Screenshots of some Recent Galaxies!
Each Galaxy started with a bucket of Keim Mineral Paint! I then took the initial image and worked my magic digitally!
Buy the “Keim Galaxies” as printed products on the print-on-demand website “Redbubble.com”
Yes, I am gradually putting up the rather large series of work on my Artist’s page on Redbubble! It takes some time so they are not all up there. I am basically adding them at the same time as I have Skype meetings with my fellow artists at Kingston Artists’ Open Studios each week. We cannot meet in person, but Skype is just fine, with the added advantage of being able to work on the computer, or whatever we are currently working on at the same time!
This is my WordPress Artist’s Journal, so I am going to ramble on on my usual meandering course for the rest of this post. If you would like to see the beautiful “Keim Galaxies” I put most of them up in a previous post, so either skim down to that, or follow the link to my Artist’s Page on Redubble.com where I have posted some of them already!
Here is the link to the “Explore” designs section at Redbubble.com. It displays the image as a simple, flat, square, as the example below. When you find a design you like and want to see products in the shop, there’s another link to follow! Then another whole world opens. Maybe quite a useful one at the moment, with the shops being in the situation they are in. There is stationery, soft furnishings, wall art, greetings cards, prints, posters, home furnishings, accessories, and much more.
https://www.redbubble.com/people/jennyjimjams/explore
“Kind of Colossal” ©Jenny Meehan
Note: images are low resolution and don’t reflect full sized image quality.
jenny meehan surrey artist london contemporary female artist
About Jenny Meehan
I’m a British fine and applied artist, painter and poet creating original exciting artwork.
This artwork is an evolution of the beautiful mineral pigments used in Keim Mineral paints and part of an extensive portfolio of lyrically abstract/geometric abstract designs created from my love of painting, colour, and a focus on the environment through raising awareness that we have a choice to use alternatives to film forming synthetic paint.
This strand of my work allows me to offer accessible and affordable art to a wide range of people. My original fine paintings are also available to by, contact me on Instagram via link in bio or through my Artist’s Journal:
https://jennymeehan.wordpress.com/jenny-meehan-jennifer-meehan-how-to-contact-me
All art ©Jenny Meehan image licensing via DACS only but initial proposed fee often negotiable.
……
..You can buy my work as prints, posters, soft furnishings, stationery, cloth face masks, bedding, accessories, bags, headscarves, wall hangings, clothing, designer clothing, plus more… on redbubble.com.
https://www.redbubble.com/people/jennyjimjams/explore
(video doesn’t seem to work on my phone…sorry! looking into why!)
“Timetable” by Jenny Meehan 2020 to music by Kevin MacLeod “Screen Saver” (sourced from freepd.com. CC0 1.0 Universal (CC0 1.0)
Public Domain Dedication)
I made this video a while back, before the Covid-19, Coronavirus, UK lock down and all that has brought many more people to a situation of working from home. It seems odd looking at it now!
The video was made last year, in 2019. At the end of last year I was experimenting with making short video clips, just for a change. My very short piece “Time Table” was selected for screening at an event in Manchester. Info below:
screening shown on 3rd December 2019 at STRETCH – Reel Time event. Held at Mirabel Studios 14 -20 Mirabel Street Manchester M31PJ
My statement:
“As an artist, writer, and home-maker, I manage my time by working in a completely piecemeal, and often spontaneous, way. I integrate my creative practice within my domestic life and utilise the flexibility inherent in this way of life. I used my work space, (AKA kitchen) as the setting for the film “Time Table”. I often produce work on my kitchen table is the object in the room which best represents the interrelationship between my artistic work and the other work I’m involved in.
Both forms of work are mostly unpaid, and it becomes a challenge to maintain a sense of self and a sense of value in our capitalist society which measures value by status and money.
The planner in the film has blank pages but rapid movement, because in both dimensions of my work sphere; the domestic and the artistic; I’m extremely busy. However, I find the reality of my work is non existent in many people’s perceptions; it’s blank; because they do not recognise what I do as being work. In our culture activities which take place in the domestic sphere are often side-lined and artistic creation is at risk as being thought as being a “free time” pursuit. I frequently get asked “What do you do all day?”
In reality, “work” reflects more to purpose and perception, than a context.
Like the table, the water in the film is a crossover subject too; from the water in the kettle (tea for a break time), the repetition and rhythm of a dripping tap (associated with labour and maybe monotony) and the water of a swimming pool (swimming being a “free time” activity for me). The pool is also a place for reflection: interestingly contemplative space for an artist swiftly re-orientates itself into a place of purpose for a reflective art practitioner.”
Made in the Pre-Covid 19 era…!!! Since making it, a HUGE number of people previously working in buildings which are not their domestic setting, currently work from home. It’s so odd looking back at this video I made now!
I hope that one of the outcomes of this challenging time is that the work of those so-called “economically inactive” (mainly women, and anyone involved in various unpaid caring activities) has a stronger sense of presence in our awareness of work activities, and even in the way we think about what makes us valuable human beings. The equation of money and status with worth is being shaken at the roots right now.
I’m so glad we have drawn our attention to appreciating the caring profession. And let’s remember, that “professions” are not professions due to the amount of money someone earns, but are an expression of a person’s values, investment, and focus. So many activities, not formally recognised as “professions”, though low paid, unpaid, and regardless of relative status in society, are ALL work, all valuable, and all vital to a healthy society.
Sculpture at Morley College
I find working with three dimensions very interesting and it makes a nice change from working on paintings, drawings, and prints. I was pleased to have my sculpture “Articulation” accepted for exhibition at this year’s MADE at Menier Gallery. It’s an exhibition for students at Morley College. HOWEVER… then this email arrived… Not a surprise in the current Coronavirus Pandemic!
Dear all,
Due to the escalation of the Coronavirus pandemic in the UK, we regret to inform you that we have made the very difficult decision to postpone this year’s Made exhibition at Menier Gallery. We are very sorry about this, but there is nothing else we can do. In this unusual situation it is also hard to say when Made will happen, but we hope that we will be able to host it in a brand new Morley Gallery next year.
We appreciate the effort you have made to create all this lovely artwork and hope the effects of the Coronavirus are minimal for you and your loved ones.
More information about this will follow shortly.
Not a surprise.
Indeed, though signed up for a six week term, in the end I only attended two sessions of the course in the second half of the Spring Term. Morley College is based in Southwark, which was at that time the London Borough with the second highest number of confirmed cases of Covid 19. As I watched the figures rise – from 8 in Southwark on the 10th March and then 28 confirmed cases of Covid 19 on the 16th March – I grew uncomfortable with travelling to Southwark on the train. The journey there wasn’t too bad, but on the way back on the jam packed train… It was obviously a bad idea to continue. The last time I went up to London was 10th March, and then on the way home in the rush hour I wore a specially made scarf… made by myself! It was lightweight woven fabric with a couple of layers of polypropylene folded inside it. Perfect! Polypropylene is actually the main component in the manufacture of surgical face masks. I really didn’t want to buy myself a surgical face mask… Feeling they should be kept for the settings for which they were designed. However, I felt very strongly that people travelling in crowded trains should be wearing face coverings of some shape or form. At that time, no one, well, hardly anyone, was wearing face masks or face coverings. But I felt so much better for doing so.
I wrote and researched quite a lot on the subject. I used to be a Dental Nurse many years back and wore surgical face masks all day every working day. We never used them as any more than a hygiene measure. It was never a defensive, “protect me from this or that” kind of thing to do. They were not respirator masks, of course. They were there to stop big droplets from the dental procedures and also to stop our breathing from the kind of merging of air which happens when you work very close to patients. So this past experience informed my decision to cover my face so early on in certain settings. I also did a bit of research, and while just one example, reading the research below got me thinking that it was better to err on the side of caution. Though the Covid 19 is not Influenza A, it is certainly highly infectious and if Influenza A has a way of spreading in very tiny particles (smaller than droplet infection, rather airborne).
Interestingly Scientists have disagreed for years on how exactly Influenza is spread; some saying that its airborne, and others that its only the larger droplets, and nothing smaller. I know which camp I am in. Yes, we don’t know about Covid 19. Specifically. However, it seems unwise in the midst of a global pandemic to insist on waiting for the numerous experiments with the specific virus in question to be carried out when such a simple, practical and easy to implement action by members of the public can at least be one small factor in reducing transmission of Covid 19. Its never been a “protect me from the virus” mentality for me. It’s been; this is a virus which has a huge range of symptoms, (or people asymptomatic) and basically its really hard to say for the most part if you have it, or have had it. There’s lots of corona-virus’ and probably many co infections happening right now. So the best mindset is to behave as if you have it, and you carry it with you. Though you don’t know, it matters not. What matters is that when you are indoors in busy crowded places (not that we have any at this point in time!) where your exhaled breath will be mixing with the exhaled breath of others, it seem logical to do what you can to avoid sharing.
I am so relieved we have the social distancing in place now. Shopping in supermarkets, especially all the panic buying which went on earlier on, was surely one of the rampant and successful ways of spreading Covid 19 around, and I think we may look back and ask ourselves why we didn’t stop that earlier. I used to wear a loop scarf or snood for shopping way back in Mid March. Still do now. No reason not to. I think there is a strand of thought which goes along the line of MASKS = FEAR. This is a shame. However, I can see that for some people the idea of a virus being airborne could be something which caused paranoia. Shame really, as it’s not a new idea but maybe in the light of the current situation that might seem unsurprising. I think the research which I share below was immensely helpful to me, with the proviso of course that it was carried out in an artificial setting and also with a more familiar virus. However, influenza’s of any kind are very serious and the cause of huge numbers of deaths each year. The novel coronavirus (Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2)which causes coronavirus disease 2019 (COVID-19), was previously referred to by its provisional name 2019 novel coronavirus (2019-nCoV) is proving to be illusive and tricky to pin down. It’s very nature is unpredictable. We will need to get used to the uncertainty and as we accept it and its consequences, doing something simple like covering our faces may make a small contribution to helping reduce and slow the spread. Any small contribution is worth while, and gives us more time. It is going to take a LONG time. I’m sure of that.
So with the following research, I think the key points are it’s prolonged face to face which is the mainstay of the awareness regarding spread. The percentage is high in the experiment. It logically would be less in a real life situation. And this is only one factor in spread. One factor among many. Dose and duration all make big differences. Something like this is helpful for increasing awareness and doesn’t need to result in paranoia, or in people ignoring the other methods of transmission. Just the same as wearing a face covering doesn’t mean suddenly people are going to touch their faces more, not bother with other methods of reducing transmission, and become complacent!
Ah, I have meandered.
Where was I? Morley College.
Yes, the exhibition cancelled, and then later this email:
“We are pleased to announce that we will present your work in a first-ever online MADE exhibition in May 2020!
As you already know, Morley has taken the difficult decision to cancel MADE at Menier Gallery (previously scheduled for 29 April – 7 May 2020). Although the physical show has been postponed, we are excited to inform you that we will present the exhibition digitally and we are currently working on a new Instagram account for MADE 2020 (@MadeAtMorley) that will feature all the selected works of art for each of the four disciplines involved – please, start following!
MADE 2020 ONLINE: The Instagram exhibition will feature your objects as well as interviews and films of production behind the scene. This is a great opportunity to show the hard work that you have been undertaking in this period and to offer viewers the chance to see your superb work online and get to know your art better. All the selected works will also be shown in the new Gallery website and will remain accessible in the future. We aim to launch the online exhibition on May 11th, 2020.
-> Please, note: Morley Gallery is expected to reopen in March 2021 and we hope to host the exhibition there as well in March/April 2021.
INSTAGRAM ACCOUNT The new Instagram account @MadeAtMorley is now live. Please start following now!
HASHTAGS
#MorleyGallery
#Morley_College
#Made2020
Well, that will be one way of seeing the work. I am looking forward to it.
Here is the selected work “Articulation”. Also the accompanying text. Like a lot of my work, it was started some time ago, and then I have reflected and reviewed, refined and developed it. I value the process and value contemplation. A contemplative practice is the backbone to any art works I produce. I don’t stick to a time schedule, unless I am producing something which is a commission for someone else. It’s finished now, and I am very happy with it.
articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan
articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan
articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan
Above; Various images taken during the process of making “Articulation”.
Below; Information/text submitted to the Morley Online exhibition.
“Articulation” What is it?
So here is a bit more about this work, which I have been working on for several years. I believe its a great mistake to rush a piece of artwork. They have their own timing, and something like this will be taken out, worked on for a while, and then put away again. The process continues. The work is not just the artefact; it is the thinking and feeling it represents. It needs to evolve. Like all my work, it comes into being in a piecemeal fashion, bit by bit. I like the way that the form of this work reflects this. It’s a very accurate expression of my working process, which I like very much for that very reason. For this reason, I would call this a signature piece. It includes a poem which can be read if you look closely around the rim.
Untitled
Words are power;
this is why
I stumble and trip.
I try to find them.
For mine are hiding;
cowardly.
They left me helpless;
stuck themselves all over a tree –
becoming harder -soft tissue
into paper
Then,
as you see…
A wooden bark
which
soundless sits
in its own
quiet
dignity.
To find your voice as a person sounds easy, but it’s one of the hardest things in life. Maybe for me, with a lot of childhood trauma and adversity, those formative experiences make “articulation” more a a challenge? I’m not sure, but I do know that in my second half of life, I have needed to do a lot of personal work through ongoing psychotherapy. This has proved transformative, and vital in locating a stronger sense of myself, and in finding my voice. As an artist and creative, this “Articulation” expresses the heart of why I work with materials in the way that I do. It’s part of a regeneration and growth; An expansion and exploration.
On the materials and making dimension of “Articulation”
Process
I took some digital photographs of trees/branches in my garden. Photocopies of these were used as the final layer of papier-mâché. They were the beginning, and end of this process led, instinctive piece.
The galvanised steel wire framework took off nicely. I wanted a sense of control/structure but also spontaneity. Playful rings in the centre invite a childlike exploration. I included suggestions of fluidity/water flow in the outer form using parallel areas of curved wire. I wanted activity and life suggested in what was gradually emerging as a tree stump type form.
The paper parts skim around the form, almost as if being blown by wind; a metaphor for the Holy Spirit of God. My acknowledgement of a life giving, creative, divine influence; inspiration; is key.
The negative spaces and shapes are there to unify the sculpture as a whole; they let you into its structure and in doing that, present a sense of unity to the superficial brokenness. The newspaper and photocopied paper “bark” was sprayed brown paint, then varnished. In one section there is an inner and outer wire wall which have separated from each other. The inner energy of the trunk is pushing the old bark away.
My experience of psychotherapy is integral to my creative output.
Kalo
Here are some of my Kalo series which I started experimenting with at the end of last year.
jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist
jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist
“Keim Galaxies” Available to Buy on Redbubble.com
https://www.redbubble.com/people/jennyjimjams/explore
jenny meehan london surrey contemporary artist blog
jenny meehan art for sale british contemporary artist
Jenny Meehan: How to buy my art/design online safely, easily, and affordably.
https://www.redbubble.com/people/jennyjimjams/explore
This is my main portfolio on redbubble.com. My focus isn’t on selling online, but accessible and affordable art prints enable people to own and view selected examples of my work and its a great way to share it.
Follow the links to take a peek, or simply put in your browser the words redbubble jennyjimjams (skip the main site advert) , and pages from my profile will come up. Scroll down any page until you get to “View Jenny Meehan’s shop” if you want to look at a range of products they offer with my designs on. Or there’s another option to “shop” called “explore”. (More on navigating the redbubble.com site below)
There are thousands of artists work up on redbubble.com! All with their own “shop” and profile. If you want to buy prints and merchandise from redbubble.com with my work on, ensure you have found the right shopfront. It should be showing on a page with my profile image on.
There is only a limited selection of work I’ve posted on redbubble.com. It’s a “print on demand” site. If you purchase something with my art/design on it, I get a royalty payment while redbubble.com manufacture the product or print.
Any art prints are unsigned. It’s an excellent way for me to make my work more affordable and available. And easy to buy.
Navigating the redbubble.com website to locate art/design by Jenny Meehan
Navigating the site can be a bit confusing, and it’s easy to end up looking at work by other artists, rather than just mine, because of the way the website is organised. If you specifically want to purchase products and prints with my art/design on, the following might help you.
Link to the SHOP section is:
https://www.redbubble.com/people/jennyjimjams/shop
The SHOP section shows my work on different products. When you start clicking around it also offers an option “See Similar Designs” but this will show designs by ALL artists on redbubble.com which are similar. I mention because this can be confusing. If you just want to see additional designs by me on the shop section, then you need to make sure you scroll down to my profile picture and name and look there. It’s further down.
Link to the EXPLORE section is
https://www.redbubble.com/people/jennyjimjams/explore
The EXPLORE section is the best section to navigate to if you want to take a quick look at the whole range of designs I have in my redbubble.com portfolio. It just shows the designs as a flat image. When you locate one you like you can then select to see it on various products. It’s a better way of navigating to my work, as less confusing.
Something you want me to put up on redbubble.com, but I haven’t put it up yet?
I am able to locate the artwork from my extensive digital archive and put it up on redbubble.com within 3 days. Once it’s up there, you purchase the print or product online and your order is fulfilled by redbubble.com
However. If you require a signed art print, or redbubble.com do not offer the substrate or format you need, this is a better option for you.
Interior designers looking for specific formats and substrates for large scale artwork for corporate, office and business environments or other public spaces may wish to contact me directly for custom made, large scale, interior wall art, prints, etc. Enquiries most welcome.
Geometric Abstraction/Geometric Patterns/Repeating Patterns and Surface Design Focus
I have an additional redbubble.com profile with only geometric patterned designs:
https://www.redbubble.com/people/JennyMeehan/explore
Which “Keim Galaxies” have I put up on Redbubble.com so far?
Here are some images of the “Keim Galaxies” up at the present time. I will be adding to them, of course.
jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,
jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,
jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,
jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,
Images are low resolution on the internet. On Redbubble.com it’s possible to have them printed on prints and furnishing, and many different types of merchandise at a very large scale. This is perfect for interior designers, for both domestic and home settings and is quick, safe, and affordable.
Note: The edges where colours meet are diffused, giving a gentle, organic feel when viewed at very close range. This softening is deliberate, and not a printing fault. The combination of flat solid colours and softened edges on printed substrate is part of my aesthetic and characteristic of all of my flat colour designs.
Jenny Meehan Contemporary Fine Artist Original Fine Art Paintings for Sale
If you prefer to buy affordable, original paintings, directly from me, I have plenty available and do please contact me letting me know what you are looking for.
The majority of my original fine art paintings can be described as following the style of abstract expressionism and lyrical abstraction. I paint in either oils or acrylics mostly.
A rough price guide for my original fine paintings is between £200 and £600 if purchased directly from me. When you buy a painting or any art work from a gallery setting, there is normally a commission of between 30% and 50% added to the price due to gallery costs and the purchase being made through a business. I am not formally represented by any one gallery at the current time.
I regularly exhibits my art working (paintings, prints, and poetry) in the United Kingdom. This is normally as a result of being selected in Open Submission Artist’s Call Outs. My work has been exhibited in many notable galleries, including Pallant House Gallery, Dulwich Picture Gallery, Stanley Picker Gallery, and Kingston Museum Gallery. My work is featured/included in many publications, University and Hospital projects/settings.
Kingston Artists’ Open Studios 2020 Cancelled!
Yes, another cancelled exhibition. Here are some images from last year to look at instead!
kingston artists open studios 2019 jenny meehan artist designer artists open studios events in surrey, artists open studios london, outer london artists studios, lyrical abstractions, geometric abstraction, fine paintings, prints,
kingston artists open studios , jenny meehan artist designer art gallery, art work, art exhibition, surrey artists, surrey artists studios, jenny meehan british contemporary artist ©jenny meehan
“With great reluctance we have decided to cancel #OpenStudios 2020 because of the #coronavirus situation. We will be back as soon as we can. In the meantime do look at our website & links to our artists’ websites. Do support them by ordering online!”
http://kingstonartistsopenstudios.co.uk
The Garden Gate Oil Painting by Jenny Meehan
the garden gate oil painting by Jenny jenny meehan british contemporary artist©jenny meehan
This is an early painting of mine when I was first experimenting with representational painting. I’ve picked this to share because of the “Staying at Home” message we are all hearing. The painting is my neighbours front garden. The tree isn’t there anymore, as it was sadly cut down. The pathway leading to the shut gate evokes some kind of memory for me from my childhood. You shut gates in gardens to stop children from wandering out, in to possible danger. The paintings has shade, on the right hand side, from the walls of the house, and also sunlight which catches the bushes on the left. Young flowering plants grow in the shade, enjoying the protection of the wall from the early morning frosts no doubt. The strong branches of the tree outside the garden are quite a contrast.
I am finding great enjoyment from my garden at this challenging time, and it is certainly therapeutic! A good way of relaxing. Nature is very comforting at times. I said to myself recently, as I looked at my small tomato plant growing “As long as the plants keep growing, we are OK!”.
jenny meehan Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist©jenny meehan
jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist©jenny meehan
The Art of Caring
Well, ANOTHER cancelled exhibition. Which has become an online exhibition for the time being.
“Introduction to “The Art of Caring” Online Exhibition
“We are delighted to participate in the Art of Caring 2020 exhibition, the year which the World Health Organisation designated as the International Year of the Nurse and Midwife and the bicentennial year of Florence Nightingale’s birth. Any year would have been timely to celebrate the attributes of our highly skilled, multi faceted professions, which make up the largest proportion of the NHS workforce. But with the world facing a global pandemic, it is apposite that in this, of all years, we pay tribute to the contribution and sacrifice made by our colleagues worldwide and offer them our sincere thanks and gratitude.
The theme for this year’s exhibition, ‘Ingredients for a healthy life’ takes on new meaning and poignancy in such unprecedented times. Many images in our exhibition reflect this, appreciating the gifts of comfort and kindness which bind us together. We are indebted to our Artist In Residence, Alban Low in organising our first ever ‘Virtual’ exhibition and hope you enjoy it as much as we have.
Keep safe (and wash your hands),
Prof Karen Norman (On behalf of the School of Nursing, Kingston University and St George’s, University of London).
Karen Norman is Non Executive Director, Queen Victoria Hospital NHS Foundation Trust and Visiting Professor, Business School, University of Hertfordshire
This exhibition is supported by the School of Nursing, Kingston University and St George’s, University of London. Thank you to the arts team at St George’s Hospital and our long term artist partners The Arts Project (Peter Herbert/Marius Els) at St Pancras Hospital.”
“The Art of Caring” Online Exhibition will be running over May 2020. Each day there will be the work of four artists on the Art of Caring blog/website, and on some social media platforms too. Here is the rundown!
Zoe Douglas-Cain 13/05/2020
eating greens for art of caring ©jenny meehan print for http://collectconnect.blogspot.com/ and art of caring online exhibition
jamartlondon_jennymeehan
Kingston Museum Exhibition
One of my prints has been shortlisted for this art exhibition at Kingston Museum. Another one which will have to wait, at this Covid 19 Time we inhibit. No online exhibition happening for this one. It will be titled: Climate KAOS: Kingston Artists Open Studios present works about climate change. Was due to happen in June..
My artwork was one of the shortlisted, and we won’t know what exactly gets hung in the museum gallery until the massive task of hanging the work takes place, whenever that is. It might be that depending on how the hanging goes, my work might not be in the final exhibition, but the intention at the present time is that it is.
Here is info on my work and the thinking, as submitted in the Artists’ Exhibition Call Out
“Artwork title: “Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.”
Medium: digital print on 3 mm panel
Year created: 2019
Overall dimensions: (including frame where applicable) 400 mm x 400 mm
Price: ( including 30% commission) £150
Title: “Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.”
My response to the exhibition Mandalas at White Cube Mason’s Yard.
This mandala started with waste in the form of printed wrapping paper.
I was brought up with the phrase “Waste not want not”, which is said to advise someone not to waste anything, because they might need it in the future. This seems a timely message humankind in the present era especially, and regardless of perceived value, in art or anything else, we should all be using the resources we have wisely, however much or little they cost.
Jenny Meehan is an artist based in Chessington Surrey working with painting, digital imagery and writing..”
Other thoughts on this.
