I feel, are money making opportunities  rather than good opportunities for artists.  There are many more organisations who could follow the example set here by Tower Bridge, and who could work in partnership with local arts organisations to help promote the work of local artists.  We are then all the richer for it; artists need opportunities to show their work to the public.  We want these opportunities not because they are money making for us… the reality is that once in a blue moon we might actually sell something.  But we do want these opportunities because we love what we do and we want to share it. However, we don’t want to end up exploited  and in a kind of “pay your way” system.  Unfortunately this is more often the case.

I am VERY encouraged to find a brilliant example of partnership which works so well for both parties.  It works for artists in a positive way and brings fresh new work to the public in an accessible way.  What is more, to enter was a very affordable amount, and you could enter more than one piece. |Hooray!  At last!    I also knew I would be contributing to a local arts organisation, and therefore knew that even if not selected, my money would be going to something which is in accordance with my values and that I am very pleased to support.

I normally look on submission fees as a way of giving to an organisation.  It’s the only way to think about it.  But sadly, the system is being misused in some cases. It is worth asking the question “Is this competition/open call a profit making venture which I as an artist am ending up funding?”  If it is clearly stated that it is not, in itself, profit making (ie all monies are absorbed in the costs), or it is for a charity, or a good cause you care about or something you actually want too support in some way, then it’s not bad at all.   Bear in mind too that profit will be made if your work is sold, because of the commission. That profit should be enough for whoever organises it, and is fair enough; this we are all used to.   But is profit being made from the submission fees?  That becomes questionable as an activity in my opinion.    And the amount, which is throwing money to the wind for an artist, needs to be as little as possible, in my opinion.   Do people seriously think that artists can easily afford to spend £15- £25 per artwork on entering a competition?….Bear in mind, this applies even if your work is not selected and never shown.

Many may be able to do this.  But how much this narrows the span of work which gets shown and exhibited….  I am sure it is a great narrowing.  Certainly, the whole matter is about taking a punt.  If there are prizes then this helps a lot.  Yet the most important objective is not a prize but to be able to show the work and have it seen.  Hopefully brought.  But the buying is not to be relied upon.  It’s certainly couldn’t be described as a source of income for most artists.  It’s not something one even HAS to do, however it’s nice to get one’s work about.   Just rather difficult financially to do this.  Oh dear!    I like to have my little moan, and will continue to moan about this matter without apology.  However, I am glad to temper my moan with such a positive and encouraging example of what is possible, as I have found with the Tower Bridge and Southwark Arts Forum partnership, and what should be possible much much more than it is at the present time.

 

Thinking about considerations when entering competitions, call outs, etc, this is a good read:

“Art Contests, Competitions, Offers & Shows
Where You Pay Money or Send Art:

Will They Be Good for Your Career?
Or Are They Dead Ends, Time Wastes or Scams?”   Read this by following the link!

http://www.artbusiness.com/osoqutscawas.html

 

This is also a good read…. Money is an important matter to artists, we don’t live off thin air, and even if we have other sources of income which help support us , this doesn’t mean we don’t need to work towards being treated more fairly…   http://marketproject.org.uk/tag/competitions/

 

 

Copyright considerations for poets wanting to use artist’s images on their blogs

Now and again I find that my art images have been used on people’s blogs without permission.  This mostly happens because of ignorance, and when the person is notified and asked to remove them,  the problem is sorted.  However, I wish I didn’t need to do this…Needs must!  I guess I am hoping that writing this will be my small contribution to increasing awareness and prove useful to people who are wondering what the score is.

As a poet AND a visual artist, I can see the attraction.  Wow, that lovely inspiring image, let’s write a poem about it and then post the image and the poem on a blog.  Look, if you do this, you are publishing the image, and normally, for publishing an artists image on the internet there is a fee made!  When people use an artist’s work, they are using an artists work, and artists are entitled to be paid for the usage.  That’s the way it is.

If I use images on my blog which are not mine, I always contact the artist (or whoever is  managing their copyright) and ask their permission, explaining what I am using it for and asking them exactly how they want to be credited.  I have never been refused, and I have never been asked to pay for that type of use,  the reason mainly being that the usage I tend to require is well accepted as being covered under the terms of “Fair Use”.  (I include images which related to some kind of commentary on them).   I know as an artist myself, that is it nice to know how my work is being shared, and it is often very encouraging.  If someone is commenting on it, I often gain some interesting insights myself!  Artists learn a lot from other peoples responses to their work!  We like to know how you respond to it, and if images are used under the “Fair Use” accepted terms, then it would be strange to ask for a fee. Though it is possible, and it is also possible that the artist may not wish you to use their image at all.

What is “Fair Use” though?  I am certain that some people who have used my images without permission, probably think that their use of the image is covered by “Fair Use”.  However, as an artist, I can tell you now that posting one of my images and then writing a poem about it, which links the image very intimately with your own artistic creation, is NOT fair use.  And neither is doing it the other way around. Writing your poem and then finding an image to illustrate it, is using the artwork as an illustration! (Something which enhances your work considerably, or at least would, if carefully chosen!).

I am a poet and an artist, and lots of visual artists are also poets and writers.  Our written work is intimately bound up with our visual artwork, and often a poem and image are used as one piece of artwork.  I have many paintings which I present with my own writing and poetry.  I often submit work to competitions and exhibitions which is both a poem and painting combined, and which are meant to be seen and displayed together.  And so I do not want other poets presenting my artwork with their poetry and publishing it on the internet, even if the image is credited.  A poem colours a painting and vice versa.  If you want to use images to illustrate your poetry, to add depth, volume and expression to your own, then you need to either produce the artwork yourself (cameras are good for this) or ensure that the art work you use is copyright free.

