Nothing to say, but too much to do!  Thinking about this experiment.  Not sure which way to put it right now.  I think it’s destined for the cupboard to return to at a later date, when I can make some more decisions.  Not sure if I want it this colour or a different colour.  It’s very interesting to photograph!

While preparing for my next exhibition at the CornerHOUSE Community Arts Centre in December, I have been releasing myself from the “list of things to do” with a little bit of work on some images taken around Christmas last year. 


I only tend to read the Dialogue and Rant parts of the Axis website, realising that I spend much more time at this computer screen than I really want to, but it is a very interesting website and worth a look into now and again.  Here is the latest Rant:

Here’s another example of some of my work, because its always nice to have a picture to look at!  (Even if it’s nothing to do with the rest of the post!)

The winner of the Trafalgar Junior School Playground Wall Mural Title Competition is Emilye Ngongang, who came up with “Friend Ship”.  Neil Meehan, John T Freeman and myself all felt this was the most appropriate title for the mural, so “Well Done!” to Emilye!  There was a little hitch on my part…I initially lost the piece of paper with the entry on it, but luckily after a couple  of days, (as is with most of the paperwork which floats around the office at home!) it re-emerged among the other pieces!

I first came across this painting years ago.  It was on the front cover of a book of short fiction stories; stories which inspired me so much I ended up doing a degree in Literature a few years later.  Starting to read fiction led to a lot more than I had ever imagined it would!   This painting was the reason I picked up the book initially, and how lovely to see it in the flesh at the Tate Britain recently.  What a masterpiece it is!  It was painted at the height of the First World War by Gertler who was a conscientious objector.  To transform a merry go round into a military machine is a masterstroke in itself.  He explained, ‘Lately the whole horror of war has come freshly upon me’.





Indulging in a little memory today, a wonderful trip to Tate Britain last month with two delightful artist friends.  We laughed and chatted so much we very nearly got thrown out…It’s so hard to be quiet and funeral like when there is work to discuss, responses to paintings and other creations, good company, and the extra bonus of having a wheelchair for one friend, which I have never driven before, and of course I took great delight in various maneovers and variations in speed. 

 What is this dowdy silence, sobre hush;  is this a funeral parlour or an art gallery?  Yes, some moderation is always a good thing, but I just don’t get the lack of discussion…Apart from those official talkers, why is there so little talking going on?  Are people afraid to make themselves look uninformed?  What is this cerebal matter, this dominance of educated discourse? 

At least the text which accompanies the work at the Tate Britain is clear and straightforward.  I am still reeling with a recent traumatic reading experience endured when hoping to find out about an artist’s work to be exhibited in a local University’s gallery.  The text was a creation in itself, for sure, but a completely seperate creation from that of the work, because it was so dense in concept that it didn’t really need the work, and the work seemed much better without it too.  Sometimes it’s interesting to know what a piece means to the artist, but do I really need to know?  It seems to me that we are infected by a scientific approach to visual expressions which murder the eye before it has opened. 

Like that….”Words Which Murder The Eye Before It Has Opened” 

LOVE this painting “Casement To Infinity” by Leon Underwood.  I have not come across him before.  The use of colour is excellent, and as I toy with the idea of trying out some more figurative painting myself I read about the artist:

“…he felt, and would feel increasingly, that a neglect of subject matter was to the detriment of art, and that the embrace of abstraction for its own sake simply led to greater and greater differentiation between art and artists and an ordinary life as lived by the majority.”






Images above are “Swing One” and “Swing Second”  Jenny Meehan 2007

I was very pleased to be invited to exhibit some of my work as part of this fund raising/raising awareness event at the Rose Theatre, Kingston Upon Thames on 18th October 2011.  The photograph above is one which will be on display, taken in 2007.  The issue of children without a “voice”  (power of expression) has been one which I have  explored in some depth, but I didn’t find a suitable setting in the past to display the photographs, but this excellent event run by Jigsaw4u /Jigsaw4uInternational, I think is very appropriate.

There are many other artists who will exhibit their work,  so I look forward this event very much indeed.

No trouble with knowing the title for this painting!


It is funny how, with an very abstracted painting like this one, the title should present no problem to me at all, yet maybe to an outside viewer, it might appear that a more abstract painting would be more of a challenge to come to a title with.  Maybe the key in this is the expression part, because it was such an emotionally led painting (quite exhausting!) that what is expressed I knew in the very painting of it, even though I did not have a final image in my mind, there was a very strong sense of knowing exactly what I was doing and what I was expressing. 

I plan to work on some more figurative painting soon.  It is not that I do not value the process involved above, but rather I am always interested in experimentation, and I have done this type of painting above.  Why carry on with more of the same?  The most important thing about any painting is that it will inform the next one…and so the process continues.  No painting really stands in isolation, any more than days in our lives are disconnected from those around them.

I don’t always reflect on my painting in a conscious, verbally articulated way, but this one has a very direct link with a memory for me, so I will scribble (as best you can with type!) something here regardless. 

When I was at infant school, the head teacher came up to me when I was painting.  I must have been around 6 years old.  She looked at my painting, with the sky as a strip of blue on the top, and the earth as a green or brown (cannot remember which) strip at the bottom, and said to me “That’s not how the sky is, it goes right down to the bottom where the land is”

I looked at her, and I still remember the thought “It’s my painting, and I want to paint it this way”.  I knew that the sky didn’t appear as a strip in the sky, and I thought the headteacher was stupid for thinking that I didn’t know that!  I was most insulted! But satisfied with what I was doing with the paint.

I like that memory.  Never underestimate a child! Especially if they know what they are doing!

Finally found a title for this painting!


It can take some time to settle on a title for a painting.  I like to let my paintings hang around for a while as I think through their title and sometimes I change my mind, of course.   I am rather fond of titles with two parts. 

At the moment the title for the Trafalgar School Wall Mural is also being considered.  Many children came up with a variety of ideas, and myself, Neil and John will be thinking about those and come up with a winner soon!

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