The artwork started as something I posted on instagram with the following text:
“Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.” ©jenny meehan print for Kingston Museum KAOS exhibition
“Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.” ©jenny meehan print for Kingston Museum KAOS exhibition
About Jenny Meehan
Jenny Meehan – UK based painter-poet artist-author
Specialism: Geometric and Lyrical Abstraction
Artist Journal: https://jennymeehan.wordpress.com/
Image licensing via DACS Designer and Artists Copyright Society (DACS proposed fees are negotiable contact me in first instance)
https://www.youtube.com/user/jennyjimjams
https://www.instagram.com/jamartlondon_jennymeehan/
Copyright Information – Jenny Meehan
©jenny meehan
Copyright in all images by Jenny Meehan is held by the artist.
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.
Licencing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. It can be done online through their request form:
https://dacs.secure.force.com/enquiry/
For an overview on image licensing on the DACS website, look here.
https://www.dacs.org.uk/licensing-works
Please NOTE: the “Quote” suggested is a proposed fee in line with the industry standard. While I do stick broadly to the industry standard with respect to fees, I appreciate the need to stick to a budget in publishing, and the quote is a proposed amount. I normally have some flexibility!
DACS will automatically propose a licensing fee in line with the industry standard. However, please note, this is a negotiable fee. I am happy to be flexible about the initial fee proposed, and it’s not a problem if the initially proposed fee is outside your budget. Administration of the licensing process is facilitated through DACS, who liaise between us with respect to the exact fee agreed. Depending on circumstances and the nature of your project, I can offer fee reductions for a certain percentage of licensing arrangements.
If you use their online form and attach the low resolution image of my artwork which you have found on the internet, they will know which image you seek permission for. You can also contact me directly in the first instance if you wish to, of course. Any arrangements will need to be made through the Designer and Artists’ Copyright Society, but I can often offer the opportunity to alter images, for example, putting in different aspect ratios or colourways, so it’s really helpful to communicate with designers and clients first with respect to the actual image required.
So, feel free to contact me if you are looking for a particular type of artwork image, as I have a large archive of images. I will also be able to let you know the maximum size the digital image is available at. If you then wish to licence the artwork image, you would then contact the Design and Artist Copyright Society to arrange the licencing agreement according to your requirements. Once paid and agreed, I then supply the high resolution image directly to you.
Keim Galaxies Launch
Not quite completed, as one or two more to do, but mostly done!
I move out of the office into the Studio Tent in the Spring… Well, I need to reconstruct the tent because it has suffered with the wind and rain, but should be sorted by April. In the Summer I tend to paint, and then it’s back to working inside in the Autumn, with more time spent at the computer.
But I am ready to start publishing the Keim Galaxies. I am also playing about with animations, which I very much enjoy. So that adds another dimension, especially with the music. It would be nice to be more creative with the music, but I am just using tracks from copyright free sources right now. I quite fancy getting out my djembe and experimenting with that and the images, but as always, my mind flies off, and I need to keep focused!
I’ve been a fan of Keim Mineral Paints for many years, and over time, my palette has been leaning heavily towards the traditional and classic colours of mineral and earth pigments. So what a delight to work with them in a different way with digital imagery!
The Keim Galaxies range from the subtle and spontaneous, to the bold and highly ordered. I introduced some obviously geometric elements, but while putting them into play, I also aimed to keep a sense of fluidity where possible. I’ve played with contrasts in line, clarity, shape, pattern, scale, and colour, thereby forming an interesting range of imaginative “Galaxies” I hope you’ll enjoy.
These designs are evidence of beauty expressed through an adventurous, creative, process. They are perfect for interiors which embrace the natural mineral and earth colours. Choosing ecologically friendly paints for exterior and interior decoration will help us towards a sustainable future. These designs will perfectly complement any eco-friendly interior setting where traditional paint colours are utilised. Many of these designs will also work to add a contemporary twist in a historic/heritage setting, due to the harmony of the colour palette.
The Keim Galaxies were made possible through the kind donation of un-manipulated digital images of paint buckets from Keim UK, which were used as the starting material for art/designs. PLEASE NOTE; THIS WAS A PROJECT I CARRIED OUT INDEPENDENTLY, IT WAS NOT A COMMISSIONED WORK AND HAS NO FORMAL LINKS WITH KEIM MINERAL PAINTS.
ALL COPYRIGHTS ARE OWNED BY JENNY MEEHAN AND IMAGES ARE LICENSABLE VIA DACS (DESIGNER AND ARTISTS COPYRIGHT SOCIETY – MORE INFORMATION BELOW.
The titles of the Keim Galaxies were created through imaginative ingenuity, and were gathered from many sources, including personal memories, music, dance, and the emotions they illicit when viewed. Spirituality, faith, prayer, and joy in life informs all of my visual art working.
I continue working with the Sol-Silicate paints, loving the colours and everything else about them. It feels good to use eco-friendly, environmentally-friendly paints with traditional colours in a new and innovative way, bringing quite a contemporary twist to the colours which are often to be found in both the interiors and exteriors of heritage buildings. As with all my paintings, I do work on them for several years before they get shown, so for now the Keim Galaxies at least provide something to show for the time being!
Because there are rather a lot, I will post up at the end of this post rather than in the middle of it. I have been working on these for many months, so its interesting to see them as a collection. The image resolution/quality on this blog is deliberately low, but doesn’t reflect the quality of the original digital images.
Wonder Video
Follow the link to see my video “Wonder”.
Dwell Time Issue 2
I’m delighted to have been selected for the second “Dwell Time” publication. This is a great project, and the realisation of a fantastic vision and mission. I’m delighted to be part of it!
“Award winning, not-for-profit arts publication reflecting on mental wellbeing. Produced and curated by Alice Bradshaw, Vanessa Haley & Lenny Szrama in collaboration with Penistone Line Partnership. Founded in 2018. Currently funded by Penistone Line Partnership, ACORP, Northern & CrossCountry.”
My contribution:
https://dwelltimepress.wordpress.com/2019/07/31/jenny-meehan-sticky-note-to-my-self/
Which was published online in July 2019, and has been selected for the printed publication.
Here was my own reflection on the work I produced:
“This piece is called “Sticky Note to my Self”. The realities of life are sometimes very hard to bear. Like printed matter, certain facts stare us in the face, and however hard we try to pull them off, it’s just not possible. I chose facts about the Penistone line, because of the publication which is part of the Dwell Time project, but this artwork refers to my own significant train journey to London for psychotherapy on a weekly basis for five years. This sticky note reminds me of my internal journey from one place to another…going in either direction over different units of time.
Thankfully with the right help and support, over the years, the overarching movement is in the direction of health: MOVING and BEING. I hope this is helpful to you in some way.”
https://dwelltimepress.wordpress.com/
Chaiya Art Awards 2020
Drat. While one of my submitted paintings was long listed, and selected in the 106 when it came to finally curating the exhibition it fell out of the loop!
Got this:
“We want to thank you for submitting your creativity to the Chaiya Art Awards on the theme “GOD is … ” We received over 700 entries in a variety of mediums including painting, drawing, sculpture, glass, textiles, photography and video. The quality of submissions was very high and we have chosen 106 works to be longlisted.
Congratulations on successfully making it onto the longlist with Light Touch”
But that is a far as it went!
So easy to happen, but disappointing because I would have loved to have my work in this exhibition. Being a person of faith and m spirituality being such a prime focus, having work in this kind of exhibition would have been great. Blurb from the Chaiya Art Awards website:
“How do 50 artists respond to the phrase God is … ?
From over 700 entries, the 50 artists featured, of all faiths and none, in this curated and juried exhibition, invite us to muse with them their experiences through canvas and paper, photographs and video, cloth and stitch; 3D metalwork and pottery; bronze and stone sculpture alongside an interactive robot.
The panel of five judges, all well respected experts in their arts arena, will choose and announce the winner of the £10,000 along with other prizes on Press night. Visitors will also have their say by voting for the artwork on display during the exhibition for the public prize of £1,000.
This exhibition is an invitation to look beyond, to discern what cannot be seen and grasp what cannot be described.
10% of all artwork sold goes to our Charity partner UNSEEN – working to end human trafficking and modern slavery.
EVENT: CHAIYA ART AWARDS 2020 – Winners Exhibition, Affordable Art Fair
DATES: 10 – 19 April 2020
OPEN: 11am – 6pm every day (till 4pm on last day)
VENUE: Gallery@OXO, Bargehouse Street, London, SE1 9PH
Entrance is free. Artwork for sale, prices from £50 – £12,500″
Well, it’s going to be a great exhibition, so I will certainly enjoy looking at what did make the final selection!
It’s Time for Keim!
So, as promised, here is the collection so far. I am going to have to move onto some paintings over the Summer, but I get the feeling that like Keim Paints, this experimenting with the colours in this way may well be almost as addictive as painting with the paints!
Just skip over the blurb about licensing… I need to include it!
keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
Jenny Meehan (Jennifer Meehan) – How to Contact Me
CLARITY keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
SPACE INVADER keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
GOLDEN MOMENT keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
Jenny Meehan (Jennifer Meehan) – How to Contact Me
GOLD RUSH keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
The image resolution/quality on this blog is deliberately low, but doesn’t reflect the quality of the original digital images.
MELLOW MEDLEY keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
CALM CONSTELLATION keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
TIGHT SQUEEZE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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EXTRAVAGANZA keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
PARTY PIECE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
TIMBRE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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ODD INSCRIPTIONS keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
WOBBLY MOMENT keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
UNDERGROWTH keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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FULL CIRCLE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
The image resolution/quality on this blog is deliberately low, but doesn’t reflect the quality of the original digital images.
FIRST IMPRESSION keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
FREE FORM keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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ALL THAT GLITTERS keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
ONWARDS AND UPWARDS keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
GREEN GATHERING keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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GREEN GLASSES keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
ALIEN INVASION keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
EXTRAORDINARY keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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KIND OF COLOSSAL keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
SILICA BLING keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
THE NEW BLUE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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DAEDAL keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
The image resolution/quality on this blog is deliberately low, but doesn’t reflect the quality of the original digital images.
STARK REALITIES keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
BEAUTY BOLT keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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FREE FALL keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
MISSING PIECE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
CONTAINER keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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TIME WARP keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
POSITIVE ACTION keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
FAST FORWARD keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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NEW HORIZON keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
TRIBAL GATHERING keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
ROYAL RUBY keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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INDIAN SUMMER keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
STAR QUALITY keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
PURE AND SIMPLE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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The image resolution/quality on this blog is deliberately low, but doesn’t reflect the quality of the original digital images.
UNFAMILIAR TERRITORY keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
SPLISH SPLASH keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
BREATHING SPACE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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MAGNIFICENT MESH keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
GROOVY GALAXY keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
QUEEN CONCH keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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INSIDE OUT ONE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
INSIDE OUT TWO keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
GENESIS keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
PERFECT MIX keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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CONCATENATION keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
DIHEDRAL DELIGHT keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
MARBLED MOMENT keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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UP BEAT keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
The image resolution/quality on this blog is deliberately low, but doesn’t reflect the quality of the original digital images.
OUTSTANDING keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
PERFECT MATCH keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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BIFID BUCKET keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
STORM IN A PAINT BUCKET keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
POSITIVE VIBE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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SMOOTH TALKING keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
BALLET BLANC keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
COCO LOCO keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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STRING QUARTET keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
CLASSIC ASANA keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
LEAD LIGHTS keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
Jenny Meehan (Jennifer Meehan) – How to Contact Me
SCORDATURA keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
The image resolution/quality on this blog is deliberately low, but doesn’t reflect the quality of the original digital images.
HOT PALAVER keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
DREAM CATCHER keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
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REFLECTIVE STATE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
GALACTIC EMPIRE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
WIBBLE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
Jenny Meehan (Jennifer Meehan) – How to Contact Me
HAPPY COUPLE keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
MYSTERY SONATA keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
AIR WAVES keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
Jenny Meehan (Jennifer Meehan) – How to Contact Me
PSYCHEDELIA keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
PICTURE PERFECT keim galaxies jenny meehan abstract pattern contemporary design inspired by Keim mineral paints UK paint colour mixing images for modern interiors and exterior wall decoration © jenny meehan
The image resolution/quality on this blog is deliberately low, but doesn’t reflect the quality of the original digital images.
Redbubble.com and the “Keim Galaxies”
I am gradually posting the Galaxies up onto my portfolio on the print on demand site Redbubble.com. It’s going to take some time. Take a look here to see how far I have got. If you want any particular “Keim Galaxy” up on Redbubble.com sooner rather than later, just contact me via the contact form here on my blog and I can put it up within three days.
https://www.redbubble.com/people/jennyjimjams/explore is the best link to take a quick peruse of which designs I have posted up on Redbubble. This is my MAIN redbubble.com portfolio and the one I post up the “Keim Galaxies” Series.
Kingston Artists’ Open Studios
I am flagging this annual event up, because time really does fly! We now have the dates for this year’s Kingston Artists’ Open Studios! The 2020 Kingston Artist’s Open Studios with be on June 6/7th and 13/14th! Kingston Upon Thames artists open their homes and studios. Open to all. Come and meet us!
More info on the Kingston Artists’ Open Studios website here; http://www.kingstonartistsopenstudios.co.uk/open-studios/
The catalogue is not out yet, I don’t think, but will be very soon. You can see previous Kingston Artists’ Open Studios Catalogues on the Kingston Artists’ Open Studios website and also sign up to receive more detailed information for this year’s Kingston Artists’ Open Studios when it comes out. You could sign up to my mailing list by using the contact form on this blog, and I will keep you posted. I only send out a newsletter once or twice a year.
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Well, that’s it for March! I need to repair my studio tent now, so I can do some painting!
About Jenny Meehan
Jenny Meehan – UK based painter-poet artist-author
Specialism: Geometric and Lyrical Abstraction
Artist Journal: https://jennymeehan.wordpress.com/
Image licensing via DACS Designer and Artists Copyright Society (DACS proposed fees are negotiable contact me in first instance)
https://www.youtube.com/user/jennyjimjams
https://www.instagram.com/jamartlondon_jennymeehan/
Copyright Information – Jenny Meehan
Copyright in all images by Jenny Meehan is held by the artist.
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.
Licencing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. It can be done online through their request form:
https://dacs.secure.force.com/enquiry/
For an overview on image licensing on the DACS website, look here.
https://www.dacs.org.uk/licensing-works
Please NOTE: the “Quote” suggested is a proposed fee in line with the industry standard. While I do stick broadly to the industry standard with respect to fees, I appreciate the need to stick to a budget in publishing, and the quote is a proposed amount. I normally have some flexibility!
DACS will automatically propose a licensing fee in line with the industry standard. However, please note, this is a negotiable fee. I am happy to be flexible about the initial fee proposed, and it’s not a problem if the initially proposed fee is outside your budget. Administration of the licensing process is facilitated through DACS, who liaise between us with respect to the exact fee agreed. Depending on circumstances and the nature of your project, I can offer fee reductions for a certain percentage of licensing arrangements.
If you use their online form and attach the low resolution image of my artwork which you have found on the internet, they will know which image you seek permission for. You can also contact me directly in the first instance if you wish to, of course. Any arrangements will need to be made through the Designer and Artists’ Copyright Society, but I can often offer the opportunity to alter images, for example, putting in different aspect ratios or colourways, so it’s really helpful to communicate with designers and clients first with respect to the actual image required.
So, feel free to contact me if you are looking for a particular type of artwork image, as I have a large archive of images. I will also be able to let you know the maximum size the digital image is available at. If you then wish to licence the artwork image, you would then contact the Design and Artist Copyright Society to arrange the licencing agreement according to your requirements. Once paid and agreed, I then supply the high resolution image directly to you.
Kingston Artists’ Open Studios 2020
jenny meehan painting lyrical abstract floral promised land/break out painting
Needing some glimpses of colour at the moment, because it is a somewhat grey January day today! Above a painting which sold a few years back.
spring will come digital image jenny meehan ©jenny meehan
And this, because Spring Will Come! ©jenny meehan
jenny meehan surrey artist london contemporary female artist
It is very casual, but I find posting screenshots very convenient! Here’s a photo of me at last year’s Kingston Artists’ Open Studios. Which reminds me to flag up we now have the dates for this year’s Kingston Artists’ Open Studios! The 2020 Kingston Artist’s Open Studios with be on June 6/7th and 13/14th! Kingston Upon Thames artists open their homes and studios. Open to all. Come and meet us!
More info on the Kingston Artists’ Open Studios website here; http://www.kingstonartistsopenstudios.co.uk/open-studios/
The catalogue is not out yet… too early, but you can see previous Kingston Artists’ Open Studios Catalogues on the Kingston Artists’ Open Studios website and also sign up to receive more detailed information for this year’s Kingston Artists’ Open Studios when it comes out.
Time Table
At the end of last year I was experimenting with making short video clips, just for a change. My very short piece “Time Table” was selected for screening at an event in Manchester. Info below:
screening shown on 3rd December 2019 at STRETCH – Reel Time event. Held at Mirabel Studios 14 -20 Mirabel Street Manchester M31PJ
My statement:
“As an artist, writer, and home-maker, I manage my time by working in a completely piecemeal, and often spontaneous, way. I integrate my creative practice within my domestic life and utilise the flexibility inherent in this way of life. I used my work space, (AKA kitchen) as the setting for the film “Time Table”. I often produce work on my kitchen table is the object in the room which best represents the interrelationship between my artistic work and the other work I’m involved in.
Both forms of work are mostly unpaid, and it becomes a challenge to maintain a sense of self and a sense of value in our capitalist society which measures value by status and money.
The planner in the film has blank pages but rapid movement, because in both dimensions of my work sphere; the domestic and the artistic; I’m extremely busy. However, I find the reality of my work is non existent in many people’s perceptions; it’s blank; because they do not recognise what I do as being work. In our culture activities which take place in the domestic sphere are often side-lined and artistic creation is at risk as being thought as being a “free time” pursuit. I frequently get asked “What do you do all day?”
In reality, “work” reflects more to purpose and perception, than a context.
Like the table, the water in the film is a crossover subject too; from the water in the kettle (tea for a break time), the repetition and rhythm of a dripping tap (associated with labour and maybe monotony) and the water of a swimming pool (swimming being a “free time” activity for me). The pool is also a place for reflection: interestingly contemplative space for an artist swiftly re-orientates itself into a place of purpose for a reflective art practitioner.”
Jenny Meehan is a London based artist working with painting, writing, digital media and contemplative practices.
jamartlondon.com
I don’t have much to add to the text I submitted. An interesting development was that I was able to finance just one month of studio space last November, and this made an interesting contrast to my usual working routine. I found that having the more clearly defined boundaries between my different roles does make things much easier in some ways, so I think in terms of the tangible nature of time…how it is seen, and recognised, or not seen and invisible, having a physical space matters a great deal for an artist, not only in terms of practical matters but also in terms of being a helpful contribution to a stronger sense of self/self-definition. I have found it makes a huge difference on how other people recognise my time as an artist…hence the activities which I carry out within that time/space… I know they matter, but its much easier for other people, particularly those who are not creatives, to recognise that my work is indeed not a sideline/hobby!
In other ways having a physical dedicated space has been restrictive, which I did not expect. There is a kind of pressure… because the time has boundaries, I found that there is this need to fill it in a way which I am normally free of. So not having a dedicated physical space, rather surprisingly, can be a liberty, which I didn’t expect at all. However, as you can see from my work Time Table, there is a big interplay between the blank, empty space in the diary, and the full physical space (I need to leave a lot of piles of domestic clutter around me, because of the need to redirect my energy and time into creating art works! Definitely a balancing act!)
The human being in Time Table is actually my daughter, though she is playing me! So credit to Charis Meehan for playing the part so well!
Time Table isn’t on You Tube at the moment. I think I will wait till I have sorted out my new website and put it on there.
New Website for Jenny Meehan
I am going to create a new website which will be a little more broad in the mediums it shows. The existing one has it’s main focus on paintings and some digital prints, but I find that my practice is far more eclectic now as time has gone on. Now I am on instagram too, and my writing focus rests a little more securely on this Artist’s Journal, I think I can make the website a little more compact.
Coventry Cathedral
There was a very interesting “Open Call” for the commissioning of new vestments and a banner for Coventry Cathedral before Christmas, but the practicalities of it didn’t seem realistic to me in terms of financial recompense. I think if I was both a designer and maker of banners and vestments then it wouldn’t be such an issue, but for someone like me, who is a designer more than a maker (well, of vestments and banners, at least!) the making would need to be contracted out to someone else, with massive financial implications…at least, if it was to be done to a high professional standard, for sure. The actual banner design has significant value, and the copyright matter wasn’t touched on at all. I did contact the relevant person and put my view/perspective forward, but haven’t heard anything back. The value of the actual design, and subsequent images of it, is very important, as is the project management, (time wise) and I had an excellent idea to explore with it, but I simply cannot afford to spend hours on something which is basically speculative. It’s certainly speculative if I wouldn’t consider carrying out the project due to insufficient funds if I was fortunate enough to be selected, so I have just left it.
It is often quite a problem with design competitions and copyright. If the copyright of the banner design image had to be assigned, and that was part of the arrangement, then it needs to be clearly stated. I personally don’t assign copyrights ever, and so to need to do so would also be a reason not to enter such a competition. I always retain copyright for my art and design and for it to be used there would need to be a suitable licence in place. The value of such of licence agreement, needs to be factored in when establishing the value of the artist’s work, and this affects what can be considered a realistic payment in financial terms.
I am normally pretty flexible, and open to negotiation of licensing fees. As a member of DACS, there are the industry standard fees which are of course recommended, but it is the artist who has the final say, and for projects with limited budgets, charitable, religious organisations, particular uses which I have a particular interest and passion about, then flexibility is appropriate. Something like a banner for Coventry Cathedral would be exactly the kind of thing I would be flexible about, but I do value my work and though I try not to, I cannot help but feel irritated by no mention of copyright and of a task of such massive scale with insufficient funds to cover the costs. I could be wrong…It’s been known…but we will see. Someone will do it, possibly very happily. It doesn’t fit in with the way I value my work to ignore copyright matters and while it would have been a nice project to submit something to, what is the point, when I wouldn’t deliver for the money offered?
Coventry Cathedral
Some comfort to me, bearing in mind the above, was that I was able to offer an animation for showing at Coventry Cathedral on my birthday! This did make me most happy, and it was fortunate that I had been experimenting with animation a little at the end of last year. I had something emergent conceptually and the Open Call at Coventry Cathedral for one of their events on New Year’s Eve was very timely, as it gave me the additional impetus to continue working on something which I had started. Some things are just providential, I have decided. Timing is often everything. The Open Call at Coventry Cathedral was perfect timing and I worked obsessively on producing the work which was a duo of a poem and also the animation. Again, I will put this up on my new website when I sort that out.
The animation was rather more fast than I ideally wanted but I am going to make a slower version. It needed to be short for the screening, so I went with it moving very fast, rather than somewhere in between. Both the poem in written form and as word and image animation are titled: “Wonder”. The poem is below.
Wonder
Both soft and clear
Beautiful and broken
Light is transformation
Colouring the soul
Endless pattern
Radiating
Ever differing
Yet completely
Whole
by Jenny Meehan 2019
This is a silent video of word and image. 2.26 duration, in this version. In square aspect ratio. No punctuation in this version.
Wonder was selected to be shown as part of the Open Projections: Digital Art Exhibition NYE@Coventry Cathedral on 31st December 2019.
Text from the Artist’s Call Out:
“Open Projections is a series of digital and moving image projection exhibitions hosted by Coventry Cathedral. The series is hosted by guest curators and arts organisations. Art on show features digital and photographic work created by local, national and international artists. For the latest edition of Open Projections, on New Year’s Eve, We will be projecting onto the ceiling of Coventry Cathedral, using the design of the roof as a screen for each work. We will be inviting guests to lay on the floor and stare upwards (Don’t worry, bean bags and underfloor heating provided).
The brief is for this edition of Open Projections is ‘Spectacle’A visually striking performance or display, or An event or scene regarded in terms of its visual impact.
We are interested in showing work which explores the idea of spectacle and a visually stimulating display inside the cathedral. We have intentionally made the brief for this exhibition open to interpretation as we want to embrace the Cathedral’s space for New Year’s Eve. “
Coventry Cathedral became a major tourist attraction as soon as it was opened in 1962. It is a very interesting building, and the ruins of the old Coventry Cathedral are also beautiful.