Just because something is on the internet, doesn’t mean it is there for the using. Artist’s rely on the licensing of their images as a source of income, and having it plastered around but not knowing how it is used has got the potential to quite possibly make it less desirable for use by someone who will actually pay for it.    Remember, an artist’s artwork is just as personal as the poem you have written, and you would expect your poetry to be treated with respect.  Make sure you treat visual artist’s work with the same respect.  Do as you would be done by.  Recognise their art has an evolving style and direction, and while there may be some images which they don’t mind you including on your blog (with PERMISSION!) because they don’t have a key note to play in one of the main thrusts of their body of work, or because the image isn’t a significant piece of their repertoire, there will definitely be other images which they would not be happy with your using. You need to contact any artist whose work you post on your blog, and quite simply, ask first.

An art image (Even without poem attached!) is a complete and whole work in itself.  Including it in a blog without permission is the same as if someone posted your poem on their blog.   It is not just a small extract or quotation.  It is a whole artistic work.  It would be like publishing a whole book on your blog. Would you do that?  Take a book and post that on your blog, without asking?   That single image, is a work  in its entirety.  Please, think it through.  I regularly check the internet and find time and time again my artwork used without my permission.  And while seeing it credited is some relief, it is still something which I follow up.  And if my artwork is linked with someone else’s creative writing in a way where it quite clearly links up with the poetry/meaning/themes, etc, then I do request that it is removed.  I recently found someone using an image I  had specifically created for Holocaust Memorial Day and which was linked with one of my poems… Indeed the artwork had been created in response to my poem, and is exhibited and shown in many contexts with the poem which is basically the other half of the art work.   You can imagine that I was not happy at all when I found another person was displaying it with their poem.  I was not flattered, impressed, or grateful for the illegal use of my work!  The image related to my own writing, and was intended for interpretation influenced by my own poetry alone.

I think the confusion or lack of clarity for some poets is maybe that they think  using an image with their poem is included under “Fair Use” whereas pretty much all artists wouldn’t agree!   I don’t consider a poem either commentary or criticism, and this is what I understand as “fair use”.  I found this which might enlighten a little, which I quote from Stanford University Libraries “What is Fair Use?”.  It’s talking about using written work, but I would like to draw your attention to what I have put in bold!

“Commentary and Criticism

If you are commenting upon or critiquing a copyrighted work — for instance, writing a book review — fair use principles allow you to reproduce some of the work to achieve your purposes. Some examples of commentary and criticism include:

  • quoting a few lines from a Bob Dylan song in a music review
  • summarizing and quoting from a medical article on prostate cancer in a news report
  • copying a few paragraphs from a news article for use by a teacher or student in a lesson, or
  • copying a portion of a Sports Illustrated magazine article for use in a related court case.

The underlying rationale of this rule is that the public reaps benefits from your review, which is enhanced by including some of the copyrighted material. Additional examples of commentary or criticism are provided in the examples of fair use cases.

– See more at: http://fairuse.stanford.edu/overview/fair-use/what-is-fair-use/#sthash.VSp004Hw.dpuf

I hope you can see where I am going with this.  None of the above says include the WHOLE work.  When I use an artist’s work on my blog I always ask permission, because I don’t see the artwork as a quotation.  I ask even when I am writing commentary on it because of this.  It is normally straightforward to find and contact the artist, and only a few times have I tried and been unable to.  Also, there are many sources of imagery which are copyright free, for various reasons, or which you are allowed to use for the purposes of commentary.

And the other side of the coin…Artists using poetry

The following is quoted from:  http://www.cmsimpact.org/fair-use/best-practices/code-best-practices-fair-use-poetry#four  (this was something which was compiled by several writers/poets getting together and working out what they felt was good practice)

“FOUR: Criticism, comment, illustration
Poetic quotations are frequently employed by writers and artists in other disciplines. Perhaps the most non-controversial example is that in which a scholar, critic, or reviewer quotes from a poem in order to make a point about the poet in question or about his or her work. Because poetry arises out of and speaks to the particular circumstances (social, cultural, economic) of its writing, members of the poetry community were also united in their opinion that scholars and creators in other fields should be entitled to use apt selections of poetry for purposes other than criticism. Thus, they were supportive of quotation both for textual “illustration” and in the practice of visual artists who take inspiration from poetic works.

PRINCIPLE: Under fair use, a critic discussing a published poem or body of poetry may quote freely as justified by the critical purpose; likewise, a commentator may quote to exemplify or illuminate a cultural/historical phenomenon, and a visual artist may incorporate relevant quotations into his or her work.

LIMITATIONS: This principle does not apply to reproductions in textbooks and anthologies where quotations appear without an independent critical apparatus.Quoted passages should be reproduced as accurately as possible to reflect, and not so minimally or selectively as to mislead about, creative choices embedded in the poem.Critics, commentators, and artists should provide conventional attribution for their chosen quotations.They should also have an articulable rationale for the relevance of their chosen quotations to their own work. Likewise, the extent of quotation should be appropriate to the purpose of the use.Uses that are solely “decorative” or “entertaining” should be avoided. Permissible quotations used for exemplary purposes generally should be briefer than those used for critical purposes. Visual artists generally should not incorporate entire poems in a merely decorative fashion without the copyright holder’s permission.”

“Visual artists generally should not incorporate entire poems in a merely decorative fashion without the copyright holder’s permission.” struck me for the obvious reason which I mentioned before about an art image being an entire work in itself.

There are several other interesting points, and it certainly helps to be able to look at things from both directions.  As a poet and visual artist, I can appreciate both perspectives.   “The Code of Best Practices in Fair Use for Poetry” from which the above is quoted from is an excellent read and very helpful in considering the matter, I would recommend a reading of the whole code.  It helps poets understand when they and others have the right to excerpt, quote and use copyrighted material in poetry and it was created by poets discussing and considering the matter.

