Thelma Continues

My work on “Thelma” continues.  I have settled with “Thelma” as a way of labelling this work, as the work isn’t just one sculpture, but the whole process…Thelma is the name of the life model, and as I did work from her body, it seems right to honour that by keeping her name.  It is also useful, as Thelma has been lots of things…from a female Bishop (hooray!) to a water goddess… So she is constantly changing.  It’s great… To have found this central form, and to work in a focused way on it, is very beneficial to me right now.  Having had only peeps of the human figure in my paintings  (though it has slipped in; sometimes I have painted over it!), now the female form seems to have arrived, and brown modelling wax is fantastic!  Fantastic to work with.  I love it.

The image here is one which was taken shortly before I had a mould made…  Not all the areas which I filled in are filled in at this point, but mostly.

Der Trommler Michael Sandle  rock drillJacob Epstein, thelma jenny meehan, brown modelling wax human female figure sculpture, war recovery,  near to mould making stage

thelma near to mould making stage

It’s rather rough and untidy…I did continue for a while, but annoyingly cannot find the images which I think I took right before the mould was made!   I will look again.  Her head developed considerably from the one shown above.  Now, at a much later stage, having cast a plaster version, it is very helpful for me to have these earlier image, as I can have them to hand while I further develop the sculpture into different directions.

Here is an image of the back now, in plaster…

jenny meehan sculpture female form, thelma rear view plaster pour

thelma rear view plaster pour

I sense that this is just the beginning of a longer project… And I am interested in how these experiments will relate to my painting, because I am sure they will.  I am struck by how passionate I feel about using both the wax and the plaster.  I am relieved to find more of a focus in terms of subject matter. Plaster is amazing… powder, liquid and solid!  It’s about change…Metamorphosis!   It can take on many forms.  The process of solidification is an exothermic one.  How wonderful to have warmth coming from something which looks so cold!  It releases heat that you can feel during the hardening process. It is hot and cold, dry and wet, liquid and solid. Transformation. Alchemy!  The brown modelling wax is wonderful too!  It’s soft and sticky as it warms against your body heat.

I nearly fell over with surprise on a recent visit to Tate Britain,  for I discovered “Der Trommler” by Michael Sandle.  In the harsh, dark and armoured form, deathly ribs beneath, huge, dark, warlike form; Death, death, death, beat in the silent drum.  Heavy mark.  Wow, what a work.  The dark heavy bronze perfect, in weighty darkness too!  Here it is:

http://www.tate.org.uk/art/artworks/sandle-der-trommler-t04941

Michael Sandle ‘Der Trommler’, 1985, cast 1987<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
© Michael Sandle

© Michael Sandle

This image is copyright Michael Sandle and was copied and pasted from the Tate website.    I include it here under the terms of fair usage as I need to include it for the purpose of commentary and its use is non-commercial. I have no idea how to contact Michael Sandle for copyright permission directly, but would if I could! (I would actually want to ask an awful lot more than that, as I cannot find much information about “Der Trommler” by Michael Sandle.  I would like to know how it came to be from start to finish!  See my notes on “fair use” at the bottom of this post.  

Straight ran my mind to my black wax woman, and then, I wondered, if she might be, while weak with her broken right arm (of power) some different kind of related figure.  She too has bands, which lie heavy on her frame, but hers, (while I thought when making her), may be defensive, were rather binding and holding type bands, and with their curls, in particular, may be more life-linked and more promising than just armour.  She is now more developed still, and will continue.  She is not as curly as she was, with much more weight having been added, but it is interesting to be reminded:

thelma, early stage jenny meehan

thelma, early stage jenny meehan

Here she was, in her third day… With all the playing with the armature, and though very abstract, she was very carefully measured.  I considered the space as well as the substance of her form, so where there is no material, I still felt the form to be there.  I was very much caught with the idea of flowing water.  So the plaster has done with itself what I tried to do with some paint when experimenting;

thelma front paint view jenny meehan

thelma front paint view jenny meehan

There is something a little more war-like about this ant-headed version, I think!

And the Female Bishop was also a force to be reckoned with!

sculpture celebrating the ordination of women bishops jenny meehan

sculpture celebrating the ordination of women bishops jenny meehan

thelma pulling jenny meehan

thelma pulling jenny meehan

There’s quite a lot of strength, and this version got me thinking very much of wading through deep water, which is something I will develop.  From water coming from above to deep water!  This really is going to give me a lot of room for experimentation!  I wanted to get it cast in bronze but I don’t have the money, as it would cost a few hundred pounds, which is out of my depth, right now!