The Blitz of 1940 saw Coventry city centre devastated by enemy bombing and, today, only the shell of the old cathedral still stands.
A new cathedral was built on the site of the ruins and the two stand side by side providing a stark but beautiful reminder of the city’s tragic history and inspiring resilience. The new cathedral would be a sign of faith and hope for the future, and the decision led to the cathedral’s Ministry of Peace and Reconciliation, which has provided spiritual and practical support in areas of conflict throughout the world.
It’s a very inspiring place and I was delighted to have some of my work there, even though briefly. It’s just the kind of place I like my work to be enjoyed in!
Kalos – Jenny Meehan
Before Christmas I created a few more in my “Kalo” series. The idea for creating these came initially from a dream/vision. I think I have written previously about this, so I won’t go into it again. Having an instagram account is very good for me as it encourages me to post online regularly and it makes me share my work in an quick and accessible form, which is great!
https://www.instagram.com/jamartlondon_jennymeehan/
jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist
Poetry and Traumatic Brain Injury
I like using my own poetry with my work because it suggests what the work is about but does not dictate precisely to the person responding to it: their interpretation is valued by implication because the meaning is not made explicit. Poetry is an abstracted form of communication and often leaves many gaps or blanks in our understanding; these unfilled areas are just as valuable and are as much a part of the expression as what is written. It is like this in life I think: sometimes there are no words to say; a silence can speak volumes; it can allow understanding, and communicate a depth of feeling not possible with words.
I write poetry from time to time, alongside other types of writing. I wrote a lot of poetry between the years of 2008 and 2010, when I was having real struggles coming to terms with the changes in a close relative which they experienced as a result of a TBI (Traumatic Brain Injury). Because it was such a difficult time, and emotionally and mentally I was quite literally “all over the place” writing poetry was extremely helpful as it enabled me to attempt (attempt!) to put into words very difficult and conflicting emotions. At least with poems, the words which couldn’t be written (and couldn’t even have any presence), still existed and were there, invisible and not logically or rationally understood, but emotively just there…in their absence. That’s how it felt. The unsaid didn’t have to be taboo.
That sound’s a bit odd, I think but what I mean is, there was so much for me for which there were no words, and which there could never be any words sufficient to express. That’s how it felt. The horror and the complete senselessness, the total insanity, that anyone could do what they did to my relative, was simply beyond comprehension. And human minds like things neatly packaged in understanding. We like to have things contained in knowledge and have things which we can hold onto. It’s not an easy experience to describe.
I experienced much complex traumatic stress myself, partly as a result of my family member’s brain injury. This was, I think, accentuated because I had many early life adverse childhood experiences, and the experience of having the one relationship which previously brought some sense of sanity into my early years of life, torn apart and altered by such an injury, was beyond my own capacity to cope with.
Well, I did carry on with life, thankfully, and there were many helpful practical reasons which made life worth living, even if it seemed overwhelming and I had a lot of fear and pain to contend with. A big part of the positive move forward was to cease attempting to cope with the pain by self-medicating with alcohol and also to start a process of healing from the trauma through psychotherapy. It really doesn’t help when some senseless violence is the cause of your relatives TBI. It added another layer of trauma to the situation, because having experienced in earlier life myself various forms of violence, it simply feels like one thing too much. I think the total conviction that something is too much to bear pretty much sums thing up quite succinctly.
I’m immensely grateful for the help and support I have received, and continue to receive, from various people around me. I’m still working through so much, and that’s the way life goes… Things sometimes come up which plunge you into a difficult place, but there’s no doubt that having faith in a compassionate Creator God, having relationships and connections with others, having creativity and the means to express so much both in words and images; all these things work for good and prove healing and restorative in many ways. I have found yoga, drumming, and contemplative spirituality, mindfulness, prayer and enjoyment of the natural world all amazingly useful.
Having my life orientated, ultimately, towards Christ, (for my faith tradition is Christian) and trying to walk in the ways Christ taught, is for me the way forward. The recovery road is endless, because learning and changing are endless and we are never “all sorted”. It would be unwise not to embrace our brokenness. However, even when at times things are hard, that’s OK, for seeking truth and understanding, making healthy connections and aiming to live in love in the best way we can, is liberating (certainly is so far!) and that’s all good.
I found the following a very heartening read:
https://www.baat.org/About-BAAT/Blog/124/Life-After-Brain-Injury-The-Role-of-Art-in-Rehabilitation
I think for myself, (though I haven’t previously put the two together), that my increased involvement in visual arts and writing which started to emerge initially from around 2005, may well have begun as a helpful coping mechanism. I know it was the case a bit later on; It was immensely beneficial for me… just the physicality of it, the contact with materials, and the way it helped me to be in the present moment. My earlier life aspirations of being an artist were something I had left behind years back; I wasn’t in a position to put my energies into the visual arts direction in the first half of my life. That’s not a bad thing. I think it was good to have the maturity I had later on. It’s important to have a sense of direction as a fine artist. It can’t come from anywhere but yourself. It means facing yourself, and that’s not an easy thing to do.
Below a bit of blossom. Hopefully soon I will see some in Chessington and enjoy the colour and scent. Time spent looking at nature is very well spent.
jenny meehan jamartlondon.com photography
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jenny meehan jamartlondon.com photography
jenny meehan jamartlondon.com photography
Knee Replacement Surgery
As you can see from a couple of the pages of this Artist’s Journal/Blog which are titled “The Very Patient Knee Replacement Story by Jenny Meehan” I enjoy writing at length, and my knee replacement surgery in 2017 at South West London Orthopaedic Centre, or SWLEOC, for short was a very significant life event for me. I had become increasingly disabled, and the experience both before, during and after the knee replacement surgery inspired me to write my story, or at least that chapter of it, for other people to read. I hoped that it might prove informative and helpful.
My knee was in a very bad state and the recovery was hard work, but well worth it. I now enjoy walking and being able to live my life. I’m able to carry on my artistic and creative activities much more easily than I had done for the years running up to the knee replacement surgery. The enforced rest was very good for me. It was hard work recovering in many respects, but it also forced me to reflect on many things, and writing about the experience was something I found helpful in the recovery process. It became a focus for my mind, which is very important, because after a major surgery your whole body and mind and emotions are affected, and it’s vital to have focus….Both on your recovery but also on things apart from it. It can be a disorientating experience to be flung out of your usual routine into a completely new one.
Well, the knee is still going strong. I did fall on it rather hard on the way home from yoga one day but it’s still working so no worries. I am just loving being fully mobile and being able to walk around without any restriction at all. If I ever get to the point of needing a knee replacement revision surgery, I guess things may well be quite different in a few years time. I found this which was of interest:
“17 Jan 2019
Robot revolution for knee replacement patients
Surgeons performing knee replacements at the South West London Orthopaedic Centre (SWLEOC), which is based at Epsom Hospital, have a new cutting edge assistant in the operating theatre – a robotics-assisted surgical system called NAVIO that helps improve accuracy during surgery.
The NAVIO surgical system (which is a hand held tool attached to a computer) uses infrared signals to produce a detailed computer model of the patient’s knee before and during the procedure. The software also helps the surgical team to work out how the knee will move after surgery, and gives real time feedback on alignment and positioning of the implants. The system can also show the surgeon a 3D image of how much bone needs to be removed before the implant is put in and improves the overall accuracy of the position.
Chief Executive Daniel Elkeles, who was given the chance to trial the new tool on a prosthetic femur bone, said: “The NAVIO surgical system is a fantastic piece of equipment and will have huge benefits for our patients. It will assist our surgeons with further improving the accuracy of placement of knee replacements, with the aim of improving their recovery. In fact, with NAVIO, we expect that patients who do not have any complications or other health conditions should be well enough to go home the day after their surgery.
“Nationally, 20% of patients are dissatisfied following their knee replacement surgery, which can often be attributed to the alignment of the replacement joint. Our SWLEOC surgeons and the theatre teams are some of the best in the world, but our new NAVIO will make this process even better, and every new knee joint will be aligned to each individual.”
Mr Feroz Dinah, Consultant Orthopaedic Surgeon at SWLEOC, who has been leading the introduction of the NAVIO robot to the teams, said: “This is an exciting development for us. The surgeon still does the operation, but the robotic-assisted technology is a reliable way of getting the cuts to the bone exactly to where the surgeon intends. Using infra-red tracking technology, the computer creates a virtual 3-D model of the patient’s knee on the computer screen in front of the surgeon. Although the operation takes a bit longer initially as we get used to the system, early experience has shown that some patients are able to go home the following day due to reduced pain and swelling. This is a team effort, with everyone from pre-op assessment to theatre and recovery staff, as well as physiotherapy playing essential parts in this improved patient experience.”
Quoted from: https://www.epsom-sthelier.nhs.uk/news-and-events/robot-revolution-for-knee-replacement-patients-2436
WOW! That’s amazing!
If you are in need of a knee replacement it is really important to be well prepared for how it can impact your life. It is a surgery which requires a lot of work from the patient afterwards to really maximise the potential positive effects. Do take a look at my knee replacement recovery pages if you are interested in gaining a patient’s perspective and experience of knee replacement surgery in the UK. It is going to be different for everyone, but I found it helpful reading around a bit beforehand, as it helped me to appreciate the importance of the rehabilitation process afterwards, and also to not be completely shocked by the challenges which normally follow a TKR.
I’m just grateful I can walk around… I will never take that for granted again! I had many intentions of continuing to work on my writing from the knee replacement time of my life, hoping to narrow things down and bit, cutting it down to size and maybe making some kind of e-book or similar, but I don’t have the time to do that at the moment. However, it’s on the internet so it’s nice to know it might prove useful to people even if it is in rather a massive textual glob!
January 2020 marks the 75th anniversary of the liberation of Auschwitz-Birkenau.
“In commemoration of this major anniversary, London Borough of Richmond Upon Thames, working with the Landmark Arts Centre, will be showcasing artwork, poetry and prose submitted by schools, community groups and individuals from across the borough. This exhibition will be a moving commemoration of the Holocaust and, by featuring work from many different areas of our community, a fitting reflection on the national theme for the 2020 Holocaust Memorial Day: Stand Together.”
Image above is “Lasting Stones” an acrylic painting by Jenny Meehan ©jenny meehan
The painting is part of my painting-poem piece; the poem being titled “Tiny Bones”
So glad to be part of this exhibition. Such terrible genocides which have happened, and still happen, have been something I have touched on in my artwork before. The senseless violence and hatred which happens in our world demands awareness and I think it’s very important never to forget how extreme things can get, if allowed and encouraged.
https://www.thejc.com/comment/comment/the-importance-of-remembering-the-holocaust-1.59585
Quoted from above:
“Why is it so important that we remember the Holocaust and how can we make sure future generations never forget?
The Holocaust is a contemporary issue. It cannot, and should not, be an event consigned to history.
Paradoxically, the reasons for this lie in its ancient roots. The Holocaust is not bound by a few years in the mid-20th century; instead, it stretches back, past the parameters of the modern era, into the medieval age and beyond to the inception of antisemitism.
Would the Holocaust have been possible without the Protocols of the Elders of Zion? Without Dreyfus? Without the Spanish Inquisition? Antisemitism, discrimination against Jews of all walks of life, was not a new concept in 1933, but was widespread and prevalent in many countries. It is therefore incorrect to let the Holocaust be consigned to the period of the Third Reich; the Nazi regime manipulated and amplified the latent prejudices of its citizens. It did not create them.
This makes the Holocaust a contemporary issue because it demonstrates the atmosphere in which genocide can take place. How many people pertain to prejudices which are unfounded and illogical, but which are unconsciously adhered to? These beliefs survive both because they are socially acceptable and because they remain unchallenged.
There remains in our society a degree of antisemitism, but furthermore levels of xenophobia, Islamophobia, a fear of the travelling community, of black and Asian communities. Indeed a recent survey has shown these prejudices to be on the rise.
It is therefore important to remember the Holocaust because it is an example of how these trends could evolve into something far more threatening.”
It is vital to remember the Holocaust. Vital.
Here is a good site on genocide today: https://www.genocidewatch.com/
My own mother, a Catholic, was born in Villingen in Germany, but immigrated with her mother to Switzerland just before the Second World War. Unfortunately she is long dead now, so I cannot ask her questions about it, and she was only a few years old, but I understand that Catholics were also in the ranks of the persecuted, which I had not realised until recently. I will never know why they left Villingen, it may not have been related to any persecution, but somehow, for me, with so little factual knowledge about my own history, due to very little being said when it could be said, the possibility remains.
Well, that’s it for this part of my Artist’s Journal. It has been hard to get around to writing it… Rather late in the month for it to come out. However I find the process of writing it helpful.
Image above: Road to Recovery ©jenny meehan Early oil painting by Jenny Meehan
Jenny Meehan – General Information
My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces.
While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity. I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!
If you would like to give money to help support my creative practice, I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
paypal.me/jennymeehan
and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. I do need support in order to continue my artworking.
Signing up as a follower on my WordPress blog ( https://jennymeehan.wordpress.com) also helps, as does sharing the posts when you receive them. Anything you can do to help me is much appreciated!
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance.
Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative. Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious. It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art. I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.
Temporary Studio Space!
I am delighted to now be sitting in a studio space! It is miles easier than working at home, and though I can only afford to rent it for one month, I know I will make the most of it. Having a dedicated space for art working is very helpful and does induce some new opportunities. Even being able to leave things out is productive.
The studio tent is too cold right now in November. Though it’s excellent in the Summer to work outside, it’s not possible at this time of year. The kitchen table at home is often another place I work on, but that too has it’s limitations.
If you would like to assist me in funding a studio space, then please do make an offering through my paypal me page. Studio spaces cost around 200 to 350 per month and that’s out of my league at the moment.
Pop the following in your browser:
paypal.me/jennymeehan and just follow the instructions putting in the amount you would like to gift to me.
Another way to help me financially is to buy my work. I have plenty, ranging from original paintings to open edition or numbered and signed prints. Just contact me via the contact form on my website if you are looking for something particular. I also have an instagram account which is an excellent way of seeing a range of my art working in quick and easy way.
My instagram is jamartlondon_jennymeehan
So what will I be doing in this studio space…? I am bouncing several ideas around. I have several ideas, but the main point is to have the freedom to experiment. However, a big plus which I will be enjoying, is that I have a big wall and so I will be able to work on a bigger scale than I have previously done, and have the experience of painting on a large scale while standing up, as normally I have my paintings on the ground.
Here is a place to hit my head against a brick wall. Very useful!
https://www.instagram.com/jamartlondon_jennymeehan/
Interestingly it was a wall which I discovered in my wanderings through the rear access roads of Chessington many years ago which served as an incentive to start to paint and explore paint and substrates in more depth.
©Jenny Meehan
jennymeehan.wordpress.com
instagram.com/jamartlondon_jennymeehan
jamartlondon.com
Someone had painted it as above which I loved.
Which Paints?
I have brought along with me a few acrylic paints and some Sol- Silicate paint. I prefer my Keim paint to any other, and the pigments used I much prefer, but I have brought along some acrylic paints as well.
I tend to favour the use of inorganic pigments in my painting. Its a route I started to travel on after completing a mural using silicate mineral paint and I continue to work with silica sol paints in particular. These incorporate earth and mineral pigments which are produced in simple chemical processes. They are also permanent with great lightfastness. So no worries about fading over time.
Today organic synthesis chemistry offers a virtually endless number of artificial colouring substances. They are all secondary products of crude oil with the corresponding high loads on the environment when being produced and disposed of. I prefer the traditional mineral and earth pigments. I find when I do use others, I have to tone them down and knock them back by huge amounts. The one area where I do enjoy the cruder, wilder, synthetic colours is when used in dye sublimation printing, and if suitable, I enjoying translating some of my digital imagery onto fabric.
But I have brought along a few, though I suspect I may be muting them considerably!
Backwards is the new Forwards
Part of my practice as a visual artist to reflect, recall and remember.
When it get’s to this time of year I do tend to look backwards.
One of the highlights for me was having my re-design of the International Access Symbol accepted and shown as part of the Shape Arts Open Exhibition this year.
Mainly because it was exactly the right place for something like this to be shown. And because this piece of art /design is the fruit of my own personal experience with using disabled facilities because of personal need.
ISA international access jenny meehan © Jenny Meehan. All Rights Reserved 2019,
Inclusive Re-design of the International Symbol of Access (ISA) by Jenny Meehan © 2019 All Rights Reserved
Above you can see some of the fruit of my labour! The labours of my life!
My re-design of the International Symbol of Access retains the buoyant feeling so important in “No Problem/Moving On” ) I designed this symbol in February 2019 with clear concepts in mind. My own experience of temporary disability before and after knee replacement surgery certainly inspired me to work on an alternative symbol to the International Symbol of Access. I got sick of the sight of the wheelchair symbol!
But I want to know from many people who face disability of different kinds what it expresses for you personally. Having knee replacement surgery and the reasons for that have changed my and awareness, but I have also been reminded that for a lot of people they have mobility restricted long term. Is a redesign of the International Symbol of Access (ISA) needed? What do you think?
My design came from personal experience. I felt uncomfortable using disabled toilets marked with the wheelchair symbol but I needed to use them. It made me think about the essential elements I felt should be conveyed in the symbol. You see the circle, previously a wheel, transformed into an opening. You see the right angle, previously a seat transformed into the outstretched arms. You are accommodated. It’s a person centred design with a clear message of inclusiveness which is key. Having my own less visible, temporary, experience of difficulties and restrictions of mobility I hope my expression in this design conveys something positive and affirming.
There is also an expression of a person coming through, forwards and upwards and outwards. I can identify with that… I have certainly been on a journey with my own mobility. (One which slightly continues, as still with osteoarthritis and also my un-operated knee does affect me.) But I don’t need to use disabled toilets any more for the time being at least.
When I look at the wheelchair symbol it makes me think how many people it misses out. It reminds me of how differently I was treated when I was using a stick and/or a crutch (not always favourable, by the way!) and also reminds me that though the tools and objects we can use to help us are important, they can get in the way when it comes to perceptions other people have of us as PEOPLE, first and foremost.
You can get those here:
I would really value your thoughts and experiences though so contact me via jamartlondon.com or in the comments of this blog.
One of my favourite products using my design on Redbubble.com is the clock. The reason for this being that with time things do change. Also time can change anyone’s situation. I didn’t expect to experience mobility difficulties and restrictions, but in time I did. Also things may change for me in the future. We all take what we have for granted. It’s a good practice to think beyond what we know. And things do change.
I think the wheelchair symbol should change, but no doubt any change is fraught with restrictions, and so many countries would be involved and so many approvals made, that it may never happen. However, this doesn’t mean it’s not important to think, talk about, and envision. It’s a tool for conversation ,thoughts and sharing experiences at the very least I hope.
My design is also published in the catalogue from Shape Arts Open Exhibition 2019 which you can buy from Shape Arts.
There was a fantastic selection of art on show.
Here is general info on ShapeArts:
https://www.shapearts.org.uk/pages/news/category/shape-open
Black and White – Humanizing Medicine at Barts Pathology Museum
I’m really into black and white at the moment!
I have a long standing interest in healthcare…Started years ago when I worked as a Dental Nurse and has never gone away! I was very pleased to find out about the “Humanizing Medicine” call out for artists.
Being Human: A Festival of the Humanities was held at Bart’s Pathology Museum on Tuesday 19th November 2019 5.30 – 7.30pm It was a truly fascinating place! I loved it. Photography of specimens is not allowed, but seeing them and hearing about them was an amazing experience.
barts pathology museum art exhibition jamartlondon jenny meehan humanizing medicine art and poetry exhibition as part of the Being Human festival
barts pathology museum art exhibition jamartlondon jenny meehan humanizing medicine art and poetry exhibition as part of the Being Human festival
barts pathology museum art exhibition jamartlondon jenny meehan
arthritis, humanising healthcare art, jenny meehan, jamartlondon,barts pathology museum exhibition, butterfly art,
arthritis, humanising healthcare art, jenny meehan, jamartlondon,barts pathology museum exhibition, butterfly art,
It was a celebration of the human side of medicine…Holding an art exhibition is such a great way to do this!
There are many amazing specimens to see. Here is a taster:
https://www.qmul.ac.uk/pathologymuseum/specimens/
Butterfly Net Image and Poem – For the Humanising Medicine Exhibition
arthritis, humanising healthcare art, jenny meehan, jamartlondon,barts pathology museum exhibition, butterfly art,
“Barts Pathology Museum is based in St Bartholomews Hospital at West Smithfield and houses over 5,000 medical specimens on display over 3 mezzanine levels of the Victorian museum.
Prior to the appointment of the current Technical Curator, Barts Pathology Museum was in a state of disarray. As medical teaching changed, the need for the study of anatomy and pathology pots declined.
Without funding the specimens and the infrastructure of the building suffered and it wasn’t until a couple of years ago that a donation was secured to renovate the collection. Grant funding was provided by The Medical College of Saint Bartholomew’s Hospital Trust, a registered charity that promotes and advances medical and dental education and research at Barts and The London School of Medicine and Dentistry.
Events were originally scheduled for after the completion of this project but the museum has opened slightly earlier than expected due to its physical arrangement. The conservation and cataloguing still continue.”
and
“Barts Pathology Museum, a part of Queen Mary University of London , is a medical-humanities hub and venue for public engagement and education. Our events showcase research and the arts from our own institution as well as other universities, independent researchers and other museums. Our activities are in accordance with Human Tissue Authority recommendations on Public Display of medical collections and the University Museums Group guidance, and are sensitive to the dignity of the collection.
Ant Parade by Jenny Meehan
ant parade by jenny meehan ©jenny meehan all rights reserved
I have this work back now after it was exhibited as part of the North Pennines AONB Partnership’s Cold-blooded and Spineless project Subterraneous exhibition. Subterraneous is part of an AONB Partnership project and Cold-blooded and Spineless was funded by the National Lottery Heritage Fund. It was great to be part of that and it looked excellent.
I have used the base design which was exhibited and developed it a little so that it is available via Redbubble.com.
Above is the link to the Greetings Card, but its available on 32 products and in different colour ways. Buying merchandise with my designs on gives me a small royalty percentage which I use towards the continuation of my creative project, so do please purchase something if you like it. It’s a great way to get something unique and support an artist at the same time. Items are not sold in large amounts… There are so many talented artists on Redbubble.com, which is great. So if you want to collect some examples of my work in an easy and affordable way, then buying examples from Redbubble might be a way of doing so. Items are not signed by me, of course, but does this matter? In the end, if you like my work and you want it, I want you to have it, in the easiest and most affordable way. Yes, I sell my original paintings for much more, but I don’t think any false idea of exclusivity has any place in what I do.
Down Memory Lane
Down Port Hill,
Kentisbury.
It was just “the lane”.
We rode our bikes, me and my brother,
down the lane held into the beautiful hedgerow.
The china in Preston Cottage was (I discovered later) designed by Alfred Meakin.
“Hedgerow”
I made sure I had a milk jug as an adult, of the same design
because from it’s lip
spoke fond memory
Of time.
Time
when you and me could play,
putting our hands into waters
which leapt over
all obstacles
merrily.
preston cottage port hill kentisbury exmoor north devon
Bottom left image is of Preston Cottage, which I think is still now called “Next Week” in 2012. Other images show Preston Cottage as it was in the 1970’s when our family used to go there for our holidays. The view on the top right means so much to me…We used to run through that gate to the bottom of the field where it was possible to make a bit of a dam and play in the pool of water which formed. Preston cottage was extended to the side… When we stayed there it was just two bedrooms. The water supply was the spring and the water came out brown a lot of the time!
We would get our eggs from Mr and Mrs Tucker, the farmers at Preston Farm. They had lots of chickens and cats, along with cattle, and they were always very friendly and kind. Preston Farm now is listed as run by D.g Pile. So I take it it is still a working farm of some kind.
EX31 4NH Kentisbury
Do you need exciting, engaging, images for a book cover design?
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.
If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.
Woman in a Chemise by Picasso
Change for jamartlondon.com
It’s very annoying but I have just found out that because Adobe Flash is being discontinued and I built my jamartlondon website with a flash based editor, the only way I will be able to continue to edit it in the future will be with the ever increasingly out of date adobe flash add on I have on one of my computers. And when that computer dies, which it may well do soon, as its very old, then that will be that, for editing my website.