Hopefully my writing here will also give an visual artist’s perspective for consideration.  Remember, though the wonders of the internet are great for gaining inspiration, an artist’s image is their property, and you do need to ask! Many artist’s make some (or even a significant amount) of their income through selling digital images, licensing them, or selling prints of them.  We can do all kinds of things to make the unauthorized usage of them difficult and inconvenient, and many artists, like myself, are members of copyright societies  who assist us in ensuring that we are paid appropriately for the use of our work.  But if you are a blogger who likes using images then it is wisest of all to make sure you ask first, and don’t just assume that if you credit the artist you don’t need to ask.  Think, whole artwork = whole poem, or whole artwork = whole book, and then you might recognise that the author would expect to be asked!  It is your responsibility to ensure you don’t break the law.

If I find someone has included my artwork without authorisation on a blog, I ask them to remove it.  I have given permission to people when they are actually commenting on and responding to the image, as I count that as critical review/commentary,  (fair use without a doubt) but I still expect to be asked.  I sometimes contact other artists requesting to include images of their work on my blog, and often include the text I am posting with it, or provide a link to it, so they can see what I have written.  As said before, artists like to hear how people respond to their work, and I feel in particular that if it is another artist who wants to comment, respond and reflect, and wants to share their response because it relates to their own interests and artistic development, then this is very desirable. Writing from art critics is particularly interesting, and critical writing in response to particular artworks does need to show the artworks which are being referred to.  What I don’t endorse is other artists using my work as their own, and this has happened, though thankfully only once!

If you want to use an image and don’t have permission, then either ask, and use only with permission,  or provide a link to the original source of the image, but don’t actually post it in your blog.  It is not correct that artists like people to use their images because it helps them with exposure.  Artists who post a lot of images on the internet have plenty of exposure anyway, and don’t need people using their images in order to gain more.   What they need more is a respect and appreciation of the value of their work, and for their work to be treated with the value it deserves.  They also like, and need,  if possible to gain some financial rewards for their hard work, as we all do, and this comes through the licensing of their work.   It is also important to bear in mind that on occasions artists might choose to produce limited editions, or sell the copyright of a work,  and they need to know where their work has been used and how it has been used.   This means knowing when it has been posted and effectively published  by other people on the internet. If you put something on the net, you are publishing it.  You might not be making lots of money from selling prints of it, but it has still been published by you.  Published artwork is normally paid for, unless the artists has specified that they are happy to waive a fee.  I think a lot of web users just don’t realise that it is illegal or even bad manners to take images they find on the net and use them, and if  asked to take them down, they will quickly do that without any problems at all.

Well, that was thorough!

 

Anagrams Kingston Art 2016 Exhibition

Yes, well this is now upon us!   Here is a list of the participating artists!  It’s a super exhibition!  Free entry!  Don’t miss it!

Participating artists in Anagrams Exhibition 2016

Chris Birch
Lucy Birkbeck
Ruth Blackford
Lizzie Brewer
Adriana Brinsmead-Stockman
Caroline Calascione
Sarah E Choi
Leo Duff
Annamarie Dzendrowskyj
Martina van de Gey
Liz Harrington
Ewa Hawrylowicz
Martin Kerrison
Jenny Meehan
Loraine Monk
Ewa Morawski
Peg Morris
Paul Mowatt
Judith North
Laurence Ogden
Rachel Pearcey
Kate Proudman
Marianne Romeo
Paul Smith
Lindsay Terhorst North
Sue Tritton Brown

The Anagrams Exhibition can be seen at Kingston Museum from the end of April 2016.  Details here:

KINGSTON MUSEUM
29 APRIL – 2 JULY 2016
Wheatfield Way, KT1 2PS, Kingston upon Thames
Phone: 020 8547 5006
http://www.kingston.gov.uk/museum
Tuesday, Friday & Saturday 10am – 5pm
Thursday 10am – 7pm
Admission free

They have used, with my permission,  a section of one of my paintings (unerring want of running water 2)  in the publicity.  Sadly the contrast between the red around the title and the green/brown leanings of the painting has confused the printer and made the printed version of the poster far greener and browner in the depiction of the painting than is the case with the original…

anagrams kingston art 2016 exhibition kingston museum jenny meehan unerring want of running water image used on poster

anagrams kingston art 2016 exhibition kingston museum jenny meehan unerring want of running water image used on poster

 

However, of course, I am pleased that it has been used.

I much prefer it with the blue, however, as shown here:

http://www.kingstononline.co.uk/kingston-art-2016-anagrams-opens-friday-29-april-kingston-museum/

 

Anagrams Art at Kingston Museum

 

More info from Kingston Online:

29th April to 2nd July 2016

Opening on Friday 29 April at Kingston Museum, Anagrams is an exhibition which showcases the winning entries to a competition where artists from Kingston upon Thames’ local artists’ groups, ASC Kingston (Artists Studio Company Kingston), Hawks Road, Fusion Art and KAOS (Kingston Artists Open Studios), have entered new work under the theme Anagrams.

This is an exhibition of transformational art, where the art work and the artist’s explanations of how they have approached the theme give the viewer a fascinating insight into each artist’s way of seeing and working. Many different techniques are showcased from painting, drawing and photography to mosaic, installation and much more.

Two prizes, the Judge’s Choice and the Public Choice, will be awarded to the artwork which gains the most votes in respective category.

“I am intrigued to see the works that have been submitted and the ways in which each artist has chosen to respond to the theme of “Anagrams” in order to convey their intentions to the viewer. Given Kingston’s rich artistic heritage, I am hoping there will be some great surprises in store from local artists”.

