London Galleries and Exhibitions – Dorking Museum – St Matthew and the Angel by Francisco Pacheco
October 26, 2012
Art Journal October 2012 by Jenny Meehan
The titles of my blog posts are like my life, random, mixed up, and hard to make sense of unless you look further! Just the way I like it!
I enjoyed an interesting trip to the British Museum recently and discovered Francisco Pacheco.
I often set out to exhibitions looking for “a find” which is a work which hits my heart and which I resolve to keep active in my thoughts, looking for what a might learn from it, and what I might find within myself in terms of asking myself about the attraction.
Francisco Pacheco “St Matthew and the Angel” 1632
In this drawing by Francisco Pacheco “St Matthew and the Angel” 1632 I find lots to love. I like the media; pen, ink and chalk on that mid toned paper bring a solidity which I like in a drawing and the quality of the line, not sketchy, but sure and confident, brings a lot of pleasure to the eye. Yet with the boldness and clarity is an emotional sensitivity in the expression, the lines which though quite hard seems soft, because they have a touch, a touch of internal accuracy as well as external skill. What a delightful expression on the angels face: to my mind she seems to say, “Just chill out, it will be fine, no worries, don’t worry, it is all in hand.” RELAX! And SHE holds the ink pot, the substance he needs to keep the writing flowing.
St Matthew and the Angel
I have a little print of this in my office above my laptop, because it reminds me of the divine inspiration which is such a blessing for a creative to acknowledge in all things.
I have now joined Kingston Artists Open Studios and look forward to my involvement with this group of artists very much. http://www.kingstonartistsopenstudios.co.uk/gallery.html
I am now included on the Kingston Artists Open Studios website, right at the bottom but showing up nicely with “Rock Pool” for the image. It’s a recent painting and I plan to carry on with some more paintings in a similar vein.
See KAOS http://www.kingstonartistsopenstudios.co.uk/ for more information.
Exhibition Visits
I took a look around “Draw 12” at The Menier Gallery, (51 Southwark Street, London SE1 1RU) as the Society for Graphic Fine Artists had an exhibition on recently. Most impressive, for me, were the linocuts by Eric Gaskell and also those by Melvyn Evans.
I also saw some amazing prints by artist Rita Kearton at the Landmark Arts Centre in Teddington. I suspect the Winter might be a time for me to get my knife out and spend some time experimenting with lino, card and wood. I have a small A4 press and oil based ink and rollers, and they have been waiting for me for a long time!
Recently I also much enjoyed the exhibition at Austin/Desmond Fine Art. “MODERN BRITISH ART; A GALLERY SELECTION”. which finished on the 12th October. I saw “Autumn Wood” by Ivon Hitchens “in the flesh” which was wonderful, and the painting which I enjoyed more than any other, rather unsurprisingly. Also delighted to see “The Woodcutters” by Sir William Nicholson, whose painting I have long admired.
There’s an exhibition at the National Theatre in the Lyttelton Exhibition Space “Royal Institute of Painters in Water Colours at the National Theatre which is free of charge and worth popping into if you are in the area. The lighting is poor in a couple of areas, but for the most part good. I felt sorry for the artists with their paintings on a very badly lit display board: I would be very disappointed if it was me, because you could hardly see the paintings!
Work which stood out: Richard Plincke “Abandoned Allotment”, loved both the subject matter and delivery, and very taken by both paintings by Chris Forsey, which show how exciting acrylic and mixed media painting can be. Good sound structure and confident bold colour just work wonders together. I love both paintings by Ian Sidaway too, Cherhill, White Horse and Trevethy Quoit, Cornwall embody something which to my mind IS watercolour, to the core. The amazing highly defined edges you see when pigment runs to the edge, while less pigment heavy paint sinks into the paper in the middle….this is so very well handled and used to great impressive extents. The beautiful rock surface in “Trevethy Quoit, Cornwall” is something I will take away with me, as a reminder of control and expression in the service of representation!
Looking at lots of work at the moment, and listing it here on this blog. I’m using the blog as a kind of notebook more than anything else, and not trying to make it interesting for other people. It’s a handy note pad though, and making a point of noting things down does help me both remember and also I’ll have something to look back on.
I have too many sketchbooks and notebooks at home, and I think I do far too much research, and start far too many threads of thought off in my mind. But funnily they usually come together unexpected, at a later point. While I think my brain is like a sieve, it seems that the same type of “bits” get caught in it, even if lots of different things flow through it, and its only be constant repetition, or bumping into the same things, over the course of time, that you get to realise what your concerns and interests are as an artist.