I can start to build one from scratch, but for the time being I need to put my energy into other things, so I will be tidying it up while I can, and then keeping it online, but static. You will still be able to use the contact form but I think I will be using this blog and other ways of showing my recent projects, work and activities online rather than my website. I will get around to making a new one in the next couple of years but it will need to become a useful port of call but not a means of knowing what I am doing beyond 2019. Never mind.
jenny meehan of jamartlondon
jenny meehan of jamartlondon
It’s very, very, far down the bottom of this page, but you can see some recent examples of my Instagram shares right at the end of this page. To see the various widgets on this blog (when you are viewing it using your mobile) without needing to scroll down into the depths of eternity, just select the page under the MENU which starts Jenny Meehan (Jennifer Meehan) Artist – Author – Painter -Poet and, as that’s a SHORT page, you can see all kinds of handy widgets such as Google Translate and Instagram without wearing your finger out with excessive scrolling!
No! Already?
I ran out of time in my last post to tell you more about a project I was pleased to be part of. So better late than never!
Collect Connects’ Artwork for the Tate Modern
This was a Collect Connect project (Alban Low) with Harvey Wells, Kevin Acott and the team at
Queen Mary University of London
From the Collect Connect site:
“In 2016 we created our Relationship Map for Mental Health Awareness Week. It was a large scale artwork that charted people’s life connections using the London Tube map. After its success we’re back in 2019 with a new interactive map that will be exhibited at the Tate Modern from 11th-16th June. It will be part of the Ideas in Motion: borders, bodies, and the universe exhibition at the Tate Modern, Blavatnik Building, Level 5, Bankside, London SE1 9TG.
More info at https://www.tate.org.uk/whats-on/tate-modern/tate-exchange/workshop/ideas-motion-borders-bodies-and-universe”
“Our artwork is eMotion: Emotional Transitions in Healthcare. Ill-health requires us to make transitions: to move emotionally, spiritually, socially, physically. We adjust from being ‘healthy’ to being ‘ill’, from ‘independence’ to ‘dependence’ and back again. The project highlights the joys and fear of impermanence, of the changes that occur every second, minute and hour of our lives. It embraces movement as normal, as part of the flow of life – something that should neither be resisted nor forced.
We’ve built a huge interactive floor map, in the style of a tube map, which has ‘end stations’ labelled with key points of ‘stasis’. The ‘station stops’ in between are open for people to explore how they navigate these transitions. We would like your help in creating a map so that visitors at the Tate can navigate a path along these routes of transition.”
quoted from the Collect Connect website
Connections on the interactive floor map reflected journeys between two poles;
Health – Illness
Dependence – Independence
Home – Hospital
Life – Death
Young – Old
Hope – Fear
Certainty – Uncertainty
Me – You
Doctor – Patient
There were three blank “stops” for each line. Artists, including myself, made our contributions concept wise and these were made into options for people to arrange so they could connect the concepts in the way they felt meaningful. (For example: what does it feel like to be in the middle between Hope to Fear, or closer to Hope, or closer to Fear. You could write something like: Hope – Last Minute Corner – First Game of Season – One Nil Up – Fear.)
Some of my ideas were used and it was lovely to contribute.
Here were my submissions:
Life – Death
Grateful Reception – Intimate Connection – Anxious Separation
and
Me – You
Expecting – Meeting – Expecting
Doctor – Patient
Controlling – Enquiring – Seeking
Hope – Fear
Holding Wonder Lightly – Trying to Grasp All – Losing Sense of Self
Dependence – Independence
Vulnerability and Need – Gathering Resources – Freedom to Be
Certainty – Uncertainty
Really? – Faith – Trust
Young – Old
Tender in Expectations – Placid Pivotal Places – Facing the Realities
Home – Hospital
Where it Starts – Where it Happens – Where it Ends
Health – Illness
Moving and Being – Maintaining Momentum – Slipping Down Stagnantly
eMotion: Emotional Transitions in Healthcare
Ill-health requires us to make transitions: to move emotionally, spiritually, socially, physically. We adjust from being ‘healthy’ to being ‘ill’, from ‘independence’ to ‘dependence’ and back again. Track your personal route from illness to wellbeing on an interactive map of the healthcare system.
Tate Modern also have this, which looks interesting. As someone with osteoarthritis….(and a nice new total knee replacement to go with it!) impaired mobility has been part of my own experience. Thankfully at present, I am fully mobile, but I did have a two year period when that was not the case.
“Creating without Constraint: Arthritis and Art
Experience this interactive workshop exploring the relationship between impaired mobility and artistic expression. Our researchers will guide you in a ‘journey’ inside the joints with activities simulating the restriction of movement. The display will include the work of Renoir and Pickering, two artists who lived with arthritis, to explore how art can overcome disability. Also, emerging painter Rebecca Ivatts will give a talk about her collaboration with Pickering.”
I looked around and chatted, having excellent conversations and learning lots, as well as sharing my own perspectives and experience of osteoarthritis. I’m particularly interested in chronic pain management, as this is something I studied a fair bit over the two years before my knee replacement surgery out of necessity. I don’t have pain in my knee anymore, but my elbows, wrists and hands have decided to sometimes advertise themselves in the pain department. I’m getting pretty experienced at moving my mind in other directions now!
Big and Small Names at the Tate Modern
The novel thing is, I can now say my name has been present at the Tate Modern! Yes, printed, and there for all to see. Only because of a small contribution, but there all the same. And names mean a lot to us, so just the little printed presence of my name at the Tate Modern can bring me at least a little smile!
People like their names in places…Yes they do. It’s interesting that the now Blavatnik extension/building at Tate Modern was named the “Switch House” when it was opened in June 2016. I do prefer the original name. It holds some relevance to the history of the building which I think is always a good thing. The now Blavatnik Building was originally named the Switch House to reflect the previous use of the site for a power station. It’s very interesting that you can see two circular terrace areas when you look downwards. You can see the Oil Tank Wall, which is an interesting element of design. The Oil Tank Wall encloses two large circular terraces, to the south and east of the building right in front of the new gallery entrance and café. The Oil Tank wall is an above-grade extrusion of the existing below ground Oil Tanks. I love it. It’s a strong feature which heightens your awareness of the past. I think the building was always meant to strongly echo its past as well as its future…because it has an interesting history.
Tate Modern’s The Turbine Hall is housed in the former Bankside Power Station, designed originally by Sir Giles Gilbert Scott (He was the architect of Battersea Power Station too!). It was built between 1947 and 1963. Before it was developed the steel framed brick clad building with it’s 99m chimney was divided into three main areas: the Turbine Hall, the Boiler House to the north, and the switch house to the south.
So you see, bearing in mind the Turbine Hall, the Boiler House and the Switch House…yes, a nice trio. It is a bit sad that the Switch House was renamed. I guess when someone donates a lot of money, they like to have their name included. And it’s kind of understandable. Because I got a tiny bit of a kick out of my little name being in the Tate Modern, so I am sure the same kind of kick, but a little bit larger, applies! So the name was changed, a year after the opening, and reflected Blavatnik’s wishes. Bearing in mind the size of the donation, I think it was probably diplomatic to reflect Blavatnik’s wishes. Nicholas Serota, who stepped down as the Tate director at the end of May 2017 said he was “delighted the new building now bears his name”. Blavatnik made the Tate pledge in 2011 and the Blavatnik Family Foundation’s donation made up a substantial amount of the £260m needed to complete it.
So I do wonder if the name “Switch House” was meant to be it’s proper name… I’m sure it was… It would be in accordance with the other buildings. Yet Len Blavatnik, (an industrialist born in Ukraine) came up with the cash in 2017 when Tate Modern found that the new Switch House extension had left it with a £30m funding shortfall. So I shouldn’t be surprised that a year after it opened, the Switch House was renamed the Blavatnik Building. And I’m quite happy with my own name in very small print on an super contribution to the “Ideas in Motion: borders, bodies, and the universe exhibition”.
https://www.ft.com/content/449ad16e-20dd-11e6-aa98-db1e01fabc0c
USSR-born billionaire made one of largest donations in Tate’s history to help fund building temporarily named Switch House
What Style is that Painting?
This was one of the questions I was asked at this year’s Kingston Artists’ Open Studios.
The terms I tend to use for describing my main thrust in painting are bouncing within the realms of the following terms: Lyrical abstraction, abstraction lyrique, tachism, tachisme, action painting, abstract expressionism, art informal, informalism. But these are terms which relate to particular movements in the past, and serve as a way of describing and communicating what to expect with my own painting, and not anything more than that. And it is the case that within my own realm of art working, I move between several styles… This is part of the process of development. I think I have written about this in a previous post. It is a bad thing to narrow down artistic creation in order to adhere or fit into a style. If it happens it will happen naturally, and evolve that way. It will grow and develop, playing and toying with different styles and approaches en route!
It is the case, that when using paint, things now are tending to fall within the bounds of my approach, which is process led and focused on formal elements and experimenting with materials. What comes through is a materialisation, a becoming, of my self. Which references my life experience and emotional and spiritual journey. Mostly I like to let things happen, rather than plan. But there is a lot of unconscious planning which happens I think. There is a lot of emerging!!!
Historical terms and descriptions of styles are good for searching for the kind of paintings you like, and there are plenty of movements which it is helpful for the keen collector of art to educate themselves in. My own preoccupation is with the formal elements of the painting, and a process led approach. My preferred terminology for my own work is that of British romantic, poetic, lyrical, abstract and expressionistic painting. I like the romantic, because of the way it conveys both individuality and intensity of emotion and the importance of these. I loved my studies of the Romantic poets when at University, and also of the paintings of Turner, which were studies as part of a couple of painting courses at West Dean College given by John T Freeman, (who I credit, among others, with role of welcoming me into the realms of painting as a way of life/vocational activity!)
Yet “style” can be a trap. I believe a consistency can be found which comes from the person themselves. Styles may change but the interactions between mediums and styles are what keep an artist’s work dynamic. I don’t need to stick to one style… It’s more a matter of honing my focus and being reflective and innovative. Sometimes that makes an artist’s work rather an eclectic mix. Diverse at times. That’s good, not bad. Don’t worry about how your work would look on a supermarket shelf. Don’t worry about if you are consistent enough. Do your work for your self, unless you particularly want to do it for other people. That’s fine too. But exploration, discovery, experimentation, and going beyond what you can see or anticipate or plan…. These keep things exciting imo.
Do you need exciting, engaging, images for a book cover design?
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.
If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.
To find out more about how you can arrange to use my imagery, see here:
https://www.dacs.org.uk/licensing-works/frequently-asked-questions#FAQ122
Artist’s Statement – Jenny Meehan
Artist Statements are funny things…Mine does change over time and circumstances. Which is in accordance with my priorities and focus at the time of writing. This is no bad thing. Often it is very helpful as the need to critically assess and evaluate my vision and objectives, as well as look back into the past and reflect on how things are evolving is a useful practice which needing to write an artist statement helps. Here is an example of an early artist statement I wrote many years back:
“I have been creating two and three dimensional art since 2005. Art is about exploration. I view mine as a natural and evolving process which is primarily to do with the emotions and spirit, though I do enjoy playing with concepts too. My Christian faith, relationships, and artistic contemplation and production are the main driving forces in my life.
Trees and plants, metal objects, the human figure, and many different types of man- made constructions, are subject matter I favour. I like to explore different styles of expression using a range of media; primarily paint, photography, poetry, metal and paper. The brokenness of human experience fascinates me, but also the potential for growth and renewal. My work has a positive outlook, as I think that it is often through suffering, touched by God’s grace, that the beauty of the human soul is revealed. The idea of strength combined with vulnerability is particularly attractive to me.
My art is a sacramental practice, and the mystery of faith and its reality beyond our human rational mindset is something which interests me. I also see my work as an articulation of fragmentary experience; it’s how I make sense of the world. Alongside my general fine art practice I am interested in liturgical art using a variety of media. Since 2008 I have put most of my creative energies into developing my skills with paint, which I love. Intensely.”
I quite like this one…It gives a gentle overview, which includes a lot about spirituality and faith and the importance inspiration wise of my religious tradition. It’s not very focused on any particular current project of the time…I wanted to keep it very broad and tried to cover a large area with it. Maybe a little too much of an overview I think, looking at it now. However, the purpose is important, and it was written for my website at the time, so in that sense I think it was a pretty well fitting piece of writing.
Lovely West Dean College and West Dean Gardens!
Drawing done in West Dean Gardens
Another one….
Another one!
I will post some photos at some point.
This year I was experimenting with Collagraphs. Very nice medium… Right up my street. I have been working with black a fair bit in my studio tent recently…. experimenting, so the rich black ink was a welcome sight and the textures are always so dynamic in terms of the marks they can make. So it was a delight. Take a look on my instagram to see some of what I produced, though as is always, I have taken home a lot of work to do which will keep me on track in that area for some time. I’m not interested in working large or producing editions…Small unique prints are more interesting and why produce more of the same?
https://www.instagram.com/jamartlondon_jennymeehan/
Shape Open 2019
Very please to be taking part in this year’s Shape Open Exhibition. It’s great my two years of increasing physical disability before a much needed knee replacement proved so fruitful in unexpected ways. Not easy, but to take part in the Shape Open 2019 with my work “What Does this Symbol Say?” feels very appropriate, because the creation of my artwork is intimately connected with my own experience of disability.
https://www.shapearts.org.uk/Blog/shape-open-2019-artists-announced
Inclusive International Symbol of Access Design by Jenny Meehan
Here is the text I submitted:
“My re-design of the International Symbol of
Access is inspired by my own need to rethink
what disability is due to a period of restricted
mobility prior to knee replacement surgery.
Finding myself in need of using an accessible
toilet, for example, helped me to realise how
inappropriate the existing symbol was.
I’d like people viewing the work to add their
thoughts as to what it expresses to them. If the
ISA was to change, this could have a powerful
impact in many societies and open up
dialogue and awareness in a very beneficial
way.
Opportunities to rethink are intimately linked
with with conversation about disability, and art
is a key player in helping peoples awareness
to increase through engaging with new ways
of seeing and experiencing things. In my
view, the focus for progression in all things
needs to encompass a strong sense of moving
forwards and upwards, and this new icon has this. ”
The reason why I think my design is a good option:
It’s got the right angle of what was the seat of the wheelchair and also the round circle which was the wheel. It has the three main elements of the existing wheelchair symbol but rearranged and reinterpreted. Open arms convey welcome and reception of.
My symbol has also the following strengths:
It retains the circle, helping recognition, as society adjusts from the old to the new
It works in both static and mobile situations (ie previous crit of the dynamic wheelchair version)
It suggests refuge (a circle as something which encompasses and surrounds in a protective way)
It suggests entering into…. key for accessibility…the pointed end of the v shape enters into the inside of the circle
It suggests freedom…. The arms (v shape) are outstretched and open. This is freedom for the disabled person
the feeling of this icon is buoyant and expansive…
the small circle and upturned V shape resemble the top half of a person’s body, meaning it still contains the two key elements from the old symbol, a circle and a human body, just in a slightly more open and abstract way.
The whole icon has a sense of outwards and upwards… things are moving forwards.
The whole icon is more inclusive, and shows inclusion visually too… ie the person goes into and comes out of the circle. Helpful when used to signify that facilities are designed around the person.
Facilities are designed around the person, and the symbol is designed with the person, not the wheelchair, being central which is more appropriate.
Unfortunately the process for getting the International Access Symbol changed is probably near impossible, as there are so many bodies and countries and boards which it would need to go through. However, this hasn’t stopped me creating this. It’s making it’s debut into the world in the perfect place.
I designed my inclusive international access symbol in February this year. I later used it to create another different design with a specific emphasis on mental health; “State of the Art”. State of the Art is an emblem with specific personal links to my own psychological and emotional trauma recovery, while “What Does this Symbol Say?” is a symbol design which relates to my experiences of physical disability, though of course the two are related!
I’m looking forward to the private view! Info here (from Shape website):
“Join us for the Private View of the 2019 Shape Open on Thursday 5th September from 6.30 – 8.30pm.
This event will be BSL interpreted.
The exhibition will be available at Nunnery Gallery until 19th September.
The Shape Open 2019 exhibition explores the theme ‘In Circles’ in the context of disability. Disabled and non-disabled artists were invited to submit work for Shape Arts’ seventh annual Open exhibition that ignites debate and discussion on disability from a wide range of viewpoints.
This year’s exhibition theme ‘In Circles’ questions whether progress for disabled artists is being and can be made within the arts, if our work is counterproductive and a circular argument, or if we can shift institutional thinking.
The exhibition showcases work across a wide range of art forms from artists around the world.
The 2019 Shape Open exhibiting artists are:
Tony Allen, Richard Amm, Faith Bebbington, Coreen Bernard, Lizz Brady, Claire Callow, Sam Castell-Ward, Annie Ho Cooper, Daisy Cowley, Nikki Davidson-Bowman, Catriona Faulkner, Alice Rose Floyd, Steven Fraser, CL Gamble, Laura Graham, Michael Gurhy, Steven Hardy, Jack Haslam, Liam Hassan-Beserekumo, Tzipporah Johnston, Elora Kadir, Nihan Karim, Glynis Lamond, Carrie Mason, Campbell Mcconnell, Andrew McPhail, Jenny Meehan, Charlie J. Meyers, Bella Milroy, Aidan Moesby, Steve Musk, Elfrida Osbert, Alice Partington, Beau Rouse, Amna Sharif, Anne Smith, Mark Tamer, Andrea Vicentini, Aminder Virdee, Ophir Yaron, and Chan Chung Yuen.
A winning artist, selected by a small panel including Shape Open Patron, Yinka Shonibare MBE (RA), will be awarded £1,000 at the Private View; a second artist will receive the People’s Choice Award of £250, as voted for by visitors of the exhibition throughout its duration. The People’s Choice Award is kindly supported by Crucial Colour Ltd, part of L&S Printing Co Ltd in Worthing, West Sussex.
Full details can be found here: https://www.shapearts.org.uk/Event/shape-open-2019
Travel Information
Opening hours: Tues-Sun, 10am to 5pm
Address: Nunnery Gallery, 181 Bow Road, London, E3 2SJ
Nearest station(s): Bow Road (District and Hammersmith and City lines) is a 6-minute walk away, and Bow Church (DLR) is a 3-minute walk away.
Bus: 205, 25, 425, A8, D8, 108, 276, 488 and 8 all service the surrounding area.”
Last, but not Least… North Pennines AONB Environmental Conservation Organization Subterraneous Exhibition at Bowlees Visitor Centre
I have my work on show at Bowlees Visitor Centre. The location of the centre is within the North Pennines Area of Outstanding Natural Beauty/AONB and UNESCO Global Geopark. It looks like a lovely area. I cannot visit the exhibition but hopefully they will publish online a lot about it soon.
There’s an article here:
https://www.teesdalemercury.co.uk/art-and-leisure/exhibition-celebrates-dales-secret-world-of-bugs
I am very pleased to have my art work in this art exhibition!
My “Ant Parade” surface pattern design is something I was very pleased with and I like my work to be seen and enjoyed by others as much as possible.
Text from the above:
“More than 50 creations are on display in the Subterraneous exhibition at Bowlees Visitor Centre which continues to September 29 as part of the North Pennines AONB Partnership’s Cold-blooded and Spineless project.
Funded by the National Lottery Heritage Fund, the project raises awareness of invertebrates and highlights their importance to our environment and our lives.
Subterraneous will uncover the world of invertebrates, largely hidden from view.
The work has involved artists from the North Pennines and further afield.
Furry creatures will invade the exhibition space at Bowlees Visitor Centre and a variety of sculptures, sound and images will emphasise the importance of invertebrate conservation.
Works include ancient fossils in sandstone, vibrant insects made from recycled silk ties and even a sculpture that functions as a soil ecosystem.
There will also be an “infestation chair”, covered in a screen-printed design, celebrating the beauty and complexity of insect life.”
I like the sound of that chair!
ant parade by jenny meehan ©jenny meehan North Pennines AONB Environmental Conservation Organization Subterraneous Exhibition at Bowlees Visitor Centre
I am pleased to be supporting the North Pennines AONB Partnership’s Cold-blooded and Spineless project by exhibiting my work in the Subterraneous exhibition.
Subterraneous is part of an AONB Partnership project.
Cold-blooded and Spineless is funded by the National Lottery Heritage Fund.
Find out more here:
-
@HeritageFundNOR
And here:
Twitter @NorthPennAONB @northpennwild
Facebook @NorthPenninesAONB
Instagram @northpenninesaonb
My text on Ant Parade
Ant Parade 2019
This small square piece of fabric is an example of one strand of my creative practice which involves experimentation with geometric shapes and patterns. The original form of the ants has been obscured and distorted through my visual interpretation, which I developed in order to emphasise the way ants work together.
Ants live and work together in highly organised societies called colonies. In fact, most ant colonies are so united toward the common purposes of survival, growth, and reproduction that they behave like a single organism, or a “superorganism.”
Pattern is an underlying structure that organises surfaces or structures in a consistent, regular manner. Pattern can be described as a repeating unit of shape or form, but it can also be thought of as the “skeleton” that organises the parts of a composition.
So these little invertebrates, do share a hidden, less obvious skeleton, of sorts. It’s the case in life that often the structures which hold the body together are not obvious at all, and sometimes completely invisible.
Pattern exists in nature as well as in designed objects; it is interesting to look at the parallels between art and nature, also appreciating the less obvious ones. Some formations are obvious and some are not.
An army of ants may well consist of creatures classified as invertebrate, but it’s certainly not spineless! A spinal column gives the body form and function. There’s a hidden spine in this ant parade, which I have interpreted visually in an abstract manner.
About Jenny Meehan British Contemporary Fine Artist and Designer
I am a painter-poet/visual artist, contemplative/poet/writer, art educator, teacher and spiritual mentor (Progressive Christian faith centred) based in East Surrey/South West London, UK.
Support my art working by buying products of my design on Redbubble.com and also of course, original fine paintings, available direct from me!
Geometric and lyrical abstraction from London/Surrey based female British Contemporary Artist.
I’m interested in spirituality (particularly Christ centred spirituality), creativity, emotional and psychological well-being, trauma recovery, and mindfulness.
I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios (KAOS).
I have trained both with SPIDIR and through a variety of other training bodies as a spiritual guide/mentor.
I am a trained teacher (PGCE) and hold occasional small groups in developing painting and drawing skills, as well as offering occasional individual tuition.
Contact me via the contact form on my website http://www.jamartlondon.com
If you are less interested in original fine art and paintings, but would like to have something with my imagery on it, then go to:
https://www.redbubble.com/people/JennyMeehan/portfolio
and
https://www.redbubble.com/people/jennyjimjams/portfolio
Where you can buy selected art and design.
For the more geometric abstract strand of my art and design:
https://www.redbubble.com/people/JennyMeehan/portfolio has more, and for lyrical abstraction painting-prints I will be putting work up on the other redbubble profile:
https://www.redbubble.com/people/jennyjimjams/portfolio
I gain a small royalty percentage which helps me towards the cost of materials and exhibiting my work. Every little helps.
You can contact me via the contact form on my website jamartlondon.com
Some of my original paintings are available for purchase when no longer required for exhibition, and I am happy to license images of my work via the Designers and Artists Copyright Society (DACS).
All content is © Jenny Meehan.
Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts of writing and links may be used, provided that full and clear credit is given to Jenny Meehan with appropriate and specific direction to the original content. Images may not be used without permission.
Please note that all images of my artwork are subject to copyright law: All rights reserved. In the first instance, contact me, and I will refer, as/if appropriate.
If you are looking for artwork, particularly abstract, colourist, expressionistic lyrical abstraction type painting images suitable for book covers etc, then do contact me as I might have something to suit which will be quick and easy to license via DACS
https://www.instagram.com/jamartlondon_jennymeehan/
Erm, better late than never… This JULY post is coming at the end of JULY!
catastrophe becoming painting by jenny meehan submitted to 100days100women.wordpress.com british collectable abstract paintings
Becoming – Painting and Poem by Jenny Meehan
“Becoming
light and colour.
The poetic space
coming together.
In one, long, moment
I will take you there,
and you will see
beauty in brokenness. ”
Jenny Meehan
© Jenny Meehan All Rights Reserved
Posting again…One of my favourite, simple poems. And one of my favourite paintings too!
