imaginative abstract oil painting experiment jenny meehan based on a drawing reference Spexulum humanae salvationis 1370-80 Paris, Bibliotheque Nationale

imaginative abstract oil painting experiment jenny meehan based on a drawing reference Speculum humanae salvationis 1370-80 Paris, Bibliotheque Nationale

Not sure what to make of my recent paintings…

Well, how strange.  I knew my return to oil painting after a long stint of acrylics would come up with something different, but I am surprised by these two recent experiments.    I continue with my acrylics in a highly abstracted mode of working, as I like the piecemeal way I can paint them and the huge range of textural possibilities, but there is a quality about using oils which is completely different, and it was great to enjoy the smell of the oil paint once more.

painting based initially on a small section from a wall painting Garden with Herms and Fountain A.D 25-50 Pompeii, House of the Golden Bracelet  jenny meehan

painting based initially on a small section from a wall painting Garden with Herms and Fountain A.D 25-50 Pompeii, House of the Golden Bracelet jenny meehan

I will sort out better images later when paintings complete and dry.   Just a few little alternations/additions on both are still to come.  I am not sure how I feel about these two at the moment…I like the use of colour but I find the difference in style rather dramatic.  It might be the start of something new… I find them pleasant but a little too tidy…

In the back of my mind Henri Rousseau has been lurking within the undergrowth for a long time so maybe I should not be surprised by the naive style of these two paintings.   Not a patch on his well developed work…

http://www.henrirousseau.org/

How far he took things in his own direction…Always to be admired.

Things come out in the painting process which don’t have to be ultimately decisive.   There is going to be that place (a bit like the beach at Weston super Mare!) where the ground starts to dissolve around your feet.  And you do sink, it’s just a matter of how far you stay in the same place which determines how deep you go.  With that in mind, I won’t be too phased by what has come up, but endeavour to continue with the oil paint without feeling I need any set course ahead.  I can see elements of past oil paintings in these two current ones, and while a bit of a mixed fruit cocktail type affair, I trust they hold something for the other paintings which will follow them.

Each painting took around six hours to paint.  I haven’t painted in such a regulated/continuous manner for a long time and so I recorded the time the painting took for my own reference.  Each painting is 40cmx60cm.    Will look quite nice, and improved too, by frames.   I would prefer the development of a painting to take far longer and be far more fragmented, with more time spent waiting for the paint to dry within painting sessions, but for practical reasons the time span needed to be condensed, and I guess this is a useful exercise in itself.

I feel I like a little more looseness in my painting…

There is a beautiful soft textural vocabulary which completely excites me which I can explore with oils.    I hope that  what I have learnt over the last couple of years with acrylics with respect to surface will find its way into my working with oils.  These two paintings below, exercises more than paintings I think, have been my ground recently for trying to find out what I like and what I want to do.  Maybe I will continue with a few of this type of thing (smaller paintings, approx 30x40cm) for a while to give myself plenty of scope for experimentation. I prefer to work larger, but with limited drying space, small may be best for now.

oil painting in  progress jenny meehan  experimentation with representation/abstraction boundaries, imaginative subject matter, and perceived texture using oil on canvas uk british emerging artist painting for sale collectable british fine artists painters female twenty first century 21st Century art

oil painting in progress jenny meehan experimentation with representation/abstraction boundaries, imaginative subject matter, and perceived texture using oil on canvas

painting experiment jenny meehan based loosely on a fragment of a wall painting A.D 20-40 Naples, National Archaeological Museum

painting experiment in progress – jenny meehan – based loosely on a fragment of a wall painting A.D 20-40 Naples, National Archaeological Museum

Really need to knuckle down over the next few months with the oils I think.  But as I have around 30 acrylic paintings currently “on the go” I will be regularly attending to them as well.  It’s much easier to work on them with little bits of time, as for the oils I need longer painting slots.

Paul Nash 

This painting, by one of my favourite painters Paul Nash, for example, is something I feel  comfortable with:

paul nash landscape of the brown fungus british painting influencing jenny meehan modern painting landscape british semi abstract

paul nash landscape of the brown fungus british painting influencing jenny meehan

There is an openness in feeling which I identify as being something very desirable.  I adore his use of colour.  I also love his drawings, and subject matter.  Having spent a great deal of time looking at the Dorset countryside over the last few days, it’s with added pleasure to look over some of his work once more.

Over the Summer I have taken a break from my usual frequent gallery visits.  London is very busy over the Summer and it has been so hot, which doesn’t make me feel like walking around London quite so much as I normally do.   I have spent a lot of time in the garden (maybe this informs the above work!) and after putting a lot of time into entering open calls and sending/delivering paintings around the country during the first half of the year, I have decided to spend the Autumn concentrating on painting and drawing, not self promoting and “getting out there”.   Times and seasons.  There are a few opportunities coming up for exhibiting with Kingston Artists Open Studios which I will take part in, but that is it for the time being.

Acrylics with Textures Painting Workshop

I held a one day one-off “Acrylics with Textures” Workshop a few weeks ago which went very well indeed and I received good feedback.   Three people took part (I only have space for 4 max) and I held it in my kitchen studio and garden.  A little bit of rain at the end told me that next time around a little gazebo would be useful to make a little more space available, so that’s on the “to buy” list.   I think I will probably hold another of these “Acrylics with Textures” sessions at some point, as everyone got a huge amount from it, and I find it wonderful to combine my teaching skills with painting/drawing.  Having spent so much time over the last two years with Acrylics, and experimenting so thoroughly with the many different possibilities, I found myself in the position of having plenty to pass on to others, and it’s very exciting to see what people make of what you give to them.  My time is currently very restricted, far too much to think about doing something like the “Acrylics with Textures” on a regular basis, but it was a good experience and one I hope will be repeated at some point.

Here are some images from the “Acrylics with Textures” workshop

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

acrylics with textures painting workshop surrey jenny meehan

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