Seeing lots of different work, COULD be confusing, but over this year I have made a point of seeing as much of other peoples work as possible, and it seems to be having the opposite effect. I have a much clearer idea of what my own concerns are, and a much better idea of what I like and don’t like. Seeing qualities in other peoples work which you recognise as being of value helps to locate what drives your own heart and desire, and what moves you visually. Then, it IS remembered. And you search for the sight again, and get more focused, quite naturally.
The gallery@OXO is a lovely space, and I recently popped in to see the ROSL (Royal Over-Seas League Annual Scholars Exhibition) which brings together artists from Australia, the Bahamas, India, Nepal and the UK. I found the glass work of Samantha Donaldson most caught my eye. Her bowl type forms, also reminiscent of rocks cut open, combine the unique feel and colour.
I love work like this. There is no mistaking the craftsmanship involved, it is either there, and well done, or not, and a failure. And her work is clearly a success, a wonderful relationship of colour, glass and form which works. It works a treat. You know you see a finished product and not an experiment along the way. There is nothing wrong with experiments along the way, but when you see work and you know it is the culmination of much work there is a satisfaction to be had, and an achievement to be celebrated. You look for a way to improve it, and you cannot find it. Success!
Computer Disaster
Another disaster with my computer resulted in me loosing a lot of work I have been doing recently with photo imagery. I had some interesting experiments on the way, and I had spent ages making some custom brushes on Photoshop, which I have now had to say “Goodbye” to forever. It is very sad and I was foolish enough not to save everything to another drive or stick as I went along. Boo Hoo! I hope I learn from the error of my ways and save as I go in future. I had a lot of notes and research which is gone too, however, as I think I mentioned at some point earlier, I have too much of this anyway, so there may be a freedom in loosing it. More time to paint.
After my visit to Dorking Museum a few weeks back I started working on some cockerel images, and these I had saved before the computer disaster. I’d like to print some out for sale at the Museum but I haven’t quite finished experimenting as much as I want to, so it will probably be after Christmas when I sort this out. At the present time Dorking Museum have some of my digital C prints in various sizes and I was very pleased to be included in the Museum as part of their Artist Showcase section.
With my painting I continue to experiment with the glass beads and also I am doing a lot of “finishing off” work started over the year. Autumn is a good time to do this, and it doesn’t mean I am not starting new things either. It’s just an attitude of wanting to pull things together a bit more. It’s quite interesting, because work a year or two old, revisited later, reminds me of how far I have come in terms of the development in my direction and marrying up what is happening now with my painting, to what was happening then, makes some interesting work. I would like to paint some repeats and variations of past work, but I don’t have the time right now for that. Being a mother artist means it’s running home and binging up children and art and writing!
Art Journal October 2012 by Jenny Meehan
I tend to start playing around on the computer at this time of year, researching, thinking, reflecting over the year which draws to its end. Haven’t painted for a while, but this isn’t a bad thing, it’s good. Because the thinking and reflecting is very important in painting. Now I take a seat with the work in front of me and ask “So what have you got to teach me?” “What are you saying?” “Why is it important” and “Where will you take me from here?”
In working through the process of the work again, this time from a distance, I can realise a lot of things which I wasn’t aware of when painting. It’s quite exciting. There is always so much more. Experiment and explore. That’s the whole point. Here is one stage in a recent painting “Surviving Houses/47 Nelson Square”
Recovering from past traumas and working with paint
Above, the painting in progress. I tend to work in a piecemeal fashion. It gives plenty of time for thinking and looking, as well as applying the paint.
And here is the final version:
Final version of Surviving Houses/47 Nelson Square
I keep putting “Nelson Road” instead of “Nelson Square”…!! I’ve gone through the text and corrected, I think!
It’s quite interesting looking back on the past stages of a painting. Like watching someone struggle up a mountainside or negotiate their way somewhere without a map. I had to prepare some blurb for entering the painting into another competition, so here it is:
” I deliberately kept this process led painting as organic in conception as possible, drawing on my own subconscious in an attempt to locate some of my most central concerns, emotions, and thinking. My work on personal past trauma through weekly sessions of psychotherapy at the Guild of Psychotherapists (47 Nelson Square ) certainly came through. The intention of the painting is that it conveys the emotional challenge of facing uncertainties and suggests the type of psychological negotiations involved when encountering realities which shift when someone is seeking to open up new ways of thinking and relating.”
I don’t like writing about my paintings much, it is kind of necessary evil in my view. However, it might add interest for someone else. Sometimes it is helpful to pin things down in such a way. (Not as good as talking about the work, not as good as a dialogue). I think writing in the first person is best, and just being true to oneself. I ask myself “What on earth was I doing and why on earth was I doing it?”. This seems the best, and maybe only question to ask!!!!