David Falkner, Director Stanley Picker Gallery & Dorich House Museum, Kingston University
Organised in conjunction with artist’s group KAOS. Last day is Saturday 2 July.

 

Chessington/Hook Surrey Images of the White Hart Pub

Well, locals here in Chessington will remember this building.  It’s now been replaced by Firs Court which provides residential support for 23 adults with learning disabilities. Firs Court is purpose built and provides state of the art homes for adults with learning disabilities.  I watched the demolition of the White Hart with interest, and with my camera in hand.  I have to say that I don’t mind the absence of drunk people staggering off home past our house, broken bottles, sick, and even someone walking over the top of the car one night! It was a super building though, and sad to see it knocked down.

Here are some of the images I took.  I manipulated these a lot as I was playing around, not all have been meddled with so much!

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

 

If you like photography, I have many other images here: http://www.photographyblog.com/gallery/showgallery.php?ppuser=5491&username=jena

I intended to do some painting based on these images somehow, but never quite got round to it.  I have often used a demolished or falling down house as an image of the mind, after having a clear dream (a visionary one!) of my own mind falling down/crumbling,  due to insufficient foundations and weak structures in need of support.  It was this dream which was one of the things which made me realise I needed to seek psychological help in the form of psychotherapy…There was nothing I could do myself to look at those foundations as the task was simple too big for me to do alone.   Having a clear dream was helpful in accepting the reality of damage which was done in childhood and the formative years of my life.

Therapy isn’t for everyone, this is true, but for me it has been a life saver! I continue with it in the present time. It’s a good investment of time, for anyone wanting to live from the inside, outwards.   For an artist, psychotherapy is particularly valuable, in my opinion.   There needs to be a great deal of insight and awareness, exploration, and mind stretching!

Here are some other images which use the image of a house/dwelling.  They spatter my artwork over the years!

Painting experiment with acrylic,pigments,textures - Jenny Meehan

“Arise, Sleeper, Wake/Sack Of A Great House” Jenny Meehan 2010

This one is probably as close to the dream as I could get… in colours at least.  It has some kind of coffin opening.   I had also in mind the wonderful painting by Turner, which has made a great impression on me..

interior of a great house, the drawing room east cowes castle by turnerweb

interior of a great house, the drawing room east cowes castle by turner

The emotion in this painting always touches a chord with me. Such desolation, and yet, the light.  How fortunate I am to be able to see it in person, on my visits to Tate Britain!   Can you see the white figure in the doorway to the left?  That sunk in.  When painting “The Comforter/St Julian that figure reappeared, this time as black on white, but I am quite sure it is the same.  The same in which the sense of a soul maybe?  In my painting, it was the self, the lost self, in what it meant to me.   Is it possible to loose ones’ soul?  Maybe not, but it is possible to feel that it is lost.  Forsaken.

figure in comforter painting by jenny meehan influenced by turner interior at petworth

figure in comforter painting by jenny meehan

 

And the Comforter/St Julian painting…

Acrylic, various fillers, acrylic mediums and pigments, and glass beads , sacred art painting religious, spiritual visionary painting, christ centred poetic visual art, The Comforter/St Julian - Jenny Meehan

The Comforter/St Julian – Jenny Meehan
Acrylic, various fillers, acrylic mediums and pigments, and glass beads

 

I know my little figures are vague, and barely marks; I love the tension and the possibility that they are just marks, but could be figures.  I noticed another in a recent painting “View”..  It is the black mark under the blue mark in the top right, as you view it.  Unfortunately it doesn’t stand out in this image nearly as much as when seen in the flesh, the reason being that there is quite a pearlescent area beneath the blue, that doesn’t show up in this image at all. But when the light bounces off it, it brings you straight to this point of the painting, and this adds to the impression of there being a figure in silhouette.

british collectable abstract paintings view painting by jenny meehan copyright DACS

british collectable abstract paintings view painting by jenny meehan copyright DACS

 

I’ve meandered away from houses, in taking attention to these figures.  Back to houses…

scraper charcoal drawing from imagination jenny meehan DACS copyrighted

scraper charcoal drawing from imagination jenny meehan DACS copyrighted

There’s a house in the air in this image!

Abstract Acrylic Painting/Markmaking with Colour. Instinctive intuitive process led painting, psychotherapy and art,psychotherapy and painting, British Contemporary female artist painter Jenny Meehan

deluge painting jenny meehan copyright DACS all rights reserved

 

In the bottom left, as you view it,  a broken shelter emerged in this painting, well, this is how I perceived the form when I was painting it, and what it meant to me.

A later work… with shelter/house…

franciscan office quote, canticles, church of england canticle, Through your gentleness we find comfort in fear by Jenny Meehan

Through your gentleness we find comfort in fear by Jenny Meehan

There’s two in this one, one brighter with water spilling out of it, and one which is darker and floating off the corner of the painting to the top right, as you view it.

There’s more in the archives, but this does for now!

Other people, looking at my paintings, will not see what I see.  But it is the emotion and sensation which are most important.  Painting is to be felt.

 

 

Paul Nash

Oh, I do like his paintings and I keep coming back to them again and again.