You cannot see from the image the texture or the light interplay with the texture and colour… The tiny glass spheres which I use on the surface of my acrylic lyrically abstract paintings are a vital part of the exploration of surface, light and space which interests me.
These hard little spheres are resonant for me of trauma… But they are not sharp, and so there is some kindness in their shape. And they are highly reflective of LIGHT! This brings another dimension to my use of them… I like this, for this is what I do in my life. With even these hard little spheres, formed through traumatic experience, maybe, in my thinking, there can still be beauty, and even a beauty which would not be possible without them.
The painting is called Catastrophe/Becoming. The poem “Becoming”. Because I focus on the process of becoming and of forward movement. Forward motion. Lyrically abstract paintings don’t tend to lean towards any particular firm concept or pictorial image, but psychological resonances are something which, as their creator, I can testify, are often very rich and strong. Not at the outset, but as I go through the process of working on the painting and as I trust myself, my intuitive responses bring a sense of sense…That may be a better expression than “meaning”. For meaning is something you know. And this kind of painting isn’t about knowing. It’s about allowing myself to move into the unknown, but into feeling and a poetic presence… It is the case, on reflection and towards the end of the process… And even some time after, that I understand what it meant to me. But the making sense of it must never be the reason for it’s existence. And I hope that the viewer too can experience the freedom of being free from the shackles of needing to understand. For there is much in life we cannot understand and cannot know.
It can be difficult.
But so it must be.
Jamartlondon_jennymeehan Instagram Account now active
I have succumbed! Needs must! I do need support for my creative art working, and I do need to get it out there before I die…Now is the time to do it. Instagram is so different from my preferred meandering discourse, but this journal can satisfy my need to meander on with a long narrative. Jamartlondon_jenny meehan is such a different medium. It’s a kind of funnel for STUFF. I love it and hate it. But needs must. And I must too. However, it’s a good way of organising my imagery, of which I have much. And it is just the way of our era! I sound a bit old, I think. But I am getting used to that too. This being in the second half of my life thing!
Dulwich Picture Gallery Exhibition
I had a nice evening on 19th July at Dulwich Picture Gallery! Though unfortunately I have sprained my ankle which was quite literally, a pain. I strapped it up which helped.
At the moment they have the amazing looking Colour Palace.
Info for the Art and Identity evening and The Colour Palace…
Dulwich Pavilion 2019: The Colour Palace
What’s OnDulwich Pavilion 2019: The Colour Palace
This summer, the Dulwich Pavilion returns with The Colour Palace, created by Pricegore architects and designer Yinka Ilori.
Free and open to all this summer, The Colour Palace will bring our grounds to technicolour life.
A fusion of West African and European influences, the Pavilion is inspired by the buzz of fabric markets in Lagos, and the symmetry, curves and right angles of Sir John Soane’s iconic Gallery design.
The structure
The Colour Palace is a 10 metre high cube with a bold geometric pattern, standing on four huge red cylinders. At its core is an atrium, creating an arena where visitors can view the structure from many different perspectives, including from an interior raised viewing platform.
Start date12 June 2019
End date22 September 2019
Open10am–5pm Tuesday–Sunday (Open late for special events; Gallery closed on Mondays except bank holidays)
PriceFree
https://www.dulwichpicturegallery.org.uk/whats-on/gallery-lates/2019/july/pavilion-late-the-art-of-identity/
Pavilion Late: The Art of Identity
What’s OnPavilion Late: The Art of Identity
Experience the kaleidoscopic Colour Palace after hours in this special Late exploring art, heritage and identity.
In collaboration with Pricegore architects, the design for The Colour Palace was inspired by Yinka Ilori’s memories of fabric markets in Lagos with his grandmother – as well as unique examples of European architecture. This Late invites you to question our relationship to art and architecture through the lens of cultural heritage and identity. The evening includes pop-up talks with print artist The Fandangoe Kid and designer Yinka Ilori, music from Tony Njoku, drop-in art-making including sculpting, stitching and sketching places and stories of personal significance, with delicious food and drink available to purchase.
“Evening includes
Art and Ancestry: pop-up talks from designers Yinka Ilori and The Fandangoe Kid on how their ancestry and heritage has influenced their practice
Drop-in story sketching with Ilga Leimanis
Collaborative textile making with Stitch School
Music from Tony Njoku
Expressions of identity in a display created by artists from Brixton’s SHARP Gallery (Social inclusion, Hope and Recovery Project).
Access to the Gallery and Cutting Edge: Modernist British Printmaking
ARTiculation alumni, Lewis Duncan and Oliver Simpson, discuss Erno Goldfinger’s Balfron Tower, and the Barbican Estate respectively.
On Brand: design your own personal logo or symbol, taking inspiration from The Colour Palace
Speed drawing: sketch a stranger while they tell you about themselves
Tickets free, booking essential!”
Expressions of identity in a display created by artists from Brixton’s SHARP Gallery (Social inclusion, Hope and Recovery Project).
Yep, that’s where my contribution can be found. I might have posted here on it before, so apologies if repeat.
©jenny meehan
mort main by jenny meehan art and identity painting collage dulwich picture gallery
Text for Mort Main by Jenny Meehan .
“Mortmain (Dead Hand)
the oppressive influence of the past
As I am a person who grew up as a child of a mother with a serious chronic mental disorder (paranoid schizophrenia) I am aware of the pull of the past on my sense of identity. I believe this was something my mother also felt, though she did not have the liberty I experience to unpack its meanings for her to the extent I am able to. My creative practice is a vital part of my own identity formation, and in this piece I acknowledge the oppressive influence of the past; the dead hand “Mortmain”. But in making this work I confront the dead hand: by printing my own hand print within the blackness, I make my own impression in a way which only I can do. It’s an affirmation of a sense of self completely separate from the past, while at the same time not choosing to deny it’s existence or influence.
The ways in which I touch the world and the ways in which I work with materials draw my sense of self into a realm of total freedom which is a far cry from any imprinting from my earlier years. I have chosen this corrugated card as the substrate because it came from a cardboard box I tore apart: a container for contents which no longer exist; it’s useful life is over. It once held things inside which were part of its identity as a box but now it is simply a piece of cardboard. In my formative years I held many things inside myself to my own detriment; the way I have torn the box is symbolic of the cathartic choices I’ve made, many helped through my engagement in the process of psychotherapy.
The box would normally be discarded, but I’ve chosen to keep part of it as a metaphor for the way that through the realisation and expression of feelings and ideas previously unacknowledged, people are able to separate themselves from parts of their identity which have acted on their psyche in a dead handed manner. I originally thought about it being displayed by being placed on the floor, which would feel more natural to it (being of waste matter in substance), however, it’s an acknowledgement of a lot of work done both by myself, and indeed many people across the world, in the process of self recovery, so I don’t mind if it is hung in a gallery setting.”
It was nice to go back to the Dulwich Picture Gallery.
I had my painting “Bright and Breezy” selected in their open art competition in 2015
lDulwich Picture Gallery Open Exhibition, Gallery Road, London SE21 7AD 30th Sept – 12th Oct 2015. Juried, (Selection panel headed by Ian Dejardin, and including Rebecca Fortnum, Clive Head, Nicky Hirst and Elo Schuneman).
bright and breezy painting jenny meehan at dulwich picture gallery uk
bright and breezy painting meehan at dulwich picture gallery uk
Bright and Breezy” Jenny Meehan Acrylic and Oil Painting
Hmm, looks a bit darker in this image than in real life. It’s for sale, by the way if you are interested contact me via the contact form on my website please. Most of my work is available for sale, well…providing it hasn’t been sold already. I do keep some back though. Most are looking for new owners!
My, that seems a long time ago! Time does fly!
Like much of my lyrical abstract painting, memory does have an important influence. During the painting process the memories sometimes emerge. Different for different paintings, of course, and sometimes the relationship isn’t there or isn’t direct, but in the case of “Bright and Breezy” a very clear reference does exist.
combe martin bay tuft devon jenny meehan
Happy memories, and I was so struck by the way the tree tuft hangs onto the rocks. It was always there, on every holiday at Combe Martin in North Devon. There were no bad memories of this place. All happy. But yet a reminder of the tenacity needed in life, through all it’s hardships too. Even then, as a child, this struck true.
By the way, you can still visit the Colour Palace at Dulwich Picture Gallery…
“This summer, the Dulwich Pavilion returns with The Colour Palace, created by Pricegore architects and designer Yinka Ilori.
Free and open to the public throughout the summer months, The Colour Palace is a fusion of West African and European influences, inspired by the buzz of fabric markets in Lagos, Nigeria, and incorporating symmetry, curves and right-angles – all elements present in Sir John Soane’s iconic 1811 design of the Gallery. On each side of the Pavilion, brightly coloured timber slats create layers that shift when viewed from different angles, bringing the Gallery’s grounds into technicolour life.
The structure
The Colour Palace is a 10 metre high cube with a bold geometric pattern, standing on four huge red cylinders. At its core is an atrium, creating an arena where visitors can view the structure from many different perspectives, including from an interior raised viewing platform.
In partnership with the London Festival of Architecture 2019″
https://www.beckyinkster.com/summer-2019-conference
Digital Innovation in Mental Health 2019 (DIMH2019) Conference, Lead/Creator, London, UK, 13-14th August 2019
.
Glad to be part of this. I have some work included as part of this mental health conference. It was interesting to combine some ongoing interests in fractals with another ongoing interest in inclusiveness! And so here it is “State of the Art” .
state of the art jenny meehan ©jenny meehan all rights reserved
Accompanying text:
As a person who grew up in the care of a mother with a serious chronic mental disorder (paranoid schizophrenia) I’m highly aware of how less isolated I might have been if the digital technological innovations we have now, existed then. Access to psychological help and the opportunity to share feelings can transform challenging situations we face and make them more bearable. I’ve designed this artwork to be displayed ideally as a projection on a large scale, though it could be shown online or printed as other options.
It features my idea for a new international symbol of access combined with pattern created by using fractal generating software. I wanted to create a positive emblem of mental health and inclusion which conveyed order, balance and light. For people who do not receive the support they need, (maybe due to the limitations on mental health services/ignorance/denial) the internet offers opportunities for communication and expression; both increase potential for life enhancing change.
The use of information and communication technologies to support and improve mental health and health care improves access and awareness, helping people to reach out both in giving and receiving support. I’ve experienced the positives in my own life, and so this is both a personal and wider expression. My ongoing interest in trauma recovery is a source of inspiration in much of my artistic practice so it’s lovely to be able to create this digital image with what seems the perfect medium to use for the purpose!
Jenny Meehan
Jenny Meehan is a Kingston Upon Thames based fine artist and designer working primarily with painting and digital imagery. Following her studies at Kingston University (BA Hons Literature) a Post Graduate Certificate in Education at Roehampton University led to a career in teaching. From 2010 Jenny focused on the Visual Arts, training at both West Dean College and local adult education provision. Selected by a wide range of judges, her work has been displayed across many galleries and museums in the UK. These include the Dulwich Picture Gallery, Pallant House Gallery, and Kingston Museum.
Jenny uses a process led approach to art making, and while the artwork she creates is informed by her research activities, outlook on life, and personal experiences, it is the formal aesthetic qualities, and what she perceives as the presence, or poetry, of the work itself, which she is most concerned with. Her visual art is intimately connected with her writing and poetry, and the relationship between these two strands of creativity is a lively and interesting one.
http://www.jamartlondon.com (Artist’s personal website)
https://jennymeehan.wordpress.com/ (The Artist’s Meandering Discourse Artist’s Journal)
People naturally want to know about the process of creating a piece of art. If my artistic produce developed in a linear fashion then this would be quite straightforward, but I find that isn’t the way it works for me. The reality of my creative process is very piecemeal. Very piecemeal! I work on several things at a time, dipping in and out of them. There are normally several ongoing strands which develop sometimes very slowly over the course of time. I believe creative development happens in a cyclical, rather than a linear way. While the mind can interpret and attempt to explain things, which can be helpful of course, it can also be quite limiting if one attempts to get a grip on something which is very evolutionary!
It’s in the flow, and in the playing around, that very interesting things happen, and so an important part of my creative practice involves a very conscious effort NOT to understand or explain what I am doing. I think that the subconscious mind is vital in establishing what is really important to me, and I like to give that priority. I often find that things do just come together in an organic way. The main thing for me is listening to myself and my emotions and following my instincts when I work with materials and imagery. There’s a huge amount of trust involved really…. And letting go. One has to be prepared to be out of ones depth, confused, and lacking knowledge. It’s a humble place.
I normally don’t realise the significance of what I am doing until a couple of years later. It can happen more quickly, but I guess there is the advantage of not rushing and letting things happen naturally. I sometimes discuss my artistic output with my therapist, as I have been involved in an ongoing psychoanalytic process since 2012, and this can be helpful at times in appreciating what I understand as the grace of God in my life.
I credit the psychoanalytic work I have been doing, the interventions of a compassionate Creator God, and the love shown to me in many other ways through all kinds of people, as the things which enable me to continue to flourishing in the creative expressions which are such an integral part of my being.
E – Mental Health
What is it? E-mental health is the use of information and communication technologies (ICT) to support and improve mental health, including the use of online resources, social media and smartphone applications. This is a very good thing indeed in terms of resources. I do feel there is no replacement for one to one or group psychotherapy…I’m passionate about that, because I’ve experienced the benefits. However, to have a range of resources is really important.
“Digital mental health
In the UK, 38 million adults access the internet every day.1 That’s 76% of the adult population. On average, internet users aged 16 and over spends more than 20 hours online each week and more than 70% have a social networking profile.2
With this growth of the internet, online spaces and smartphone apps, healthcare services are beginning to use these developing technologies to help monitor health and prevent and treat any problems. Digital health (or e-health as it’s sometimes known) is a wide and varying concept that includes the use of technology for digital record keeping, online booking systems, online repeat prescriptions and some more innovative uses of technology for direct treatment.”
https://www.mentalhealth.org.uk/a-to-z/d/digital-mental-health
What is digital mental health?
It might be online self-help, as not everyone feels they need to or wants to speak to someone for professional help. This might include using information to understand mental health, using online self-management guides or using message boards or online programmes for direct support. There’s no waiting list, which is good, and GP’s might be able to prescribe online self-help resources. Local charities may have resources available.
E-therapy
E-therapies are programmes that use the internet or mobile devices to deliver interactive interventions for preventing and treating depression, anxiety, and other mental health problems. They tend to use cognitive behavioural therapy (CBT) and people complete exercises and receive feedback on their progress. Some might even use live therapy through video calling platforms.
Note; Therapy experienced over Skype, for example, is a bit different from having it in person. Quite a lot different…I know because my own therapy is now over Skype, while it used to be for many years in person, but it’s certainly got a place.
Blended care
Blended care involves a combination of face-to-face treatment with online sessions. This could be online treatment sessions with structured delivery and monitoring of the core treatment information and exercises, alongside additional face-to-face sessions. In the face-to-face sessions, therapists can offer customised treatment by responding to the patient’s needs, problems or wishes in real time.
This seems like a great solution. It would have been great for me in the gap between my NHS psychoanalytic therapy finishing and my placement as a training patient which gave me access to psychoanalytic therapy in a way I could afford to access. The period between my NHS therapy finishing and starting work with a therapist was about six months and it was really very hard. Probably one of the hardest periods in my life. I got through it armed with an excellent book called “Ten Best Ever Depression Management Techniques” by Margaret Wehrenberg. It would have been really very good to have a little bit more support and I do think that the kind of things available now with e-mental health would have been helpful. At the time I didn’t know about such things…It was several years ago, around 2010, so I’m not sure what was around.
The 10 Best-Ever Depression Management Techniques: Understanding How Your Brain Makes You Depressed and What You Can Do to Change It
Book by Margaret Wehrenberg
I have posted the link because I heartily recommend this book. It does require focus and action, which is hard when you are very depressed, however, it was a life-saver for me, giving me somethings I could do to hang onto when I was waiting for much needed one to one therapeutic intervention.
What also helped me a lot was a few email exchanges from several charitable organisations. That was very good in terms of helping me to express myself. The situation for me in 2010 was that I wasn’t in a place where I was able to speak…at all…about the traumatic experiences I had had… And I’m sure this is common. When I went to my GP I had to write down what I had come about… I could not speak… It was not possible! I could speak about everyday matters, yes, but not about my feelings or thoughts. So being able to communicate with someone in that indirect way most certainly had a very important place in helping people access psychological health.
My concern is that it has the potential to also reduce funding being put into personal psychotherapy. Psychoanalytic therapy, in particular is absolutely the right thing for someone who wants to explore deeply themselves and sometimes that is the only way, or at least, a key way, which cannot happen in any other way. There’s no substitute for someone engaging in that type of process…There’s no quick fix, or other kind of experience which can replace it. It’s relational and trans formative in a very particular way. I’m a strong advocate of the psycho analytical approach, and quite honestly I think that loads more funding should go into that, but that’s my take!
Psychoanalysis and the psychoanalytic approach certainly is not for everyone. But oh, I do wish the NHS would fund it more, so more people could access it. For me I do think it saved my life…It stopped my situation becoming a crisis, (Well, it was a kind of longish, but at least functional, crisis, but it kept me out of hospital!) and for the NHS it actually saved them money, because though my NHS therapy cost money, I’m quite sure it wasn’t as expensive as a psychiatric hospital admission and the necessary aftercare related to that.
Kingston Artists’ Open Studios 2019 – Done and Dusted
jenny meehan art work at kingston artists open studios ©jenny meehan
jamartlondon jenny meehan british lyrical abstract fine painting by contemporary london modernist artist designer
jamartlondon jenny meehan british lyrical abstract fine painting by contemporary london modernist artist designer
jamartlondon jenny meehan british lyrical abstract fine painting by contemporary london modernist artist designer
I’d Like to tell you a bit more about an excellent project I was glad to be part of at Tate Modern, but I will need to do that next time, as I need to move onto to some practical painting now! I will write more next time.. This below was the background to it though.
Tate Exchange in London
“How can we move freely in our bodies and across borders, in museums and across the cosmos?
Imagine moving without constraint, unhampered by injury or ill-health. Imagine being unrestricted by national borders or proof of citizenship. The universe might feel like it could expand without limit, but human beings seem constantly to come up against barriers. Researchers from across Queen Mary University of London share their work and invite you to explore the different ways we move and the obstacles we face.”
quoted from the Tate Modern website..
https://www.tate.org.uk/visit/tate-modern/tate-exchange
About Jenny Meehan Contemporary British Artist
I am a painter-poet/visual artist, contemplative/poet/writer, art educator, teacher and spiritual mentor (Progressive Christian faith centred) based in East Surrey/South West London, UK.
Support my art working by buying products of my design on Redbubble.com and also of course, original fine paintings, available direct from me!
Geometric and lyrical abstraction from London/Surrey based female British Contemporary Artist.
I’m interested in spirituality (particularly Christ centred spirituality), creativity, emotional and psychological well-being, trauma recovery, and mindfulness.
I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios (KAOS).
I have trained both with SPIDIR and through a variety of other training bodies as a spiritual guide/mentor.
I am a trained teacher (PGCE) and hold occasional small groups in developing painting and drawing skills, as well as offering occasional individual tuition.
Contact me via the contact form on my website http://www.jamartlondon.com
If you are less interested in original fine art and paintings, but would like to have something with my imagery on it, then go to:
https://www.redbubble.com/people/JennyMeehan/portfolio
and
https://www.redbubble.com/people/jennyjimjams/portfolio
Where you can buy selected art and design.
For the more geometric abstract strand of my art and design:
https://www.redbubble.com/people/JennyMeehan/portfolio has more, and for lyrical abstraction painting-prints I will be putting work up on the other redbubble profile:
https://www.redbubble.com/people/jennyjimjams/portfolio
I gain a small royalty percentage which helps me towards the cost of materials and exhibiting my work. Every little helps.
You can contact me via the contact form on my website jamartlondon.com
Some of my original paintings are available for purchase when no longer required for exhibition, and I am happy to license images of my work via the Designers and Artists Copyright Society (DACS).
All content is © Jenny Meehan.
Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts of writing and links may be used, provided that full and clear credit is given to Jenny Meehan with appropriate and specific direction to the original content. Images may not be used without permission.
Please note that all images of my artwork are subject to copyright law: All rights reserved. In the first instance, contact me, and I will refer, as/if appropriate.
If you are looking for artwork, particularly abstract, colourist, expressionistic lyrical abstraction type painting images suitable for book covers etc, then do contact me as I might have something to suit which will be quick and easy to license via DACS
instagram is jamartlondon_jennymeehan
jenny meehan art prints abstract digital collage First Day; Morning abstract art image licensable ©jenny meehan all rights reserved
First Day; Morning
Above: First Day; Morning. Archival Quality Digital Print….
I’m just sorting out some digital prints ready for this years Kingston Artists’ Open Studios…And “First Day; Morning” is one of them. I’ve become fascinated with the circle as a geometric shape and am using it increasingly in my art working. Yet my ongoing interest in texture and surface persist.
In the run up to the Open Studios most of my focus is on organisation at the moment, as well as reviewing work and deciding what to show. It’s a busy time, but rewarding. There’s the odd conflict between selecting work that I hope might sell and selecting work which I personally want to spent a couple of weekends looking at! I do need to sell artwork…Money is needed. And space is needed! The great thing about being so productive, is I have a lot of choice in what I decide to show. There’s only a tiny fraction of my work on the internet, and my archives are huge. But with work which is actually printed or painted… It does take up space. And space is limited!
I’m in the mood for writing now, so I’m going for it! I’d like to write more in the future…More project based and focused…but for now the “meandering discourse” serves me best for it’s function, which isn’t particularly focused (in an “overview” kind of way…with editing and honing and shaping, and all of that): It never was meant to be something which stood on it’s own two feet. Rather a brook through my mind and thinking; sometimes feeling… meeting artwork here and there. Not showing in a conclusive way. But something useful for me to look back on. Indeed, I do. And it serves it’s purpose. Works as a kind of gauge at times. Shows movement in other areas, even though it moves itself. Leaves an indentation, which is easier to see when looking backwards.
jenny meehan art prints abstract digital collage ©jenny meehan all rights reserved First Day; Evening
“First Day; Morning” and “First Day Evening” will be available for sale at this year’s Kingston Artists’ Open Studios!
Sean Scully
I enjoyed the recent programme on Sean Scully. Interesting quote:
He admits to being a bit surprised that his stature has not just endured but grown exponentially. “I think it’s a question of the way the cultural ocean moves,” he explains. “Painting has made a huge comeback. There’s a whole generation of curators out there who are young, but they’re sick and tired of conceptual art, they’re interested in things that are actually made. So all over, in South America, in China, there’s a return to a world of emotional materiality in painting. In a way I was waiting for this to happen for a long time, but no longer.”
https://www.google.com/amp/s/www.irishtimes.com/culture/art-and-design/visual-art/artist-sean-scully-it-s-about-stacking-putting-things-in-order-1.3642099%3fmode=amp
Sat, Sep 29, 2018, 05:00. Article written by Aiden Dunne
Read the whole article.
He certainly has plenty of room (and studios in the plural!) to paint in!
“A mysterious embodiment, it remains silent, yet potentially potent, whilst never entirely giving up its mystery.” On painting, from Metaphor
On abstract painting and music….Kevin Power / Sean Scully October 2, 2002
(Questions to Sean Scully on the occasion of Encuentro, Mudial de Las Artes,
Valencia October 3-6 2002)
“It is sometimes said that all art aspires to the condition of
music. I would like my art to aspire to something like the condition of music:
but a condition that can be felt and experienced in a deep moment. I think
with painting you can get rid of the problem of time. You can feel it abstracted
in the rhythms, in the layers of the painting; but you are, for your moment,
free.
I do believe abstraction is and was meant to embody deep emotion. I believe
that’s its job, in the history of art. The edges of the character and forms in my
paintings should lie against and with each other, with complexity and
emotional depth. Naturally one feels time in my work, because it is layered. It
is repainted many times, in different colors and weights of paint, always by
me: until somehow everything lives, however gracefully or awkwardly, in its
right place. So it’s a façade, but it’s a façade that submits to feeling or is
overwhelmed by it: since nothing is perfect.”