Sometimes there is no easy answer!!
Is that OK?
Yes.
But what does it mean for society? What was your investigation? How is it relevant? What does it MEAN?
Haven’t the foggiest.
Well it doesn’t matter then. If you cannot articulate with words what is going on, then quite clearly nothing is. Is this true?
Why doesn’t it matter? Why, as a painter, do I need to use words? I write poetry with words. I paint with paint.
Because it’s just a painting. Just itself. It’s not even part of a series. You quite clearly don’t have a focus.
Yes I do.
What?
Working with paint. I have to. Because its part of living. That is enough. I don’t need it to be more. I have a focus, but it is not explicit and it is not clear. But still, there is some point. It is not articulated in words. It is not defined in that way. It’s changeable. I cannot fix it. Sometimes I get a glimpse. That is all I need. I get a glimpse here. I get another glimpse there. I do not have the necessary perspective to know what I am doing entirely. Sometimes I do not know what I am doing. Sometimes I have a sense. That is OK.
I have diverged into an interior imaginary narrative. Quite enjoyable. Must do that again.
I note also, that with many things, what we think we are doing at the time turns out not to be the case. We look back years later and see that what was going on had many different dimensions to it, which we were not aware of. I often look back at past work and see what I was up to in a much clearer way, and also I am able to identify aspects of my work which I did not recognise as important features at the time, but then, seeing how they have been reiterated in different ways, I understand that they are meaningful to me and a significant part of my practice.
So maybe it is wise not to be too prescriptive in the way one speaks about ones work, or at least, whatever you say, realise how ultimately shallow/mistaken/inaccurate or even pointless it might turn out to be. Maybe it is best to let others do the talking if they want to? I am sure I will cringe as I look back in years to come at things I have written and said. However, if we didn’t move on, that would be more of a concern. It may be better to look back and cringe, but at least give yourself a little pat on the back for trying to say what you meant, and just be glad that now you can see a little more of the bigger picture, yet, still, always incomplete. Meandering over!
PS There is a lot to be said for working in a series. But a series doesn’t have to be similar in an obvious way. For example, my recent paintings were painted together, though they diverge in several significant directions. I worked on around 5 at one time and used the same, and similar colours, paints, materials and canvas size. And the same approach. With very diverse results!
I also note that there are what I might call “long-term emergent series” which happen naturally, for example, my photography now has fallen into focus: Black and white, trees, rocks and water, in different images, has gradually developed as my main subject matter, and I could easily make a series by sorting out this strand over the years as it gradually emerged. The preoccupation was there, and slipped itself in gradually, in ever-increasing amounts, without me ever once deciding in a conscious way that this is what I would focus on. And I think it valuable to see that strands in ones work, maybe subject, medium, manner, whatever, are not deliberately tied or arranged too much. It may well convey a more professional front to have rows of paintings which make a harmonious exhibition, and there is a place for this, but I also think that the more sensitive and responsive eye will see the links between works which are not so explicit and obvious.
@royzoner, aka Roy Petersen
I found this lovely video on the net too…http://www.youtube.com/watch?v=BCc-wirk4XU.
Oh, let’s embrace the mystery of painting, and take those steps of trust, though we inwardly fear and tremble!
Leith Hill Sketch
I am attempting to sketch more and plan to spend the winter months returning to drawing and experimenting with line. Here is a recent sketch, done outside on Leith Hill. What a lovely place that is!
While I love experimenting with abstraction, drawing is essential. My eyes will go blunt if I don’t draw!
Exhibitions and Visits
I’ve just seen the line up for The Ark Centre Autumn Exhibition in Basingstoke… so nice to be in it. I look forward to looking at the other artist’s work, and what a fantastic show that is going to be! The standard is high…It looks like one of the best assortments of work I have seen for a long time (and I am not just saying that because I am one of the selected, though of course, it slips off the lips more easily). I am hoping like mad I can get to the opening night, but circumstances beyond my control might have a bearing, however, I am hopeful!
I’ve also just visited the Threadneedle Painting and Sculpture Prize exhibition at The Mall Galleries, London. I would pick as my favourite painting “Watch the Birdie” by Bev Broadhead. This is fine, indeed. Just beautiful. Hopeful. Hopeful for painting. Hopeful for life. Hopeful full stop!