See “Landscape at Iden” 1929 Paul Nash, (Tate)

http://www.tate.org.uk/art/artworks/nash-landscape-at-iden-n05047

I like paintings I can see for myself, “in the flesh” as I like to put it, and this one can easily be seen at Tate Britain, which is handy for me.  The display caption, quoted from the Tate website:

Display caption

This mysterious picture shows the view from Nash’s studio in Sussex. The dramatic perspective and strange juxtaposition of rustic objects creates a sense of the uncanny. It has been read as a statement of mourning. While the young fruit trees may suggest the defencelessness of youth, the altar-like pile of logs may be a symbol of fallen humanity; the fallen tree as a symbol for the dead was common in the art and literature of the war, not least in Nash’s own paintings.For many, an idea of the timeless and enduring English landscape seemed to displace the violent destruction of the war.
July 2007

And a quote below from; ” Paul Nash Landscape and the Life of Objects”  ( chapter 4 New Vision) by Andrew Causey

“In the course of 1929 Nash’s technique changed
from the relatively loose paint application of February,
in which brush marks betray the presence of the hand
and make the picture seem personal, to the drier
and more formalised facture of Month of March and
Landscape at Iden, which, despite the intimate meanings
they had for Nash, also convey a feeling of being
outside time. In Landscape at Iden this is related to
Nash’s new interest in perspective. Denis Cosgrove has
argued that ‘an important effect of linear perspective
is to arrest the flow of history at a specific moment,
freezing that moment as a universal reality’, adding,
‘Perspective, in structuring and directing universal reality
at a single spectator, acknowledges only one, external
subject for the object it represents … In an important
… sense the spectator owns the view because all of its

components are structured and directed towards his

eyes only.’19 Cosgrove’s sense of the twin properties
of perspective, on the one hand, as an arrest of time
and the creation of a universal reality out of a single
moment and, on the other hand, by its nature conveying
the ownership of a single individual, because what is
seen is the product one pair of eyes, is informative for
Nash in Landscape at Iden. The work is personal to
him – his garden view, his feeling for trees, his memories
of war – while at the same time the formality of its
paint surface and the absence of brush marks suggest,
to the contrary, the sense that this is an emblematic
painting, where the artist is tacking on to the idea that
it is a highly personal painting the notion that it is an
impersonal one also.
Nash’s switch to a technique which seems
impersonal because there is no flexibility in the brush
marks to leave evidence of the artist’s hand, or give
the sense that decision-making continues as the work
progresses, suggests that he had two ambitions. He
wanted to put himself outside the painting, to give it an
objectivity and timelessness, a memorialising character
that establishes it as a thing in itself detached from
the artist, while at the same time actually creating in
Landscape at Iden a painting in which a great weight of
personal emotion, unexpressed since the war, is opened
up. If Landscape at Iden is in any sense a war memorial,
it is plainly an unconventional one. War memorials
normally communicate directly with the public, while
Nash was no longer working, as he had been at the
time of The Menin Road (1918–19, plate 29), for a
broad audience. He was speaking an elite language.”

 

 

http://www.iwm.at/publications/5-junior-visiting-fellows-conferences/vol-xxi/ingvild-torsen/

Something I am reading and thinking about..

http://www.iwm.at/publications/5-junior-visiting-fellows-conferences/vol-xxi/ingvild-torsen/

 

 

Gosh,  that is a substantial contribution for May….

Accumulation of lots of time in front of a screen.

I need to go and touch a leaf, a stone, and the surface of a painting!

 

All content on this blog,  unless specified otherwise,  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. 

Copyright and Licensing Digital Images Information – Jenny Meehan

www.jamartlondon.com

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.
Any persons discovered to be reproducing, copying or using images by Jenny Meehan without prior consent, authorisation or permission will be put on notice that Jenny Meehan is the copyright owner and asked to immediately cease and desist the infringing activity. If a satisfactory response and / or compliance is not forthcoming promptly, the matter will be pursued. For clarification of the laws of copyright, please contact the Design and Artists Copyright Society (DACS). http://www.dacs.org.uk

Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements. There is a contact form on my website www.jamartlondon.com

Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the “Art image” selection on the Design and Artist Copyright “Art Image” page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)

Art at the Bridge #7 Photographs and Visit

Had a great time at the Art at the Bridge # 7 – Building Bridges, The Female Perspective, in the Victorian Engine Rooms at Tower Bridge.  Thought I would get in there before it gets too busy over the holidays.  Very pleased to have my art work “Drawn Together” on show.  Here are some images!

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan, all female art exhibition london, contemporary women artists british, jenny meehan jamartlondon, all woman art exhibition,

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

 

Here’s an image of part of the Building Bridges Exhibition…  What a lovely wall..!!  (As well as the art work, of course!)

drawn together by jenny meehan, art at tower bridge, abstract art female artist, feminist artist, contemporary women artists, contemporary female artists, jamartlondon,building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

As well as being part of a very harmonious corner in terms of the hanging of the exhibition,  I had the good fortune to even catch a colour coordinated passer by!

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

jenny meehan drawn together art tower bridge

It’s a great space, lovely and light and refreshing!

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

glass walkway tower bridge experience as part of the building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

Even lighter on the walkway!  It can hold the weight of several elephants, I was assured!

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

 

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

jenny meehan on her visit to building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

 

Massive “Thank You” to Southwark Arts Forum and Tower Bridge for this opportunity to show my work.  If you would like to support Southwark Arts Forum it is quick and easy to do over their website: http://www.southwarkartsforum.org/

Artists need the support of their local community in order to thrive, and organisations like the Southwark Arts Forum, Kingston Artists Open Studios, etc are always keen to look for ways they can partnership with organisations who can help them with the provision of exhibition space without charge.  It’s a challenge investing time into the arts, especially with the rising cost of  living, etc and partnerships like the Tower Bridge/Southwark Arts Forum one are beneficial to all concerned.  Artists are not exploited by being forced to pay ridiculous amounts of money to exhibit their work, and the organisations get a wonderfully high quality selection of art work free of charge.  It’s a win win situation!

Details of the Exhibition here, quoted  from the Tower Bridge website:

Launching on International Women’s day,’Art at the Bridge #7′, showcases the talents of 15 local, female artists.