This is something I wish I heard more often:
“You have talked about yourself as a ‘romantic realist”, a stance that given our
present circumstances is not easy to sustain both on account of the geo political changes
taking place in the world and because numerous philosophers seem to be questioning the
gains of our Western humanist tradition to which such an attitude clearly belongs. How
do you see the real as now penetrating the romantic frame through which you “feel” the
world?
This is a very big question, a question about which one could write a book. I
am very aware that the romantic is now seen to be of limited relevance.
However, I have attempted to articulate my idealistic sense of romanticism in
the world, as it is, with its problems now. Without giving up on my true
personal feeling. To say it simply, I think it’s not only possible, but important to
offer a deeply felt example of a humanistic art form: in a world that has
become extremely cynical. I have lived through many changes, social and
political, that have affected me and changed me. However, my art is trying to
address something eternal and universal. So however difficult it may be for
someone with my sense of connection (connectedness) to continue to offer
an idealistic/humanistic view, I have to keep doing it. In fact, the worse it gets,
the more crucial it is to offer it.
I hope my work can stand as an example of another possibility. I realized,
when I moved out of the political arena in my radical days, that I would
experience as an artist moments of guilt and impotence.”
Here’s a bit about the programme I watched:
https://www.bbc.co.uk/mediacentre/proginfo/2019/15/unstoppable-sean-scully
You can watch it here:
https://www.bbc.co.uk/iplayer/episode/m00041pb/unstoppable-sean-scully-and-the-art-of-everything
Signs of the Times… Continues!
One of the great things about art working is the way that things develop over time. I think it may be the best! I love the way I get new perspectives on things I have done often several years ago. The “Signs of the Times” strand of experimentation started a few years back, but set me off on a useful path into working with flat surfaces and geometric elements…A welcome change from the lyrical abstraction. (It’s easily possible to become over saturated with one aspect of your work). Contrasts and changes, trying new mediums, and keeping an open mind are essential in artistic creation. Concepts are all well and good, but the tree of ideas grows from the art working, in my opinion. Life and its experiences enter the life of the artist and strange things happen there! Well, this is the approach which works for me. There are many others. It can work in other ways too. I find the openness and flow essential though, in my own creativity. Openness and flow involve a fair amount of trust, risk, and uncertainty. We get to know our materials well. We need to also get to know ourselves well. Because what we do comes from deep within us. It cannot come from anywhere else in the end. And life changes. It changes us. And the work of any artist evolves along with everything else.
The night time version, maybe calm moment in the dark, partner of calm moment in the light! © Jenny Meehan. All Rights Reserved
Above is one example of my series “Signs of the Times”: Geometric abstraction experiments carried out using vector graphics software. It was a delight to try communicating simple phrases and emotions visually in an abstract form, making simple yet emblematic pieces of affordable art. Affordable because the artwork is printed via Redbubble.com, which is a print on demand site. Yes, it may not be very “fine arty” in the exclusive sense, but it’s no less fine art because it is accessible. I have grown tired of the whole idea of value and art. What I mean is, the connection (which is sometimes made…not by all) that if something is very expensive and out of reach it is somehow more well, “art”. The reality is that sites like Redbubble.com make the work of artists very accessible.
https://www.redbubble.com/shop/jenny+meehan+art-prints
The only thing it will not have, of course is a signature! And there is that point which the item will have never been actually touched by the artist…But that is the object itself. Art is not just about the production of objects and artefacts. “Common place” ones or “exclusive” ones…It makes no difference does it? The appearance of one of my own artworks through the avenue of Redbubble.com is a choice I have made most purposefully. It reflects my feelings and values. It’s part of how I operate, and not just for practical reasons. There are practical reasons. And I carefully selected Redbubble.com because of the quality of the products. They met my own requirements for forms that my artwork might be re-presented through. Yes, I will also have my paintings, and sometimes sell those, from time to time. And some numbered (but not limited edition) prints. But I have no time or desire to do things which distract me from my main focus of innovation, creation, experimentation, and development.
https://www.redbubble.com/shop/jenny+meehan+art-prints
Digital printing is a whole new world!
Part of my thinking in this kind of direction also leads me to an interest in using substrates which are generally utilised in distinctly “non-fine art” realms. Banners and advertising boards. Company promotional material product materials and equipment. Printing is now so wonderful! So much is possible which was not possible before! We see such much printed matter all around us. So many interesting surfaces and substrates. Do I feel that I somehow debase my art work by presenting it on materials used for advertising? Not one little bit. Why should I? This is the matter we meet in our daily life and it should be the material of fine art too. Why not? It’s a most definite form, and we associate it with one type of activity but that doesn’t mean it cannot be associated with another. The longevity possible now, and the quality of printing and inks has come such a long way. It’s amazing! Exciting! Fantastic! If I had more money available to spend, I would be printing my work on many more substrates than I use at present…if it suited the realisation aptly!
Maybe there is a kind of redemption going on for me in this desire? For our desires are so much influenced by what is around us.
“A successful advertising message transcends the audience perceptions of needs and wants. It creates an emotional appeal that subtly convinces the audience that the item being promoted will make a difference in their lives by either making them happy, giving them status, satisfying a desire or providing security.”
I like an emotional appeal to a viewer to come from the imagery I create. But because it is what it is. And it can be to them how they wish it to be. It’s always good when someone connects and it’s helpful to me if they decide they want to buy something. (Why not?) But to replace advertising with my own imagery and take over the territory, even in just a very small way…As a gesture maybe? It feels good to do this. Maybe I have moved myself from the position of passive object of the advertising to the active subject in some sense? I won’t be told what I desire…(I am sure I often am! Not advertising proof!) I will put my expression, the product of my own desire to create, on substrates/objects/forms associated in our minds with advertising.
It’s nothing new. But I need to think it through, so I am doing so.
On a slightly different, but allied tack…
There are various billboard art projects going on/which have happened. The materials and context are often used to great advantage. There are many themes developed by billboard artists, yet the majority address social issues. There’s a kind of takeover bid…using that advertising space (and so the same media). A kind of graffiti form, with just a bit more of an element of disguise maybe?! Billboard artist use many strategies, including appropriating well known ads to alter meanings, making objects which look and function like adverts, and graffiti over advertisement boards.
There’s often text and a clear concept, rather than something which is abstract expressionist though. I like my work to be in the public realm, but it doesn’t have to have the kind of extent of publication that something with a message would be targeted at. (Though wouldn’t the world look lovely if all the adverts were removed? I think we would probably feel all a lot better to be honest.)
So much public space is dominated by the media, corporate culture and advertising.
I’m very fond of the Guerrilla Girls work! (Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world. The group formed in New York City in 1985 with the mission of bringing gender and racial inequality into focus within the greater arts community. The group employs culture jamming in the form of posters, books, billboards, and public appearances to expose discrimination and corruption. (wording from Tate website)
Mmm.
I do remember there being some project I came across years back which put artist’s work up on posters on the tube. Trouble was it did cost quite a lot of money to do so. Nice way to share your work if you can though. I remember coming across some and very much enjoying the fact that I wasn’t being exposed to an advert. Simply a piece of work with a name, which I could look into if I wanted to, but could just enjoy it’s presence in front of my eyes.
And look at this… What an interesting read! Coming from a slightly different angle…Very interesting on “special status”.
https://www.sciencedaily.com/releases/2011/08/110823130029.htm
Fine art in advertising can backfire
Date:
August 23, 2011
Source:
Boston College
Summary:
Fine art has been used for centuries to sell goods and ideas, but a new study finds artwork can lose its special status with consumers if it’s improperly used for product illustration.
“The researchers suggest the responses reflect how humans have evolved to recognize and appreciate art as a special category of expression.
“People have evolved to care about art,” said Hagtvedt. “It is something we have appreciated in all societies known to man, throughout history and pre-history. It is also a magnificent tool for marketers who rely on its communicative power in a thoughtful and honest manner, but those who use it thoughtlessly are not likely to impress anyone.””
Ah! So that’s one way which “fine art” might be utilized, from one direction. Many very successful artists are happy to have their art work used in this way, and often they are very well known ones. While others, far less well known and defensive of the “value” of their work (even though it generates little in the cash sense) may feel horror at the very thought.
It is the sense of being set apart from the objectives of advertising…This is important.
Does my practice of sometimes choosing to manifest my fine art practice on a PVC banner, or in a material form commonly used for advertising change it’s nature at all? No! Why should it? If I think something looks right printed on something commonly used for marketing material, then might I fear it somehow less fine art because of the substrate or the intended purpose of the item when it was manufactured? No, of course not. I can print what I want where ever I want. If it serves the vision and works aesthetically. If the conceptual aspect materialises in line with my intention, then I could print on your bottom and that would be just fine. (Well, maybe not. With consent! I’m sure it’s been done before anyway!).
So the movement of some expressions of my work, which is indeed part of a “fine art” practice, onto objects which are part of everyday life, is a lovely thing, and something I need not ever steer myself away from. Indeed, for many years, I have used table clothes with my digital imagery on them (dye-sublimation printed) in my domestic sphere…There’s been no need for a separation of myself from my art working/results of my art working materialised in every day life. It’s been a necessary combination! I live in an art gallery! It’s called my home. The relative status of such a situation is one thing. Just one thing. Nothing more.
That my home is also my workplace is both great and challenging. It doesn’t offer me the same sense of status (it appears) as someone who works in a separate place, but to be fair, I think that may be partly just an ignorance thing… People don’t recognise what happens in homes as work in the same way they do when activities take place in other buildings. And many people don’t see art working as work. Or indeed, don’t see anything as “work” unless it involves the generation of finances. (However, I have a vague memory that I have probably rambled on about that in some earlier post!)
When writing this artist’s journal, repetition is the name of the game. I’m a stuck record on some things!
I may be digressing a little.
The main thing is that it’s my prerogative to use whatever materials I want, regardless of how they may be normally perceived or used in our culture/society. If, for whatever varied reasons, the appearance of something generated by me on an object of lowly status, be it via Redbubble.com or on an advertising banner, cushion cover, whatever, seems less in value because of it’s form, then so be it. I think maybe just to be aware that artists make very careful choices about what they do, and why: this may help understanding a little. It’s all part of the same thing in the end. What we do. It’s an expression of us. Whoever we are and whatever we do. We all measure up things all the time. Cannot help doing so. But in no way, not one bit, is doing what I do in the way that I do it any kind of indication that I am valuing my artwork any less than someone who only sells to Kings and Queens for large amounts of money. The whole value thing is an illusion. I kind of enjoy breaking through it a little bit. That’s all.
And redemption. Buying back the territory a little bit. I have become so tired of all this advertising so much in my face all the time. Isn’t it tiresome? Isn’t it relentless? Persistent! It’s a pest!
If you are an art collector and want to collect artists work, then please don’t shun any options you have to get the artwork which you want. It’s great to have an original piece of art, but also good to have examples of the artists you collect, across many of the mediums they use. Nowadays print is a medium which cannot be ignored and there are many artists who see through the “value” goldfish bowl and the marketing strategies which often get used by art dealers, etc and which dictate more than they should what art collectors feel is worth collecting. Realise the artificial constructs which are in operation. If you collect art, collect it because you love collecting the art you love to collect, and collect it in all forms, regardless of status or perceived value. The value is what it says to you and means to you.
London Downpour – Lyrically Abstract Painting – Jenny Meehan
We are a little past March and April now, but as I have been working on some editing of past writing “Some Kind of Narrative” my mind has taken me right back to the passage in my life, in 2012, when I started working with a therapist and started along the long road of recovery from much too much trauma! Trauma in early life, I discovered, has a habit of sticking with you, even when you would like to leave it behind. I continue in therapy. But looking back, I can appreciate all the work I have done, and I am reaping the rewards of it too.
And so my recollections dug up this painting for me. It was painted during 2012. I went into London twice a week for psychotherapy then. I met my therapist at the Guild of Psychotherapists, Nelson Square, which is not far from the South bank. I would very frequently walk along the river side and often in a state of numbness emotionally. It was exhausting at times. It was nice to sit down and gaze at the water.
And during 2012 there was plenty of water to gaze at, and coming from all directions!
“The 2012 Great Britain and Ireland floods are a series of weather events that affected parts of Great Britain and Ireland periodically during the course of 2012 and on through the winter into 2013. The beginning of 2012 saw much of the United Kingdom experiencing droughts and a heat wave in March. A series of low pressure systems steered by the jet stream brought the wettest April in 100 years, and flooding across Britain and Ireland. Continuing through May and leading to the wettest beginning to June in 150 years, with flooding and extreme events occurring periodically throughout Britain and parts of Atlantic Europe.”
The wettest April in 100 years!
The painting “London Downpour” was painted over several months. I always paint in a piecemeal fashion. Very rarely do I paint from start to finish. The painting was exhibited at The Strand Gallery in June 2013 and was brought by a collector, Roger Lewis. I was very glad of this. Not only for myself and him (for it’s always happy when a person finds a painting they love) but for the charity to which I donated a portion of the price, as part of the arrangement, (as suggested by the exhibition organisers). The painting is a good example of some of the main elements I was experimenting with at the time.
London Downpour- Jenny Meehan painting abstraction at The Strand Gallery London as part of “Lines” visual art exhibition. Lyrical and geometric abstraction painting southbank london from the imagination! painted in a process-led, intuitive guided fashion, external impressions from regular trips to London appear to have seeped into my subconscious!
Floating…. Yes, this is a strand I continued with. Solids and liquids… yes, another. Water… yes, that too. Formal elements…experimenting with paint continued and developed; textural elements becoming even more important and refined over time.
Mostly resonating with those walks along the Thames; past Tate Modern. Which looks quite different now! The sooty feeling of London. Always felt it on your skin. A contrast of buildings and water.
The paint is acrylic, but I see carefully balanced with earths… So important, because otherwise acrylic paint can be far too loud for a restful painting.
jenny meehan artist talk at st joachim’s catholic primary school 2014 on painting techniques used in london downpour painting
I later gave a talk at a primary school and shared a little about how the painting was created. Funny being in a classroom again. I used to be a primary school teacher. I have lost quite a lot of weight since then!
Ah, wow! What a great read!
Anton Vidokle
Art without Market, Art without Education: Political Economy of Art
Read it all… Here’s a little taster! (E-flux Journal #43 – Anton Vidokle – Art without Market, Art without Education: Political Economy of Art)
“But since his time, Warhol’s economic independence seems to have been misunderstood. The independence that came from his bridging of the bohemian sphere and the sphere of day-to-day commerce has been converted into a vast proliferation of so-called artistic practices that treat art as a profession. But art is not a profession. What does being professional actually mean under the current conditions of de-skilling in art? We should probably be less concerned with being full-time, art-school-trained, professional artists, writers, or curators—less concerned with measuring our artistic worth in these ways. Since most of us are not expected to perfect any specific techniques or master any craft—unlike athletes or classical musicians, for example—and given that we are no longer tied to working in specific mediums, perhaps it’s fine to be a part-time artist? After all, what is the expertise of a contemporary artist? Perhaps a certain type of passionate hobbyism, a committed amateurism, is okay: after all, we still live in a reality largely shaped by talented amateurs of the nineteenth century, like Thomas Edison and so many others. I think it’s perfectly acceptable to work in some other capacity in the arts, or in an entirely different field, and also to make art: sometimes this situation actually produces much more significant work than the “professional art” we see at art fairs and biennials. Ilya Kabakov supported himself for decades by being a children’s book illustrator. Marcel Duchamp worked as a librarian and later sold Brancusi’s work to make a living, while refusing to be dependent on sales of his own work.”
Anton Vidokle is an editor of e-flux journal.
Kingston Artist’s Open Studios 2019 in June!
Kingston upon Thames in Surrey has a lovely hub of artists and each year we show our work, dotted around different venues in Kingston Upon Thames.
The Open Studio venues are organised into art trails in and around Kingston, featuring a wide range of 2D and 3D work – painting, drawing, printmaking, sculpture, ceramics, glass, photography, digital art, textiles, paper art and mixed media.
British Lyrical Abstract Paintings: See http://www.jamartlondon.com/
2019 Open Studios in Kingston will be taking place on 8/9th and 15/16th June
from 11am to 5pm each day.
http://www.jamartlondon.com/contact/4569980742
I plan to display a selection of recent work, both original paintings and prints. The price range of my original work is £80 to £600. Most of my original fine art sells for around the £200/£300 mark, making it an affordable buy for any art collector. I also offer a selection of prints for purchase for under £100.
There is a super video which was made last year which gives you an idea of what Kingston Artist’s Open Studios is all about!
Do come along!
“If funders truly believe in the humanistic value of the arts, they must not compel artists to merely adopt the practices of for-profit entrepreneurs. They must advocate for the value in what artists already do: bringing the artistic imagination more fully into everyday life and making creative expression a fundamental human right.They must resist the inexorable logic of the so-called free market, and advocate for the fundamental core value that there are things in this world that are not for profit – they are for something else, something more vast, meaningful and enduring, and that artists can lead the way.”
Quote from Andrew Horwitz
Had to pop that in here… So good. So true!
The downside is we live in a culture which fundamentally devalues artists. This is reflected in the fact that artists don’t get paid for exhibiting their work… rather they are used as a source of income generation, often through so called “opportunities” which involve hiring out space. There are exceptions to this, and what a jewel it is when they come up, but they are few and far between. The majority of the general public are not aware that artists are the ones who pay to show their work, in the main. (Yeah, I am taking about the “Fine Art” strand of creation, so bear this in mind!) They are not aware that the majority of artists probably have an income from their art working of around £5,000 a year (my informed guess, based on conversation and snippets of research done over a few years)….A DACS survey in 2010 found it around £10,000, but I think one needs to bear in mind that this is only one pool of artists, and they are likely to be the ones who have had work published here and there… (like me! but I am rather the under a £1,000 year department! lol!) and this is across the range of visual art, not “fine art” alone. Also bear in mind “Careers typically are sustained by a portfolio of other activities with 35% having a formal second job.” And also need to add other sources of income, ie spouse, partner, etc. So generally speaking, the majority of artists are supported in some way, but not by the the proceeds of their labours… This is important to recognise. But it is not convenient to recognise.
Yes, I am grateful I can do what I do… No taking for granted here, with me…I waited long enough to be able to do what I always dreamed of, but this doesn’t mean that I have money to invest in paying for the luxury of showing my work…and being an income source for others! I’ts my choice to do what I do, and I am glad I have that choice, but it does not make my creative work less work because it doesn’t reap financial rewards sufficient to make it profitable, or a source of life sustaining income.
This is not a rant, (well… OK, maybe it is!) but it needs to said to increase awareness. If the general public, who are able to and so inclined, wish to support artists and are more aware of how much that support is needed and valued, then this is all well and good. Even if they don’t, I still think awareness is a good thing. The reason I think it is important is that artists are often treated as though they operate as businesses when in reality they just don’t. Often by businesses…not so incidentally! Well, yes, there are some, of course, but some of us don’t want to be, don’t choose to be, or don’t want to change our direction/work by attempting to be… This art working matter is a different matter from income generation, and without the financial aspect, it is still a worth while, valuable, and a valid contribution to the world; the life sustaining dimension of art should not be underestimated… It may not be linked with finance in the way many other activities are but that does not make it any less purposeful. Or significant.
However, this doesn’t mean that we don’t need finance, and that we are not going to price our work in such a way that it helps fund our creative project, or that
Do you need exciting, engaging, images for a book cover design?
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.
If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.
To find out more about how you can arrange to use my imagery, see here:
https://www.dacs.org.uk/licensing-works/frequently-asked-questions#FAQ122
British Lyrical Abstract Paintings: See http://www.jamartlondon.com/
A Poem of Panes
A Poem of Panes
It was only when they shattered
I felt the panes of glass between the window frame.
Those who knew me
could not see through my eyes.
I am aware of the surface, and of my own sinking.
I set my face forward,
but cannot progress.
They call my brother’s head injury “the invisible disability”.
The impact of one, booted, blow
also
unseen
in me.
Jenny Meehan 2014
The artwork I produce often relates to my psychological and emotional recovery journey, which is related to past trauma. In this instance, the full realisation of the impact of my brother’s traumatic brain injury on his personality and functioning, our relationship, and of its effect on my own mental capacity, made several years of my life exceptionally difficult. A major part of the difficulty was my inability to express what I was going through. Though able to function through the depression and anxiety (sometimes “just about”) , my awareness was that of being disabled internally, due to the shattering of my sense of self, and the isolation I felt. This is something I will never forget . Art can be a wonderful and powerful communicator of a person’s journey.
I’m working through my own traumas, and very grateful to be able to do so. There is an image for the above poem, but it’s way back in the archives and I’m a bit pressed for time today, but I can dig it up in the future and I will post it. It is the case that it is far easier for me to create visual art and write than it is to verbally speak about my own experiences. I am sure this is very true for a large number of people. While I can talk to a certain extent, it is far easier not to. I do have an ongoing interest in trauma and recovery which just seems to continue and certainly stretches far beyond my own experience.
I think it’s brilliant that mental health is more in the spotlight than it has been previously and there certainly is less stigma about it. Here is an excellent read below. I have just included a short extract here, but do follow the link to read the whole article.
People whose work does not involved repeated encounters with survivors of trauma frequently either cannot believe, or refuse to believe how common it is. For years it’s been assumed that people invented stories of trauma to excuse bad behaviour. The medical profession bears a lot of responsibility for this, largely ignoring the psychological consequences of rape until the last 30 years.”
Long Stream of Paintings
And here lies a long stream of paintings… Or should I say, pieces of paintings, fragments of paintings, parts of paintings?
I take a lot of photographs as I work. It is a good way of considering the material qualities of the paintings. Something about isolating a section in a frame makes the eye think about it differently. It may become the beginning of something new, but if it does not, this is of no consequence. The process of taking images isn’t in order to achieve anything other than looking again and seeing again, and maybe being introduced to the composition within the composition, which I didn’t know was there! It enables me to meditate further on the paint. This may sound unusual for someone who is not a painter, but for a painter, meditating on the paint is very helpful indeed!
British Lyrical Abstract Paintings: See http://www.jamartlondon.com/
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
Breaking my paintings into fragments by taking the images… It is a way of looking closely at them… but also interesting that I create in such a piecemeal way these paintings, pulling the work together into a whole, and then insist on breaking them up again afterwards, in one kind of way, at least!
British Lyrical Abstract Paintings: See http://www.jamartlondon.com/
Into the Studio Tent for 2019!
jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress
Yes! As the weather warms and I begin to tidy up the mess, so the studio tent becomes a place of artistic production!
Feeling GREAT!
Another good read…
One of my keen interests … I guess that’s what comes of having an exceptionally high ACE score myself! Lol! This is a great read, and very heartening! I have come a long way myself, but it’s a rough road to travel on, and exceptionally challenging at times! All worth while work though.
Jenny Meehan Contemporary British Female Artist
(Just in case you were not sure about that!!!! )
My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces.
While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity. I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!
If you would like to give money to help support my creative practice, I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
paypal.me/jennymeehan
and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. I do need support in order to continue my art working.
http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website
Signing up as a follower on my WordPress blog ( https://jennymeehan.wordpress.com) also helps, as does sharing the posts when you receive them. Anything you can do to help me is much appreciated!
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance.
http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website
Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative. Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious. It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art. I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.
I’m a member of Kingston Artists’ Open Studios: http://www.kingstonartistsopenstudios.co.uk/product-category/artists-m-to-z/
Hot Stuff/Golden Haze by Jenny Meehan jamartlondon.com
Hot Stuff! Golden Haze… Two names for this. It’s one of my “painting to print” series… Need a bit of warming up at the moment. My hot water bottle is a great friend! Sorry if the phrase “hot stuff” sounded a bit more exciting than it is! Lol!
I have had a cold for such a long time, and I have so much mucus never-endingly streaming from my nose, that I think I may be turning into a snail. If I were a snail I could move very fast indeed, for my amply supply of mucus would have me whizzing around for certain. At present I am unable to whizz around, so writing must do.
I’ve put this artwork on Redbubble.com, so you can buy it safely, quickly, conveniently!
I have one version of it signed by me, and this will be for sale at this years “Kingston Artists’ Open Studios”.
Kingston upon Thames in Surrey has a lovely hub of artists and each year we show our work, dotted around different venues in Kingston Upon Thames.
The Open Studio venues are organised into art trails in and around Kingston, featuring a wide range of 2D and 3D work – painting, drawing, printmaking, sculpture, ceramics, glass, photography, digital art, textiles, paper art and mixed media.