I have to say I was disappointed with the majority of the painting on show, the sculpture was far more interesting. Looking on the Threadneedle website it looks like there were some interesting pieces which were not hung or I may have just missed a room by accident. Jaana Fowler – Jug Frame, Cement, brought much appreciation from both myself and my friend. I do LOVE cement sculptures and it’s on the list to experiment with as a material at some point. There were some very excellent drawings, (far more impressive than I encountered recently at the Jerwood Drawing Prize exhibition) Fran Giffard – One of Every Species found in Hong Kong cage, Graphite Pencil on Paper took my breath away, as did Planar Resonance – Ilse Black, Graphite powder, pencil, charcoal on paper. Always fond of a bit of iron, how delightful to see it used so responsively in the two works by Peter Sainty, both Claw Coupling 3, Cast Iron, and the other Claw part. Just what I like to see…SKILL, achievement. Success! From Success to Defeat, but not in accomplishment. The fine sculpture by Robert Truscott – Defeat, Mixed Media, Plaster, Epoxy Putty, Material on Armature. Looking at each beautifully expressive figure. It restores ones faith. There is no shoddy carelessness in a piece like this. There is a sense of relief to be had in the knowledge that someone is putting such work and devotion into what they do, and creating such emotional resonance with the viewer, as to leave one in no doubt that the visit was well worth it, even if only to see that one piece. David Firmstone – Dreaming 2, Oil on Canvas, was a fine sight to see too.
Dorking Museum
I’ve just finished some inkjet prints for the Dorking Museum shop. I would like to work on some cockerel images and plan to experiment with some of the printed material from the Museum archives over the Winter months. I am not sure exactly when Dorking Museum is about to re-open but I think it is in a couple of weeks. It looks amazing inside, with a fantastic design and wonderful displays. It will be a wonderful learning resource and I have come away with a couple of ideas for some mixed media work on paper, which makes a nice change from the painting I spent my time with over the Summer.
My neighbour has hens, and I have grown rather fond of them, so I have some live models to sketch from too! I LOVE the Dorking Cockerel which is 3.4m high and made from 1 tonne of steel. It’s on the A24/A25 roundabout on the east edge of Dorking, Surrey and you often see it wearing different things from time to time. It was made by Peter Parkinson.
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Just contact me via the contact form. Price range is between £250 and £400.
Sometimes they are offered for sale during exhibitions too. Normally its more expensive to buy them this way, (though not always). Some organisations enable me to price my work in an accessible way due to the way they operate, but if a submission fee is required I obviously have to factor it in.
I dislike this system, but art exhibitions are used to generate funds for different organisations and charging artists to submit artwork (to submit… Even if not accepted!) is one way this is done. There are also other costs incurred by the artist in supplying the artwork for exhibition. So artists artworks sold during an exhibition are frequently more expensive for an art collector to purchase. It is often preferable to approach an artist directly and view work by arrangement in person.
If you are thinking of buying one of my original paintings I can arrange a viewing for you. If you are looking for something specific in terms of colour and/or style, just let me know because I have many more paintings than I am able to display online. I can send you further information on the process of buying artwork directly from me if you would find that helpful. I appreciate that it is unfamiliar ground for many people.
Also available via redbubble, the well known print on demand marketplace, you can buy unsigned prints on many substrates. This is an easy and convenient way to purchase my art online.
Take a look here:
It’s also a very good place to get a feel for quite a big strand of my creative artworking. Any problems locating what you want, feel free to contact me via the contact page on this Art Journal/ Artist Blog.
I have TWO Redbubble Artist portfolios! The “jennyjimjams” one has most artwork on it at the time of writing.
My two Redbubble Artist portfolios are;
I have mostly the abstract, flat colour geometrical art in Redbubble as it makes nice prints. I selected work for that platform in order to help my work become more accessible. There’s also a lot of surface pattern designs. I post more of those on my
Artist profile. I find creating patterns very therapeutic!
The main style of my original painting is Lyrical Abstraction/Abstract Expressionism. I also enjoy working with black and white photography tending towards pictorialism. I frequently use collage and digital collage.
Copyright and Licensing Digital Images Information – Jenny Meehan
Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.
Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.
DACS always make an initial proposal for image licensing fees in line with the industry standard. Personally, I am open to negotiation. So contact me in the first instance so we can discuss your requirements, project, and budget. The Designer and Artists Copyright Society will administrate accordingly.
It is I, the artist, who determines the final licensing fee, and there are often projects, charitable organisations, people and smaller ventures with which I am particularly keen to work with because of a shared vision. I appreciate budgets can be restrictive. While image licensing fees for my art images will broadly based on the industry standard, this is a guide amount, and can vary subject to circumstances.
The administration for organising an image licence is straightforward for both parties, and is done through the Design and Artist Copyright Society. They provide you with the licence paperwork and I supply you with the image.
Jenny Meehan - Art Journal 