8 March – 31 July
Celebrate female artistic endeavour this spring with Tower Bridges new ‘Art at the Bridge’exhibition. Now in its seventh iteration, this long running exhibition in partnership with Southwark Arts Forum will display the works of 15 female artists as they explore the theme of ‘Building Bridges: The Female Perspective’.

The exhibition aims to reflect upon female perspectives in the community, providing a platform for artists to express their ideas through a variety of media including paintings, etchings, video, photography and drawing.

Each of the artists have drawn inspiration from their own experiences and these artworks offer a striking contrast to the huge and beautifully maintained steam engines that surround them.

Tower Bridge is committed to engaging with, and acknowledging, the talents of the local community. Through its regular exhibitions in partnership with Southwark Arts Forum, we are delighted to provide an opportunity for artists to gain exposure to an international audience of approximately 2,500 visitors daily.

 

Entry to ‘Art at the Bridge #7’ is included in the admission price.

This successful partnership was set up in 2011 as part of Tower Bridge’s ongoing commitment to engage with and acknowledge the talents of the local community; and these regular exhibitions provide an opportunity for artists to gain exposure to our international audience of  2,500 daily visitors.Check out the Tower Bridge website for exhibition times.

For sales and artist enquiries contact: bridget@southwarkartsforum.org.

There are plenty of reviews and features on the exhibition on the internet… this one shows you some more of the art works on show.  I could not get to the private view as I was on a residential course, which was a great shame!

http://www.informationsociety.co.uk/all-female-exhibition-opens-in-tower-bridge/

 

Ps…  If you like my print “Drawn Together” you can purchase your own, quickly, easily and safely, on Redbubble.com.  Follow the link!

 

http://www.redbubble.com/people/jennyjimjams/works/20377969-drawn-together-building-bridges-the-female-perspective-design-by-jenny-meehan

 

British Female Contemporary Artists – Painter Rose Wylie

Very interesting read.

http://www.telegraph.co.uk/culture/art/11652527/Rose-Wylie-I-dont-like-arty.html

My particular favourite quotes:

“Two years ago, the art critic Brian Sewell dismissed one of her pictures as “a daub worthy of a child of four”, and the “worst” work in the Royal Academy’s annual Summer Exhibition.

Earlier this year, though, the RA elected Wylie a Senior Royal Academician.”

Something to remember next time someone slags off your painting!

” The extraordinary thing is that this hot streak for Wylie, who is now 80, has occurred in the twilight of her career, after years of relative obscurity.”

Well, that is rather a long time to wait, but at least she is still alive… You don’t have to die first!  

“For much of her adult life, she put her ambitions as a painter on hold while she brought up three children, two of whom now work in finance. “[Roy] was the dominant artist, certainly,” she says, “because I was the mother, wife, cook.” Once the children had grown up, though, she went back to art school, graduating from the Royal College of Art in 1981, and devoted herself to painting. Does she ever feel that concentrating on motherhood at the expense of painting was a sacrifice?

“That’s such a crappy question,” she shoots back. “People like to think that I was frustrated – that the male element was working and that I must have been jealous or angry.” That wasn’t the case? “No! I think children are important, relationships are important, life is important. Besides, I used to do stuff – like make their clothes. I used to make curtains, sofa covers. I made pâté.”

I Love this woman!  Creativity in whatever realm, is creativity.  The fact that it is not recognized by certain people, in certain circles, as important art, does not make it any less art, any less valuable, artistic, or worth of attention!  Plus, the domestic matters of life are important. 

“Painting is both horrifically demanding and exciting. When it’s going badly, it’s very depressing – it’s not fun. But then you get into it and you can’t stop. It’s compulsive. If it weren’t there, life would be very drab.””

 

The above is quoted from the very interesting article,” Rose Wylie: ‘I don’t like arty’
Alastair Sooke meets the 80-year-old whose childlike work is the toast of the art world” By Alastair Sooke 4:00PM BST 06 Jun 2015 in the Telegraph.  Read the whole article here: http://www.telegraph.co.uk/culture/art/11652527/Rose-Wylie-I-dont-like-arty.html

 

Very interesting read here also:

 

http://theartnewspaper.com/features/my-father-and-music-how-mark-rothko-s-love-of-mozart-made-his-paintings-sing/

The link above is an extract from the book, information below:

” Mark Rothko (1903–1970), world-renowned icon of Abstract Expressionism, is rediscovered in this wholly original examination of his art and life written by his son. Synthesizing rigorous critique with personal anecdotes, Christopher, the younger of the artist’s two children, offers a unique perspective on this modern master.
 
Christopher Rothko draws on an intimate knowledge of the artworks to present eighteen essays that look closely at the paintings and explore the ways in which they foster a profound connection between viewer and artist through form, color, and scale. The prominent commissions for the Rothko Chapel in Houston and the Seagram Building murals in New York receive extended treatment, as do many of the lesser-known and underappreciated aspects of Rothko’s oeuvre, including reassessments of his late dark canvases and his formidable body of works on paper. The author also discusses the artist’s writings of the 1930s and 1940s, the significance of music to the artist, and our enduring struggles with visual abstraction in the contemporary era. Finally, Christopher Rothko writes movingly about his role as the artist’s son, his commonalities with his father, and the terms of the relationship they forged during the writer’s childhood.
 
Mark Rothko: From the Inside Out is a thoughtful reexamination of the legendary artist, serving as a passionate introduction for readers new to his work and offering a fresh perspective to those who know it well.”

 

Kingston Art 2016: Anagrams Opens Friday 29 April at Kingston Museum
29th April to 2nd July 2016
Opening on Friday 29 April at Kingston Museum, Anagrams is an exhibition which showcases the winning entries to a competition where artists from Kingston upon Thames’ local artists’ groups, ASC Kingston (Artists Studio Company Kingston), Hawks Road, Fusion Art and KAOS (Kingston Artists Open Studios), have entered new work under the theme Anagrams.