2019 Open Studios in Kingston will be taking place on 8/9th and 15/16th June
from 11am to 5pm each day.
http://www.jamartlondon.com/contact/4569980742
I plan to display a selection of recent work, both original paintings and prints, and a couple of examples of mosaics I have been working on as well, (though they won’t be for sale). Working with mosaic is adding some interesting perspectives on my painting, which is much appreciated! The work I have on offer will mostly be available to buy I should think. The price range of my original work is £80 to £600. Most of my original fine art sells for around the £200/£300 mark, making it an affordable buy for any art collector. I also offer a selection of prints for purchase for under £100.
Visual Art and Poetry Linkage!
One of the aspects of my creative work I am enjoying at the moment is the linkage between my visual art work and my poetry and writing. The space between the two… between the visual art work and the words I write, is another space, and while it’s fun playing with space visually and also poetically when writing, there is yet another space created between a visual art work and something that the artist writes about it.
I’m pretty possessive about this space, and I guess I can be, at the point I am with my visual art working. I have contacted people in the past who have used my visual art without permission or payment on their own blogs, and written their own poems about it. I ask that they remove my artwork from their blog. Generally they simply just don’t realise that they need to seek permission. If my visual art practice was not so intimately connected with my own writing, I would maybe be flattered, but as an important part of my own practice, the painting-poetry combination and the integrity of it is something I feel protectively about. It’s part of what I offer to the world, and my painting and digital work is, with increasing frequency, presented for exhibition and display, very purposefully paired with my own writing. Indeed I would go as far to say as the visual work and the writing become one art work.
This happens over time. What tends to happen is I create the visual work… this is one strand. Then, it needs to wait, normally for some time. This is counter cultural, for in our culture waiting is not generally valued very much at all. We are all now now now or never. But I have an ongoing relationship with the paintings and digital imagery I produce, and it continues for several years after I deem the art work visually completed. Because the visual completion is only one part of the process. After this time, I need to dwell with the work for a while. And though I have had a strong sense that the work has achieved something, in terms of emotional expression and I have felt satisfied with it’s state of being, what it means for me is only discovered over time. And so I will revisit it, and reflect, it will remind me of certain things and I will relate to it over time. It is maybe like a kind of proving process? It’s symbolic and metaphorical nature, still always retaining a sense of the unknown, and subconscious resonance (which is very attractive I think, and shouldn’t ever need to be explicit!).
But like all things in life, there is also the application. And I do like my work to be useful, used, out there. (with permission!) It may be mine for a while, but believe me, I am always pleased to see it go elsewhere, and I don’t hold onto it. Part of the process is my thinking and critical evaluation of it. My thoughts, research, interests, and the decisions I make as to how I am going to use it. I’m delighted when it is used in book cover designs, because these are always very carefully thought about and the relationship between the content of the book and the image on the cover is very exciting, especially when I get to read the book! So there is a relationship between word and image there, and it’s a topic I find of great interest and have done for a while. But in relation to establishing a relationship between my own visual artwork and the words I choose to write, it is when I spot a subject of interest that there becomes an invitation to almost recreate the work. For it is a recreation and a new artwork, when married to words I write about it. This is the reason much of my work has two titles. The first title is generally the first one, when the work stood alone, and then in time, with thought, and often writing, the work develops into something else and has an additional title added to it. By writing and re-responding to the visual art work, in my view, I recreate the work.
So once my visual art work; be it digital or painting, or sculpture, whatever; once it has it’s poem/writing attached, It’s become something else… More focused, more specific, more applied. It’s met me in my life, come to be, and then I want it to have a life which has relevance not only for me in that personal way, but has taken on some useful role, which touches shared points of interest, not just emotionally (though this is my main interest, for sure) but which establishes relationships far beyond that which first brought it into being. It needs some action and reaction in the world, some relevance, some other people, things, ideas, missions, purposes to have a new kind of dynamic existence. This doesn’t mean it ever needed any justification…It is sufficient to just be, as indeed any person in the world is sufficient just to be. The value is there, just in existence. But to have application is always good.
I often describe myself as both a fine and applied artist. The main thing is, that at the moment, (most of the time), I create what I do with no set purpose in mind. It’s my working method. It’s the way that I have totally free reign. It allows me to work on several things at once, in a piecemeal fashion, and with no concern for the end outcome at all. This is why I like it. I do enjoy working to specific briefs and for particular purposes; these present their own challenges and that in itself is interesting and enjoyable; but so many of my ideas come from this kind of total free flow possible with a less structured approach. Being less structured doesn’t mean less disciplined. Far from it. The structure has to come from within, and this requires a certain stamina. I love life invested into the realm of creativity, but it certainly is hard work. However, it couldn’t be any other way. And there’s a great peace which comes from doing what you care about in life. It’s well worth the effort, whatever comes or doesn’t come of it. In a sense, my main concern is to maintain my own integrity, and develop, both personally and professionally.
Artistic activity needs to be flexible, and I enjoy the way my own weaves into my other activities and roles in life. I have been thinking recently I need to invest more time into writing, and I am looking into copy writing, proof reading and editing as activities I might develop more experience in. I have two ebooks of my own I would like to work on as well. I had a dreadful habit of trying to do everything at once, but I guess the good thing is that I can catch myself trying to do the impossible and pull myself back!
jenny meehan jamartlondon abstract paintings “Opening the Way”
Opening the Way – Lyrical Abstraction -Painting by Jenny Meehan
I described my painting style as primarily lyrical abstraction to someone recently at an artists’ networking event, as it’s the most appropriate description for my painting, at least, but “lyrical abstraction” is not a term a lot of people are familiar with! I have become quite content with the fact that my painting style might be viewed as a little dated and not current…though of course I do not agree with that perspective one little bit! I think there are many undercurrents in the visual arts, running along merrily, and what surfaces as being “current” at one time or another is a matter of trends and fashions, not a matter of what is really developing as significant. How can one discern the undercurrents which make a large wave? How can you see what happens until it culminates in a bigger movement? What determines the movement…is it due to something which happens above the surface, or underneath it? Who knows? The mystery is good. And here you see, I find myself slipping very comfortably into the category of a lyrical abstractionist (maybe not a word!) painter!
Some helpful pointers and considerations, features maybe, of what would place my painting in this category of lyrical abstraction. Lyrical abstraction is a term, and has it’s uses. (Well, it does if people know what it means!) So hopefully my thoughts shared here will help you in your understanding of what characteristics may be dominant features of paintings defined as being “lyrical abstract” paintings. One will need to detach some aspects and add others, because I do believe that terminology has limitations as well as benefits. Also, what something was in one part of history, is never quite the same as what it is in other parts of history… Our times determine so much, and any artists responses are conditioned by the times they live in. I do, as you maybe know, love looking back into the past, and I think it’s a good practice for any artist to ensure they look at those who have come before them and find out as much as they can, so that the can appreciate the work with the benefit of being able to look backwards… for from the past the future comes…
Anyway, I digress, as is of my habit…
The term “Lyrical Abstraction” is much debated. Which makes it very attractive I think! Larry Aldrich used the term lyrical abstraction in the late sixties to describe some of the artworks he had collected. The feature he felt was important was that they represented a return to personal expression following Minimalism.
An exhibition was held at the Whitney Museum of American Art, New York
May 25- July 6. 1971
“Statement of the Exhibition
Early last season, it became apparent that in painting there was a movement away from the
geometric, hard-edge, and minimal, toward more lyrical, sensuous, romantic abstractions
in colors which were softer and more vibrant. Painters were creating, in significant numbers,
works that were visually “beautiful” — up to then, in the art world of the sixties, a dirty word.
Though they were not going back to any previous style, these new young painters related
to men who have been doing painting of a painterly nature for twenty years or more — Mark
Rothko, Robert Motherwell and others. The artist’s touch is always visible in this type of
painting, even when the paintings are done with spray guns, sponges or other objects.
Surfaces are never anonymous as in minimal paintings; they are delicately nuanced and
often suggestive of cloudy voids. These paintings all represent a distinct shift to an ex-
pressive interest. As I researched this lyrical trend, I found many young artists whose paint-
ings appealed to me so much that I was impelled to acquire many of them. The majority
of the paintings in the Lyrical Abstraction exhibition were created in 1969, and all are a
part of my collection now.
Larry Aldrich
April 1970″
Take a look at the artists shown here:
https://archive.org/stream/lyabstracti00whit/lyabstracti00whit_djvu.txt
A slightly more recent example here: http://palmbeachartspaper.com/art-review-lyrical-abstraction-show-demonstrates-resilience-of-american-painting/
A variation of the term was used decades earlier in the late forties by the French art critic Jean José Marchand; Abstraction Lyrique. This was with reference to a European trend in painting a bit like Abstract Expressionism. Free, emotionally inspired and very personal compositions based not on external appearances but evolving rather from the subconscious, instinctive parts of the painters. The evolution and construction of the painting coming from within. I guess we could go even further back, too to Wassily Kandinsky in the first decade of the twentieth century! Rather than working with images from the external world and altering them in order to express abstract ideas, in the way that happened with Suprematist and Constructivist artists using recognizable forms in their art but in ambiguous, symbolic ways, another group of artists approached abstraction in a different way. Not knowing what meaning there might be in what they painted was just fine! Painting freely, with no preconceived notions and the expectation that things unknown could be expressed through their work. Some likened their paintings to musical compositions.(ie Kandinsky) The general emphasis was that of expression emotion in an abstract form. Paintings were imaginative, expressive and personal. Unashamedly subjective, and poetic. Soulful work…not so much leaning towards objective academic interpretations but learning more towards the mysterious, spiritual, and less tangible aspects of life. Painting as a source of seeking maybe…not attempting something which is defined and explained, but rather being all about personal connection with life and the universe.
Rather good! A search for what is essentially personal.
Harold Rosenberg wrote: “Today, each artist must undertake to invent himself…The meaning of art in our time flows from this function of self-creation.”
That was then, but surely this is also relevant for today? Maybe even more so…because the challenge of the self and the sufficiency of simply being, is with us, and maybe even greater with the influence of media, advertising, internet, etc?
Is “being” enough? This may be one of the most important questions we ask ourselves!
We have so much information and knowledge for the intellect to play with at our disposal now! It’s great, fun, interesting. Yes, all of this. But is knowing things with our heads sometimes a deceptive liberty? Does it prevent us from walking freely in mystery, unknowing, and that which we cannot hold onto in our heads, but which our hearts and souls might testify is good and life giving?
I do ask myself these questions.
I think my work could be said to ask them, but does it need an answer? And if it doesn’t ask for an answer, is it a question?
!!!
“Each artist must undertake to invent himself.” Is sticking with me in this digression…
But what with lyrical abstraction today? Movements move and change… tendencies run this way and that…Who knows? No one has the ultimate view. In the early twentieth Century artists like Kandinsky, Giacometti, Fautrier, Klee and Wols embodied lyrical tendencies in abstraction. Later Mathieu, Riopelle, Soulages and Mitchell moved them forward. When I was growing up in the 60’s and 70’s many artists continued and expanded the movement. There are many voices singing out lyrically in abstract paintings! There is an essential quest of lyrical abstraction, which is to express something personal, subjective and emotive, and to do this in a highly poetic, free and abstract manner.
I think this section of Ronnie Landfield’s “Autobiographical Statement, 1997-2010” speaks with a resonance which I am happy to echo, (in my own unique way, of course!)
“My inspiration has been my conviction that modern painting is fueled by the combination of tradition and the realities of modern life. Spirituality and feeling are the basic subjects of my work. They are depictions of intuitive expressions using color as language, and the landscape (God’s earth) as a metaphor for the arena of life. The revelation of a primal image that delivers an immediate response in the viewer is my goal. Hopefully my paintings convey a felt perception of life, an awareness of the history of art, and a clear expression of my passion and sense of spirituality. I sense a visual music that externalizes what I feel within me and in the air.”
What a fantastic statement…
The revelation of a primal image that delivers an immediate response in the viewer is my goal.
Well, all writing aside, this is most certainly enough, more than enough, and will ever be enough!
Paint on!
Words are words, and paint is paint!
See more of Ronnie Landfield here: http://ronnielandfield.com/
Some contemporary painters which you might like to view…
the Spanish artist Laurent Jiménez-Balaguer
Margaret Neil
Ellen Priest
‘Un’antenna sensibile’
Rather nice quote, for my notes!
Quote by Christopher Adams: Claudio Del Sole: ‘Un’antenna sensibile’
Christopher Adams
“Del Sole saw no contradiction between his predilection for abstraction and his observation of natural phenomena, finding inspiration in the swirling patterns of galaxies and nebulae. Nor did he recognise any distinctions between art and life, asserting: “The artist is not enclosed in a restricted or exclusive world of his own. He is like an antenna, sensitive to all that which happens around him. Therefore, he is attentive to social changes and the progress of science; that is, to the unfolding story of mankind.”
Yes! Like an antenna! I like this very much! And attentive! So true!
We take in all that surrounds us, ingest it… and then do what we do with it! There is some kind of narrative in every person, expressed through words and images. When I work with abstract forms visually, there is no disconnect from the outer world, even though I don’t work with pictures (ie recognisable objects). I approach the matter and materials in the same way that I approach nature, life and all I see in the natural world, even though I don’t seek to emulate it. I am not attempting to create something more distant or disconnected “more spiritual” or “set apart” from the world in any way. It’s rather an engagement, a translation maybe a good word, an interpretation of my being and living based on emotion and experience.
jenny meehan jamartlondon photography monochrome
I take less photographs now than I did, but sometimes you see something you cannot resist! Looking at the sky reminds me of why I don’t lean towards representational painting myself, though I do enjoy looking at others work. I find the work is always before me, far surpassing any emulation I might make of it. I do enjoy a bit of drawing… It’s always good to do from time to time… Mostly because of the mark making though.
jenny meehan jamartlondon photography monochrome
Broken branches in Oxshott Woods. Oxshott Woods has a special resonance for me because as a child we went for a walk there every Sunday. I like this image of mine because it conveys brokenness but also a real invitation to move forwards into the image. I remember the exposed roots of so many of the trees in Oxshott woods and how entrancing they were…
jenny meehan jamartlondon photography monochrome
Another Oxshott Woods/Oxshott Common image. This was taken on the edge of the big “sand pit” area. It’s fun to think I am walking the very same ground I did when we went for walks there when I was a child. It’s amazing how things change, and quite a relief to be honest. I’ve probably written it elsewhere, but I had a really difficult childhood, in so many ways, and I’m now enjoying life more than ever before; so much happier and so much more alive! It’s good I have come a long way, and though it’s easy to feel I wish things had been easier, in the end, the past makes us what we are, and we cannot live without it, but we can move on.
Things I have been reading recently:
Good read on trauma and how it affects ones sense of time:
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4166378/
Lots in there to read and think over, so popping in my journal for now. I’ve skim read parts.
https://journals.sagepub.com/doi/full/10.1177/2167702613495199
Rear Access Roads and Alleyways
rear access road chessington drawing 2 jenny meehan
rear access roads chessington drawing jenny meehan
jenny meehan jamartlondon photography monochrome
I’ve popped these in because I have realised recently how important the “Alleyway” was to me as a child. We lived in Teddington, not Chessington, and the alleyway of my childhood was narrow, and quite different to the rear access roads I have drawn here. However, emotionally there is a strong connection I had previously overlooked. My brother and myself would play in the alley…exploring around the backs of peoples gardens…peeking through holes in fences and sometimes creeping into places we were not meant to be! It was all very exciting and interesting. The drawings of the rear access roads in Hook and Chessington were drawn by me in what I like to call my “wilderness” phase. It was before I really got into painting as my main focus, and yet grew highly aware that painting was the right direction for me to go into creatively, in a big way.
Emotionally it was a tough time, and I struggled psychologically also; I felt very lost indeed, in terms of having a sense of self. I find it interesting that, at this time, I found the rear access roads so comforting, and so safe, and all at the very time in my life when fear grew increasingly severe. It provided an area and space to feel I existed in. I think the lack of facades was helpful, also, for I was aware my own had slipped somewhat! It was a raw, bare, place, of exposure and of no longer being able to pretend I was “all right”. Somehow embracing the “shadow side” had to happen.
I was not familiar with the term “shadow side” at that point in my life, however I do remember being fascinated with the dark, square areas I came across, which I think you can see comes across in the drawings. For me, I saw these as being a void…a place which represented how I increasingly felt inside. Inner emptiness. At times (the worst) where I would rather be: in nothingness. A lot of the areas of interest for me in my frequent walks involved an appreciation of decay, decomposition, and neglect, with some attention to unexpected growth, and finding unexpected treasures. Even in the worst of life’s passages, if looking outwards, beauty can be found with some effort, and I did find it, even though I couldn’t see any inside myself at that point. Carl Jung stated “the shadow” to be the unknown dark side of the personality, which was instinctive and irrational. There was also a sense of this in what the dark, blank areas communicated to me. Like some kind of mirror, they reminded me of how instinctive and irrational I was at my core, and I was certainly more aware of that than I had ever been aware of before in my life!
“For Jung, the theory of the‘‘shadow’’ was a metaphorical means of conveying the prominent role played by the unconscious in both psychopathology and the perennial problem of evil. In developing his paradoxical conception of the shadow, Jung sought to provide a more highly differentiated, phenomenologically descriptive version of the unconscious and of the id than previously proffered by Freud. The shadow was originally Jung’s poetic term for the totality of the unconscious, a notion he took from philosopher Friedrich Nietzsche. But foremost for Jung was the task of further illuminating the shadowy problem of human evil and the prodigious dangers of excessive unconsciousness.”
Quote from Stephen A. Diamond, Ph.D.,
My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces.
While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity. I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!
If you would like to give money to help support my creative practice, I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
paypal.me/jennymeehan
and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. I do need support in order to continue my artworking.
http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website
Signing up as a follower on my WordPress blog ( https://jennymeehan.wordpress.com) also helps, as does sharing the posts when you receive them. Anything you can do to help me is much appreciated!
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance.
http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website
Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative. Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious. It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art. I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.
I’m a member of Kingston Artists’ Open Studios: http://www.kingstonartistsopenstudios.co.uk/product-category/artists-m-to-z/
Great Start to a New Year! Praying the Way!
“praying the way” by terry hinks book published by Bible Reading Fellowship with “leap of faith” image by jenny meehan
What a delight to see this amazing book cover design for the also very amazing and inspiration book of “raw and authentic prayers” by Terry Hinks. Terry Hinks is a United Reformed Church minister and the author of a number of books on prayer.
The cover design and inside pages are the work of designer Alison Beek, Designer, for the Bible Reading Fellowship, who licensed my image “Leap of Faith” through DACS for the cover design of the book.
It is the best thing in the world to see my artwork used for such purposes as this, as close to my heart and faith!
I now have my copy, and am already being blessed! It’s a super book, deep and insightful, challenging and touching. I love the idea of starting this year “Praying the Way”. It is through all the small leaps of faith we make that we move forwards, and it seems to me that the path appears the moment we make a brave jump into the air! Many things change as we mature in our faith; previous beliefs however dear are challenged, and life seems to be a matter of constantly realising how little we know, and how much we need to hand ourselves over to the one who created us and loves us so dearly. While certainties fall away, still the potential to trust ourselves into the hands of the Creator exists, and the path of committing ourselves to Christ (if that’s our faith tradition) and continual desire for repentance, enlightenment, and growth in compassion, can move with strength forwards into the years to come. Well, that’s my prayer for this year I think.
leap of faith jenny meehan (jennifer meehan) geometrical abstract design artwork fine art print to buy
“Leap of Faith” is one of my personal favourites, it’s true.
If you like it, I do have it up on Redbubble.com, which is a print on demand site.
My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces. While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity. I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!
Do you need exciting, engaging, images for a book cover design?
My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.
Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.
If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.
To find out more about how you can arrange to use my imagery, see here:
https://www.dacs.org.uk/licensing-works/frequently-asked-questions#FAQ122
January and February 2019
Well, it’s one post every two months from now on. My art working has a certain amount of momentum to it at the moment, and I am keen to keep the focus on ongoing art working… however, I do love writing this journal… It’s very useful to me and serves as a small amount of space for contemplation. Reflection, and anticipation. It’s very interesting as a tool. I enjoy looking backwards at earlier posts and hearing my voice at that time often proves helpful in informing the present.
It frequently amuses me how some people, on understanding the contemplative nature of my work, assume I have hours to spare. The funny thing is, for all of us, is that it is very easy to imagine that other people have more time than us. We all do it. I do too. I often remind myself of my own judgements of others, and find some comfort in the fact that our assumptions about others, when properly examined, often can reveal interesting feelings and beliefs we ourselves hold.
The reality is that it is a constant battle to push my art working forwards. It’s a bit easier than it was when the children were younger, but I still have a house of people which needs management, and those who manage a household know that this is something of an invisible role. Things just happen by magic, I believe. It’s unpaid and unappreciated work. But where would we all be without it? If the house is a bit of a mess now, (which it pretty much always is!) then without my labour invested into it, things would be unworkable.
While I don’t mind my work being based in the household (and this has advantages in terms of productivity generally), it is yet another factor which might suggest to some folk that I do not work. I completely get the reality that art working is not a job, in the usually understood sense. It’s a role, but being an artist is not a job. Not if jobs are defined by their capacity to generate income, anyway.
It’s a funny old thing, because there are huge numbers of artists involved in art working, and the vast majority of us earn less than a few thousand pounds a year from our creative activities. Most people don’t realise this at all. Income for artists comes from other people, other activities and roles, and we really need the support of people investing in us and our work. I really need the support of people investing in my work…buying it, sharing it, valuing it. It is my contribution to the world, pure and simple. Not the only one, but the one I care about with a passion and the one I believe I am meant to be pursuing.
Which is why I do it.
Yet cultural richness… The richness of contemplative experiences, dwelling in the moment, inner examination, reflection…individual and shared.
Cultural richness… The world of the imagination, the spirit, the journey we all make through life, which can be enhanced, enlightened, and inspired by the arts of all varieties…
Cultural richness… Of a worth which is often not appreciated as much as it might be…We take it for granted a lot of the time.
So many ways of life shared by so many people. And artistic expression of experience is fundamentally important in communication and understanding. Cultural richness is something which includes diversity in anything that has to do with how people live: music, art, recreation, religion or beliefs, languages, dress, traditions and stories. It also encompasses things like how we organise ourselves and how we interact with the environment, and even the attitudes we hold towards others.
So if you like my art working, and think it brings something valuable to the world in it’s relatively small way, then do consider supporting me. You can do this buy buying my work (very pleasing, as it releases more room for more work!) licensing my art images through DACS, the Design and Artists Copyright Society, buying merchandise with my designs and art on it, which you can do through Redbubble.com (I get a small percentage of the price you pay…Every little helps. You can follow, share and help promote as you are able, if so inclined.
Contact page on my website: http://www.jamartlondon.com/contact/4569980742
I have a lot more art work than I am able to show on the internet. The reason being that my time for marketing and promoting, and putting things onto the internet is very restricted… I cannot keep up with my own creativity. I keep my own archives and that is something in itself! So if you are looking for something specific, then it’s always worth contacting me, which you can do through the contact page of my website. I can produce artworks in a large variety of scales and formats, on different materials and through different techniques. It’s often quite interesting for me to have a focused project to meet precise specifications.
If you just simply wish to support me financially, that’s really helpful too. How? Just here!
https://www.paypal.me/jennymeehan
Safe, quick and easy!
There isn’t a way of me thanking you through this method though, so if you do choose to support me through this system, please send me and email and let me know it was you, so I can express my gratitude. I don’t like asking for financial support, but I have realised I cannot afford not to, and I don’t mind losing a little bit of pride…I have too much anyway!
A lot of people don’t realise that artists, more often than not, have to pay to show their work in exhibitions, and that putting on your own exhibitions costs a great deal of money and time. I am frequently surprised how the general public don’t realise about artists paying to enter their work in exhibitions, in addition to paying commission. However, I don’t think I should be surprised, because it is not something shouted about. It’s one of those mainly hidden matters, which makes it harder for artists to share their work. And sharing our work is something we love to do. However, paying to share it is probably one of the biggest hindrances to a much richer artistic experience for all.