This is an exhibition of transformational art, where the art work and the artist’s explanations of how they have approached the theme give the viewer a fascinating insight into each artist’s way of seeing and working. Many different techniques are showcased from painting, drawing and photography to mosaic, installation and much more.

Two prizes, the Judge’s Choice and the Public Choice, will be awarded to the artwork which gains the most votes in respective category.

“I am intrigued to see the works that have been submitted and the ways in which each artist has chosen to respond to the theme of “Anagrams” in order to convey their intentions to the viewer. Given Kingston’s rich artistic heritage, I am hoping there will be some great surprises in store from local artists”.

David Falkner, Director Stanley Picker Gallery & Dorich House Museum, Kingston University
Organised in conjunction with artist’s group KAOS. Last day is Saturday 2 July.

Anagram definition: An anagram is a type of word play, the result of rearranging the letters of a word or phrase to produce a new word or phrase, using all the original letters exactly once; for example, the word anagram can be rearranged into nag-a-ram. Someone who creates anagrams may be called an “anagrammatist”. Any word or phrase that exactly reproduces the letters in another order is an anagram. However, the goal of serious or skilled anagrammatists is to produce anagrams that in some way reflect or comment on the subject.
Main image: Jenny Meehan

KINGSTON MUSEUM
29 April – 2 July 2016
Opening hours: Tuesday, Friday, Saturday 10am-5pm, Thursday 10am-7pm
Admission free

Kingston Museum
Wheatfield Way
Kingston upon Thames, KT1 2PS
020 8547 5006

 

Nice quote:

 

“Know Yourself – in talents and capacity, in judgement and inclination. You cannot master yourself unless you know yourself. There are mirrors for the face but none for the mind. Let careful thought about yourself serve as a substitute. Where the outer image is forgotten, keep the inner one to improve and perfect. Learn the force of your intellect and capacity for affairs, test the force of your courage in order to apply it, and keep your foundations secure and your head clear for everything.” quote from Baltasar Gracián (1601 -1658) from The Art of Worldly Wisdom

Creativity and Divergent Thinking…

If creativity is not equivalent to a high IQ, then how else might it be defined and measured? Several different approaches have been taken to address this question. One has been to develop tests specifically designed to measure creativity and to designate people who achieve high scores on these tests as creative. The basic assumption behind most such tests is that creativity can be defined as having a capacity for achieving a high level of divergent thinking. Divergent thinking is defined as the ability to come up with a large number of responses to an open-ended probe; it is contrasted with convergent thinking, which tends to apply a sequential series of steps to answer a question that has only one possible solution (Runco and Marz, 1992). An example of a probe used to assess divergent thinking is asking: How many uses can you think of for a brick? A series of similar questions can be asked and then used to create a score that is a continuous measurement of divergent thinking (Torrance, 1998). This approach is favoured by some psychologists as a way of achieving an objective measure of creativity.” 

Quoted from  A Journey into Chaos: Creativity and the Unconscious**
Nancy C. Andreasen, M.D., Ph.D.    © Mens Sana Monographs

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3115302/

 

I’m posting this up in addition to my usual once a month post, as it is Holy Week now and I want this up in time!  I am hoping that those in the area who are interested in creative communications and the Christian faith, and would like to invest some time into drawing closer to themselves and God over the Holy Week, will be encouraged to use St Paul’s Church in Hook during those times when it will be open for prayerful reflection, meditation and contemplation.  (or just one of those would suffice!!!!)

Between 7 and 8pm…  Monday to Thursday the church will be open.

On Good Friday the installation will be taken away, but in the evening there will be a performance of  Requiem by Gabriel Fauré which starts at 7pm.

 

Images from St Paul’s Church, Hook  “Holy Week” Installation

First of all there were lots of different areas in the church building used by many different people, and all wonderfully put together and conceived which will provide lots of opportunity for people to guide their prayer experiences…I am just focusing on my own contribution here as this is the focus of this blog, but I will be posting more images on Facebook which will show others work as well.

This is how I chose to use the Chancel area of St Paul’s Church, Hook.  It’s my own place of corporate worship, so it was very lovely to bring myself into the space and express thoughts and feelings in a visual way.

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul’s Church

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

Love Bade Me Welcome painting displayed as part of art installation at St Paul’s Church of England Church

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

(not very good quality pictures unfortunately… I really need a better camera!… Looks like I need to pop back and adjust the candles too! These were not part of the original idea, but as is often the case, when you are there you use what you can and how you can.)

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

 

On the Altar –  I used a white paper table cloth, a sheet,  and a long piece of white canvas.  I dripped some paint, which I made using acrylic medium and a lot of red iron oxide pigment, along the canvas.  Initially this was in separate spots, but I decided to drip them into each other to create a line, not unbroken, but leading into itself in places.   This led from the centre outwards to a plate and knife and fork at each end.  In the middle I had a single red rose in a single stemmed glass vase.  The rose is open and the petals may start to fall at the end of the week.   I felt these symbols to be very common and not particularly innovative, however, they were there to help engage people with the poem by George Herbert, which I put on display near by.

George Herbert. 1593–1632

286. Love

LOVE bade me welcome; yet my soul drew back,
Guilty of dust and sin.
But quick-eyed Love, observing me grow slack
From my first entrance in,
Drew nearer to me, sweetly questioning
If I lack’d anything.

‘A guest,’ I answer’d, ‘worthy to be here:’
Love said, ‘You shall be he.’
‘I, the unkind, ungrateful? Ah, my dear,
I cannot look on Thee.’
Love took my hand and smiling did reply,
‘Who made the eyes but I?’

‘Truth, Lord; but I have marr’d them: let my shame
Go where it doth deserve.’
‘And know you not,’ says Love, ‘Who bore the blame?’
‘My dear, then I will serve.’
‘You must sit down,’ says Love, ‘and taste my meat.’
So I did sit and eat.

Two chairs on each side of the Altar.   Cushions on them, to be comfortable!   Maybe this could be identified as a “Table for Two” !!!!   Altar rail open, of course, as broken, it is the entrance into the area.

 

I put my painting “Love Bade Me Welcome” behind the altar.  Very pleased that the colours worked well.

love bade me welcome painting jenny meehan

love bade me welcome painting jenny meehan

 

 

The Pews

On just one side of the Pews I had a pot of Chrysanthemums; lovely daisy single petal types.  Then another pot from which all the flowers had been cut off.  Then a couple on stalks lying out of water, a couple more in some water, and a few flowers which had been taken apart.

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

 

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

Then I displayed the two poems I wrote when thinking through things. The first to go with the flower on it’s stalk, out of water, and the second for the flowers in the pot.

 

A Poem for Chrysanthemums in Holy Week 2016

Cut
from my roots
I lie and wait. Someone will pick me up
tear me apart.
But what difference will it make, to me?
A stranger from my source
with no future destiny.
Another Poem for Chrysanthemums in Holy Week 2016

Gathered together
Clamouring for space;
Dreaming of re-potting,
Positioning, in a different place.
Some golden, garden, Summer
may be our future lot;
Yet, in the present, happily,
nurtured in our pot.

You may come and take one,
and tear the life apart,
And what is done to one of us
will shake us from the heart
Yet this brings opportunity,
new hope and faith to know.
Because where one is broken
another two may grow.

 

(The ones in water are there simply so I can replenish when need be!)

The meditative activity, if anyone wanted to do it, was taken from Stephen Cottrell’s book “The Things He Carried – A Journey to the Cross: Meditations for Lent and Holy Week” This had several points and suggestions to it, which included a reading from Romans 5. 1-11, and a suggestion for breaking up a flower and after holding it for a while, then trying to reassemble it as best you could. Part of this was feeling “how hopeless it is”  (to try and reassemble it) and also watching “it fade”.

Other Areas

I had the Hymn “What a Friend we have in Jesus”  also displayed in another part of the chancel.   No surprise there…I have been thinking about this Hymn for around the last three years!!!!!!

What a Friend We Have in Jesus | Joseph M. Scriven
1. What a friend we have in Jesus,
All our sins and griefs to bear!
What a privilege to carry
Everything to God in prayer!
Oh, what peace we often forfeit,
Oh, what needless pain we bear,
All because we do not carry
Everything to God in prayer!
2. Have we trials and temptations?
Is there trouble anywhere?
We should never be discouraged—
Take it to the Lord in prayer.
Can we find a friend so faithful,
Who will all our sorrows share?
Jesus knows our every weakness;
Take it to the Lord in prayer.
3. Are we weak and heavy-laden,
Cumbered with a load of care?
Precious Savior, still our refuge—
Take it to the Lord in prayer.
Do thy friends despise, forsake thee?
Take it to the Lord in prayer!
In His arms He’ll take and shield thee,
Thou wilt find a solace there.
4. Blessed Savior, Thou hast promised
Thou wilt all our burdens bear;
May we ever, Lord, be bringing
All to Thee in earnest prayer.
Soon in glory bright, unclouded,
There will be no need for prayer—
Rapture, praise, and endless worship
Will be our sweet portion there.

 

Our vicar Luke kindly offered his Father, Iden Wickings’  sculpture for use as part of the installation.

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

I responded to this sculpture like this:

“Holding On” A poem by Jenny Meehan in response to the sculpture ” ‘Raising the Totem’ by Iden Wickings

Holding on
Substance of my self
standing, but with force, drawing away.
Welded, in baptismal fires
ordained for me.
The effort of this slope of life
is too much…
The gravity and weight of it
beyond my ability to sustain.
Yet
you, Oh Christ…
Within and around me
hold on.
Holding on.

In a single step,
the weight of your love lifts me.
The strength of a hundred men
in just one,
says
“This will last forever”
then
“My work is done”.

 

And I used one of my paintings which I felt worked well with the sculpture visually.  It’s an untitled painting right now… but was painted alongside the Resurrection One and Resurrection Two paintings.  It’s still eluding me a little… I realise the logical and predictable thing is to call it “Resurrection Three” but I might settle for relating it to it’s use in this context, maybe “Resurrection Three/Holding On”

I enjoyed the process of putting it together, especially stretching my arms out when leaning over the altar to smooth out the table cloth.  This has got to be the most profound part for me.. to serve, to bow, to stretch my arms out, maybe there was there a small echo which resonated with my identification with what Christ has done for me.

It’s all part of the service…

Considerations

This strikes me.   I have read it many times before…

“If the Church gained more confidence in the figurative languages on which it is built, it would feel more able to befriend the artists, writers and poets of today with more open and trustful willingness.  Like birds hovering on the strong currents of the air we breathe, people of art and people of faith are keen to discern something of these currents which pull and shape our lives.  It is an exciting task and one that  might create many friendships and maybe even some agreement.   It does not surprise me, then, that it is our cathedrals that, by their beauty of stone, liturgy and music, are housing some of the most reflectice and lively partnerships between the contemporary arts and faith.  It is also our cathedrals for the same reasons, that are attracting many people’s interest in the possibilities of God.   Human beings need intimation as well as specification.” 

Mark Oakley in his book “The Collage of God”  2001.

 

 

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