I am always totally grateful that I can even invest my time into doing what I love. I could not do this for many years, due to social and economic reasons, but now I can, I never take it for granted. I am fortunate to do what I love. What is my calling in life. Amazing. It’s less fortunate I don’t get more money for doing it, but it’s well worth the sacrifices made. This investment of time does cost though…It costs me and those around me in many respects, for I certainly could choose to invest myself and my time into more profitable activities. Sometimes good things come my way, and its’ a great boost. To have some finance to enable me to continue what I do is my main objective. Circumstances may change… It’s workable now, thankfully. I would like to show more, do more, submit more work, and push outwards far more than I am equipped to do at the present time.
It’s HARD work, this artist matter. I wonder why I do it from time to time, but the truth is, I cannot not be who I am, and this, it seems, along with being a mother, is my role. I am also a qualified teacher, which is handy, especially for mentoring and art tuition, and a qualified dental nurse (earlier career!) which is also handy, because we all have teeth, and it’s useful to know a fair bit about them. (I still find it interesting!) My interest in health, both physical and psychological, and spirituality, have proved perfect partners for my art practice which is informed by my own experiences, never ending research (I love research!) and the beauty of nature. I have to laugh sometimes: mothering and caring, the unpaid domestic work carried out, AND being an artist! It’s kind of counter-cultural, in terms of value, at the moment!
Recent Work
Well, in these darker Winter days, I have finally gotten around to more computer based work, and this includes posting up some of my recent paintings on my website jamartlondon.com.
This new series has quite a light, refreshing feel to it.
jenny meehan jamartlondon abstract paintings©jenny meehan title breath one
jenny meehan jamartlondon abstract paintings title painting breath two
jenny meehan jamartlondon abstract paintings title Light Touch
jenny meehan jamartlondon abstract paintings
jenny meehan jamartlondon abstract paintings “Opening the Way”
“Release” painting jenny meehan jamartlondon abstract paintings
Gallery Visits
This time of year… Right from October and into the New Year, is a good time to be out and about looking at Exhibitions. I have visited several, but only highlight one here…Telfer Stokes, at the Redfern Gallery.
I really enjoyed the Telfer Stokes exhibition at the Redfern Gallery… Reminiscence: New York Paintings and Metal Objects… It ran from 21st November to 4th December. The Redfern Gallery is one of my favourite galleries to visit…They seem to show work which I find particularly interesting. I did prefer the metal objects to the paintings.
If you follow this link you get to the relevant page on The Redfern Gallery website. There is an online publication you can access there also.
My favourites: Flare, 2017,Welded steel
76 x 79 x 15 cm
https://www.redfern-gallery.com/exhibitions/43/works/image_standalone631/
Also, very keen on…
Linch Pin, 2014, Welded steel
55 x 107 x 3 cm
https://www.redfern-gallery.com/exhibitions/43/works/image_standalone634/
and last but certainly not least…
Crux, 2014, Welded steel
65 x 60 x 60 cm
https://www.redfern-gallery.com/exhibitions/43/works/image_standalone638/
A little bit of reflecting…
Seeing Matisse’s “Snail” aged 9, I said that I wanted to be an artist so “I could do that”. The desire never left, symbolised in my keeping an easel despite countless moves, which I still own now. Since 2005, when I flung myself back into the early impulse to visually create, the desire developed, and I’ve done things artistically in my current situation which weren’t possible earlier in life, due to adverse life circumstances. I love all aspects of my work, and value it deeply, not only that of my current profession as an artist, mentor and teacher, (and mother/household manager!) but past roles as a primary school teacher, dental nurse, and various administrative and caring roles. All these roles and experiences make me who I am, and inform the directions I put my effort into, and my interests and topics of research.
Sometimes past roles can be unexpectedly useful…I was rather amused to find my past skills as a dental nurse useful when seeking to extend my knowledge of materials and techniques by experimenting with mosaic, which is something I did recently through two excellent courses led by Vanessa Benson, both at West Dean College and the City Lit, in London. Some little pieces of glass mosaic are amazingly like little teeth, and having a knowledge of various dental tools and equipment available is also proving useful, as I continue to tinker with the medium! (I’m using syringes a lot at the moment!!!)
My interest in materials, their composition, and uses, from a more scientific angle, was something nurtured through this past career choice, and I discovered, far more recently, how interested I am in the scientific and technical aspects of materials when I started to research the use of silicate and sol-silicate paint. I’ve always been interested in materials to a certain degree, but when I starting using the sol-silicate paint, and experimented with various other similar more ecologically friendly paints, the interest grew. Before I carried out the mineral paint mural at Trafalgar Junior School a few years back, I needed to do a lot of technical research which I found completely absorbing and interesting.
So it’s amazing how little bits of your past seep into the present, so unconsciously and without deliberation, very often. Knowing your materials well means you know their limitations, and you know which technical considerations are relevant to the particular purpose you employ them for. This means that if you decide to stretch materials beyond their capacity, you can exploit what happens in an intentional and knowledgeable way. It also means that if you have particular specifications to meet, ie, in terms of longevity, or resilience to certain factors, you can ensure your art work meets those, and be reasonably confident that they will.
How I choose and use materials in the creation of artworks has to have a solid technical understanding behind it, and I think it’s an aspect of art creation today which in some quarters doesn’t the the amount of emphasis it needs. I spend a huge amount of time researching all aspects of the mediums I work with so that the choices I make when working with them are informed ones. If I want something to last, then I make sure it has all the chances it can to last. If I want something to be temporary and transient, then I can choose to ignore certain things which I know will happen over time to the work.
Indeed, is some artworks, the changes which occur over time and a fascinating dimension of the work and completely integral to its purpose. But if what the artist intends then fails due to a technical aspect being ignored, then this is just poor workmanship. I have seen some horrible examples of artists ideas being badly executed because of ignorance about the materials they are using, and it always makes me feel slightly embarrassed to call myself an artist when I see it happen! There are some situations when crafts-person is a far more attractive word to use!!!!
But whatever words can be used, expressive colour and mark making; the structure of composition; the illusive space possible across the face of the a substrate; these motivate me to play with visual poetry and this I believe can work on the human soul in an essential and valuable way, enriching our experience of life. It realises for me both an outer and an inner vision. This is a liberty which I don’t take for granted, and I didn’t expect to be able to work with something I love so much. I’m also aware of the restrictions I face in terms of space and money right now. However, thankfully, though I may not be able to work on the scale I would like to, I AM able to do a lot with what I have. Generally in life, though it is important to have aspirations and always look just that little bit further than where you are, this needs to be balanced with acceptance and contentment.
Experimental painting carried out in 2008 by Jenny Meehan based on a sketch by Constable.
Above is a very early painting of mine, which I am very fond of. This was one of my experiments with oil paint. It has just the feeling I like to have, gentle, breezy, light, but not wishy washy, some motion and stillness, with a light touch. This light touch, and feeling of air and space, is something I have continued to explore in completely non pictorial, fully abstracted paintings, as you can see if you visit my website jamartlondon.com and look at my paintings for 2019. I post new work at the beginning of the year. This is because I have had enough time over Winter reviewing progress and identifying new directions.
http://www.jamartlondon.com/paintings-2019/4594054042
“Blue Boat” Oil Painting by jenny meehan (after Ivon Hitchens)
“Blue Boat” is another early painting, same year I think as the one above (off the top of my head) inspired by Ivon Hitchens who is one of my most favourite artists. Bit bolder with the colour here. I still have this one and don’t mind letting it go. If you want to buy it contact me via the contact form on my personal website jamartlondon.com and I will give you more details. It was awarded “highly commended” in the Needhams Competition…quite a few years back now. See my list of exhibitons at jamartlondon.com
Sharp Gallery, Brixton
I am very pleased to be part of the exhibition at the Sharp Gallery in Brixton. The value of creativity and the arts in healthcare of all sorts is widely recognised and projects like this are worth their weight in gold. Here’s the work I am showing, with the partner poems and other text displayed below:
flower dream print by jenny meehan
laid to rest print by jenny meehan jamartlondon.com
Dreams and Dreaming
Framed digital prints and their partner poems – Jenny Meehan jamartlondon.com
Flower Dream
Deep within the pot of me…
Not cracked, like Mummy.
Not hung on the wall,
slipping downwards…
A glassy look
that never met my tears.
I am sad and angry…
I won’t deny it.
For too long it was inconvenient
for me to exist in reality.
As I was saying;
Deep within the pot of me
I hoped for sunlight.
I dreamt of a day
when someone mysterious
would knock at the door, and come,
laden with flowers…
flowers upon flowers…
Come laden with flowers,
and colours, and petals,
and leaves, and stalks…
To give.
To give something
to me.
Not bleeding, or painful; like daffodils when you cut them.
(My sister was horrified).
As I was saying…
I hoped for sunlight
deep within the pot
of me.
But I could not reach out for it,
though I heard it was there…
in the garden.
In the garden of flowers,
which naked, Mummy ran through,
when all was solved
and the world was
entirely
her own.
The birds told me…
Deep in the garden…
In the shed…
I do exist.
This is why
I cry for the flowers.
They took my sister away, because she was too angry.
But keep me here, because I am no trouble.
And who needs flowers, anyway?
As long as your pot is not broken.
As I was saying…
Not cracked, like Mummy.
But empty,
non the less.
And the flowers are so beautiful;
A beautiful dream
for me.
Jenny Meehan 2017
This poem accompanies the Digital C type print “Flower Dream”.
“Flower Dream” is a numbered edition print (NE#1), signed by the artist-poet Jenny Meehan. It’s printed with Epson ink on 300gsm paper. Framed print: £50
See jamartlondon.com, under “Digital Imagery” for information on what a numbered edition print is.
Laid to Rest
Sleep peaceful, daughter, sleep
Dream the pathways through your mind…
leave the troubled day behind.
Sleep peaceful, daughter, sleep
Dream many dances through the sky…
Starlight night, then stepping bright;
A morning bird’s hopeful cry
To see you deeply, freely, sleepy
dropping safely, easy, warm,
into resting places
waiting
ready for the dawn.
Ready for the dawn.
Blessings; blessings; blessings
dreamy…
Dreamy child, of mine.
Blessings; blessings; blessings
dreamy.
Dream-child
of peaceful
mind.
Jenny Meehan 2018
This poem accompanies the Digital C type print “Laid to Rest”.
“Laid to Rest” is a numbered edition print (NE#1), signed by the artist-poet Jenny Meehan. It’s printed with Canon ink on 220gsm paper. Framed print: £50
See jamartlondon.com, under “Digital Imagery” for information on what a numbered edition print is.
About Jenny Meehan
Jenny Meehan is a Kingston Upon Thames based artist working painting, poetry and digital imagery. Following her studies at Kingston University,(BA Hons Literature) a Post Graduate Certificate in Education at Roehampton University led to a career in teaching. From 2010 Jenny focused on the Visual Arts, training at both West Dean College and local adult education provision. Selected by a wide range of judges, her work has been displayed across many galleries and museums in the UK. These include the Dulwich Picture Gallery, Pallant House Gallery, and Kingston Museum.
“I’m very pleased to be part of this exhibition. I have a keen interest in mental health and recovery, partly due to the traumas experienced in my formative years, and the realisation in 2010 that I couldn’t deny the reality of their effect on me any longer. My engagement in psychotherapy has a rich and interesting relationship with my creative output which I exploit with interest.
The subject of dreams is something close to my heart. Finding dreams and allowing them to exist is probably one of many people’s greatest achievements. As is using the darker dimension of our experiences, and seeing light permeate through even the deepest fear.
I hope you enjoy the poetic space I create in presenting both word and image together.”
Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative. Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious. It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art. I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.
I think it probably does this by helping me to identify how past experiences contribute to the present interests I hold. I think developing a clear voice is very useful when you are involved in the visual arts. There is so much wonderful art out there, but in the end, we need to find the motivation and drive within ourselves to persist with the vocation of artist. It isn’t easy, in our current materialistic and capitalistic focused culture. But it is worth it.
Kader Attia’s first UK Survey Exhibition
I like the look of this exhibition very much. This time of year is good for visiting exhibitions, and while I cannot afford to visit as many as I would ideally like, because of the costs involved, to be honest, living in this part of the country, there is so much on offer to see, big and small, that I have more than my fill of gallery going!
Loving Research – The Philosophical, Psychological and Metaphysical Kind! Mostly…
I love researching. It’s something I regularly fall into, and enjoy very much. I don’t consciously draw lines between my researching activities and my artistic production, in the way that maybe a Scientist would with their work… There’s normally no need. But my visual art certainly has a flickering background of thought behind it, which generally only comes into focus if I need to write an artist’s statement, or similar, about a specific piece of visual art work. I prefer to let my research happen organically, tracing it’s pathways through the thoughts, physical artistic output, and my general experiences of everyday life. I remind myself that I am not working for a gallery, and needing to put signs up against every piece of work I produce, so that it might be articulated with the language of words. With so much emphasis on the conceptual today, it’s tempting, maybe, to feel the need to legitimise artistic practice with words, for some. Maybe all? And sometimes. And while bending your intellect, this way and that, is fun…(I love it)…I don’t think it can make a piece of significant art happen, however much someone might try. Because what is significant wells up within for a person. Maybe where the research comes into play is that it can be helpful for an artist in developing a reflective artistic practice. In being able to identify what one is trying to express/do/communicate and what it means to oneself personally, and also to relate it to many other thoughts, theories, approaches, and beliefs.
This may be part of why I have chosen to write this artist’s journal…At least this is a way I can track some of my preoccupations, for the problem I have with note books, of which I have many…is they dance around the house constantly, picked up, then left, lost and then found. It seems right to let this happen. And it’s so interesting when old ones turn up. But with this artist’s journal…There is the constant screen in front of me, and the only thing which changes is what I am writing. I think it may be of passing interest to someone now and again, and I think about the fact it is maybe read occasionally. However, it’s not the same as writing for some other person, because while that maybe one aspect, I allow myself repetition, deviation, and other flaws in the writing, which wouldn’t be acceptable in another form to the same extent. The pleasure in writing this artist’s journal is possibly much greater than the pleasure in reading it, but never mind. It is what it is! It’s somewhere to attach bits of interesting things I have found, and enables me to pick them up when I need to, and rediscover them when I don’t expect to find them again, but with the significant added benefit, that when I feel like a bit of writing, I know where to go!
My reading notes;
Something I am looking at now: John Macquarrie on Language, Being, and God
Author(s): Eugene Thomas Long
Source: The Review of Metaphysics, Vol. 30, No. 2 (Dec., 1976), pp. 255-279
Published by: Philosophy Education Society Inc.
Need to think on this for a while… Very interested in reading more John Macquarrie.
I think I am between a realist and idealist. Objectivity and subjectivity seem to both hold equal sway in reality! I think paradox and tension between things vital and helpful in life. I’m interested in dipping into considering different perspectives, but all my own thinking seems clearly rooted in a firm belief of an external (as well as internal) Creator God who does exist, whatever I might think. And I am so much a lover of the material world, (nature) which I don’t see as apart from the spiritual, but also expressing the wondrous qualities of God. What I do get from reading (admittedly in a somewhat cursory and skimming type matter) is lots of interesting relationships between elements I don’t normally bother to think about!)
Some other reading:
https://www.thoughtco.com/working-with-worry-449711
https://www.tate.org.uk/context-comment/articles/does-beauty-still-matter-art
https://www.huffingtonpost.com/the-daily-princetonian/prosumerism_b_1463166.html
I’ve been thinking about other faith traditions and Christ, and how the tendency to shuffle into thinking one’s own faith tradition is better than someone else’s is so unpleasant and not Christ-like. What we know of the life of the Lord Jesus Christ through the New Testament communicates that Jesus honoured and respected people of other faith traditions without doubt.
In his book “Discover the Power Within You” Eric Butterworth wrote:
“I have often speculated on what Jesus would have done if he had been seated around a table with a Buddhist, a Hindu, a Muslim and a Shintoist—discussing ultimate Truth. I just can’t believe that Jesus would have said, ‘You must all forsake your beliefs and come and follow me.’ I think he might have pointed out that the differences were chiefly a matter of semantics, and that there is an underlying principle similar to the Christ idea in every religion. I think he would have stressed the basic unity within the diversity of religions, pointing out that the greatest need of all persons is to find that indwelling unity with God, which is found in the principle of divine Sonship, that we call the Christ.”
Well, that’s some of my reading for the time being.
Publishing this Post NOW!
I’m going to publish this blog post early rather than late. I’ts got longer than I expected it to!
Now I’ve decided only to post once every two months, in order to reduce time spent on writing it, and hopefully enhance the focus of it, I’ll get it out there and forget any more blog writing for a nice big chunk of time!
November and December!
December 11, 2018
jenny meehan prints ©jenny meehan
November and December are when I tend to turn my attention to updating my website and various other computer based tasks. A good time for more socialising too! While I love and need much time in solitude, I am an extrovert by nature and there are so many fun things to do at this time of year! I have packed my studio tent away for this year. It’s too cold now, and the days are shorter anyway.
Above you see, along with my feet, some prints which were printed for me as part of a prize awarded! It was the 2nd Prize in Digital Art Category of Chester Art Centre Open Exhibition 2017. One hundred pounds worth of digital printing! What a useful prize! I have put them in frames and prepared them ready for next years Kingston Artists’ Open Studios. They are archival quality prints, and look fantastic. I am very pleased with them. Though I won’t label them limited edition, because I feel that is somewhat irrelevant in today’s digital age, (with so many printing options available), because I don’t print and sign much work nowadays, they should probably be labelled 1/1…. for it is very unlikely I will produce anymore. But I don’t know what I may want to do in the future with them. For this reason, I tend to just sign and number my prints without specifying how many I will or won’t make. As said, the reality is that I don’t spend much time on printing my work now or getting it printed. Too busy creating, innovating, and experimenting!
I have made several visits to the British Museum in the later part of this year. Glad of it. Great place to wander through and appreciate the wealth of historical artefacts; all in one place. I love looking at historical artefacts and discovering more about the past. I admire craftsmanship and find religious beliefs and learning about different cultures very helpful. Kind of liberating. The focus of so much creation is bound up in religious belief. I find this helpful to bear in mind.
Ritual. Remembrance. Death. Eternity.
These were the words I left with.
And a focus on the art working I do, which is purely focused on what I am doing. Yes, it’s hard…Because there is a need to share, promote, and put things on the internet. But as the years go by, I am learning to focus more, and in a more refined manner, on the work itself. What it means. What it says. Why it matters.
Helpful.
We have so much. It can get confusing!
Looking Back
Looking back, though not very far, here are a couple of images of my paintings from this year’s Kingston Artists’ Open Studios event. If you like visiting Artists, seeing their work, and getting a chance to ask the questions you want, as well as maybe having the opportunity to buy an original piece of fine art much cheaper than you would probably be able to get it at a gallery, then an Open Studios event is just the thing for you.
Contact me via my website jamartlondon.com and ask to be placed on my mailing list and I will send you information on the Kingston Artist’s Open Studios event in 2019. Surrey artists open their studios each year, and Kingston has a wealth of artistic talent just waiting to be explored.
http://www.jamartlondon.com/contact/4569980742
KAOS open studios jenny meehan paintings
On the left “Joy and Pain” and on the right (face on view) “Father, Son and Holy Spirit/Trinity”.
The latter painting has been licensed for use on one of the Bible Reading Fellowship’s publications, on the cover of a book by Nigel G. Wright titled “How to be a Church Minister”. I am always very pleased when images of my paintings are licensed for use. It’s great when they can be of practical use, and particularly, as a bit of a writer myself, I am pleased when they are employed in the service of writings relating to faith and spirituality. It’s wonderful to see my paintings used in design…As long as a licence has been issued! Being a member of DACS (Design and Artists Copyright Society) has been one of the best moves I have made.
If you want to use any of my paintings, and are looking for something specific, do contact me, because the vast majority of my work is not shown on the internet. I really do work hard, and produce quite an array. It’s quick and easy to purchase a licence through DACS. My paintings have graced many book covers.
waterloo clock ©jenny meehan
Love this clock!
In 2010 the specialist clock maker Smith of Derby removed the hands and many of the internal workings of the clock so they could be re-engineered to work with the latest technology. The clock’s historic exterior was also cleaned and decorated as part of the project. The clock has been a central feature of Waterloo Station since the early part of the 20th century. The clock was made by Gents of Leicester and is believed to date back to the 1920s. My photography now is pretty much limited to the occasional snap here and there, such as this one. I have a huge archive of the years I spent focused primarily on photography but I tend to use it for reference mostly.
under pressure ©jenny meehan
Yes, well, we all feel like this sometimes. An example of some early experiments with Photoshop. The image was based on a cut out and stencil mono type I made at West Dean one year. We live in a society and culture which exerts an awful lot of pressure on us, in a relentless manner. What a challenge it is to even just BE. How do we define ourselves from the inside out, in a strong and certain manner, in the face of all the media? What masks do we adopt and what happens when they fail and we fall? What happens when our vulnerability and fragility need to be faced, our self encountered, and avoidance and repression, distraction and entertainment, fail to keep us afloat?
Jenny Meehan on Redbubble.com
Redbubble is a great “print on demand” website and I have some of my images there. The world is full of fabulous artists and Redbubble is a good place for buying merchandise which is original, exciting and contemporary. The artists on Redbubble get a royalty payment from any items that you purchase there, so it is one way to support the creative community and help artists gain a little bit of income from their work. Do take a look!
https://www.redbubble.com/people/jennyjimjams?asc=u
I only get a small royalty percentage, but it’s lovely to know someone has chosen something with my design/artwork on it. It’s one of those welcome emails…And a small, but vital encouragement to me! I don’t print very much of my own artwork anymore, as I prefer to focus on painting and poetry, but using a company like Redbubble.com does mean if people want to buy something printed they can quickly and easily, and it doesn’t take my time up in order to produce the item.
Follow the link above to see one of my patterns. Using the “Spring Will Come” image. Now the patterns I make tend to be with pieces of stone and glass, as my new venture into mosaic continues. But however they are made, there is something very satisfying about making patterns.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
An early photograph of mine taken at West Dean Gardens. I am posting up rather random images, because I have spent time looking through my archives. Pathways of various kinds have always held my interest. Way forward. Need to move forward. Sense of direction.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
This little decking area is no more in West Dean Gardens. They have removed it. The pond area has changed a lot. This is such an elegant bench. I have so many photos and drawings of seats, benches, chairs…resting places. The need to stop. Dwell. Cease moving. Contemplate.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
And so many photographs of plants, trees, vegetation, and all growing things! Growth, natural form, being essentials for the eye, in appreciation of variety, vast variety, endless variety, of God’s amazing ongoing creative power and endless inspiration to be found by looking at it!
I continue my professional development in the visual arts through the short course programme at West Dean College when I can. It works very well for me, and I find it has been far more useful to me than a fine art degree. My degree is in Literature, and I also studied a substantial number of modules in History as part of my degree at Kingston University.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
Another sweet West Dean moment! And yet another of numerous images of water. Water. Sea. Rivers. All things watery. I love water and rocks, and all the images I have taken, while I don’t tend to refer to them directly, feed into my consciousness and inform my paintings. I think the years I spent taking pictures were a good training in terms of composition particularly. I also reached the point where I had so many pictures they did not interest me so much, and this may be one of the reasons I jumped into abstraction!
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
Lovely light.
jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden
On my most recent course at West Dean College, the box needed a tidy up, but in this image the rounded shapes are very neat and tidy!
jenny meehan jamartlondon photography landscapes in uk ©jenny meehan west dean college time enjoying the garden
Another West Dean Gardens delight.
It’s a bit of a brief journal entry, I know. But I am so much absorbed in my work at the moment. There’s some great relief for me at the present time in not writing so much. Just being totally immersed in experimenting doesn’t seem to need any kind of documentary. I am almost tempted to stop writing this journal. I won’t do that, but it may be shorter and sharper.
Many years ago I used to enjoy the Abstract Critical website.
There were some interesting discussions… It helped me put my brain into action, and introduced me to thinking about abstraction at a time when I was still battling internally with if I should really let myself go down the abyss!
Reading what Alan Gouk had to say was exceptionally helpful to me.
Happy Christmas!
Now I must go. As said, I think it likely that I will now continue just to post once every two months.
Angel print for All Saints church of england CofE Kingston parish church kingston upon thames angel campaign submission by jenny meehan
You can purchase a print of the above art work by me on Redbubble!