Thelma’s breasts have changed…Initially they were like this:

thelma breasts wax sculpture jenny meehan

thelma breasts wax sculpture jenny meehan

I was talking to a lady on the course who had had a mastectomy…This must have seeped into my subconscious!  I later felt that the fuller breast, which I kept in a much rounder shape, even when building up the flatter one, felt more like an engorged breast, full of milk.  I am currently evening them out a bit, but the sculpture did have a maternal phase for sure:

thelma mesh mother version jenny meehan

thelma mesh mother version jenny meehan

There are other version images, but I will share another time.  I did work quite intensively on this, so far for about seven days.  And now the plaster will no doubt open up many more days!  I now have a long stint of research ahead of me.

Torso in Metal from The Rock Drill Bronze sculpture by Jacob Epstein, 1913-14

Rock Drill or rather “Torso in Metal from ‘The Rock Drill’”  is also at the Tate:

http://www.tate.org.uk/art/artworks/epstein-torso-in-metal-from-the-rock-drill-t00340/text-catalogue-entry

Sir Jacob Epstein ‘Torso in Metal from ‘The Rock Drill’’, 1913–4<br /><br /><br /><br /><br /><br /><br />
© The estate of Sir Jacob Epstein

The image above is copyright the estate of Sir Jacob Epstein.  Bronze sculpture by Jacob Epstein, 1913-14, Tate Britain.  Included for non-commercial purpose of commentary only.   

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

This may have possibly influenced “Der Trommler”  by  Michael Sandle, I wonder?  Well, I know not, but it certainly makes me feel better about my peculiar sculpture, and the rather alien appearance it has!   That beak like head…In fact, any strange head, is particularly disturbing somehow, and Thelma’s head is something I will be changing quite a bit, though the central line does strike a note of determination, without being the visor-like shield which both the Epstein “Rock Drill” and the Sandle “Der Trommler”   have.   So it may be alien, but it is not as menacing.    Both the Epstein and Sandle also have ribs showing, while with Thelma I felt drawn to the womb/belly area, and in doing so communicate more of a sense of being filled, rather than drained of life/nourishment.

The “Rock Drill” was originally in plaster, and part of a much bigger work which included a rock drill.  There was a reproduction of this made.  When his friend died in the trenches,  the work assumed a painful significance for Epstein, who then separated the head and torso from the rock drill, cast it in bronze, and showed it as an independent sculpture.  See this link:  http://www.telegraph.co.uk/culture/art/art-reviews/6439774/Wild-Things-at-the-Royal-Academy-review.html

The soft part in the middle of Torso in Metal from The Rock Drill interests me…Is this unnervingly the embryo of another to come?  Even the soft part has some sinister possibility?

Jonathon Jones wrote ” “Robbed of its legs and towering tripod-drill, with damaged bronze limbs, The Rock Drill becomes a nightmare image of the future as remorseless, unending war. It is more moving than the original, because it is a wounded machine, a human machine.”

So maybe, that soft part,  seen in the torso, could be some soft humanity, some wound, internal? In the torso, the active arm is cut right back…This is the one which included the clenched fist, grasping the top of the drill. Now disabled, it is indeed easier to see the soft form as some vulnerable part, which it is pretty impossible to do when the whole reconstructed “Rock Drill” Sculpture looms before one, I should imagine.  In my own body, the area between my rib cage there is the place I feel most strongly.  It’s a central, primal, emotion area…anger and fear…both, seem to come from there. Well, all emotions seem to be felt there.

 “Epstein in his Rock Drill sees furthest of them (vorticists) all into a cold technological future, dreams most openly of metallic power – and then sees the agony of such a new world in his second version of his great sculpture.”   Jonathon Jones  (The Guardian Tuesday 14 June 2011)

 http://www.theguardian.com/artanddesign/jonathanjonesblog/2011/jun/14/vorticists-epstein-rock-drill

“…unless the events of a life are translated into
significant meanings, then life holds no more revelation than death, and possibly even less”
(Where I Live 142). TENNESSEE WILLIAMS

 

Contemporary Christian Art

Found this…Will be useful to me:

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

As I start to think about bringing images and symbols into my painting again, I am taking a process of researching others work/thinking and also reviewing my own.  I have found my interest in Ignation Spirituality very useful indeed both personally, in the form of a regular practice of the Examen, and also in relation to a change of heart in terms of my willingness to use biblical narrative in my visual art.  Attending an Ignation Retreat Day at the Mount Street Jesuit Centre in London brought a renewed willingness to bring my imagination and creativity to play more intimately with my own spiritual understandings and experiences.   So I have a sense in which, after much tension between two pulls…One being the search for a subject matter which I could focus on in a conscious way for an extended period of time and the other being the desire NOT to pin myself down to any particular subject matter in a conscious way…Yeah,  I have a sense that things might just be coming together anyway.

It interestingly doesn’t feel like a change of direction…  It is more a sense of revelation.  Certain things, ie water, brokenness and fragmentation,  rocks, emotional blockages, stasis and fluidity,  the human figure,  birth and death (so fundamental!) and disintergration/devastation in relation to wholeness/transformation… Well, they have always been there.  It’s as if I can just recognise them more clearly as, rather than being piecemeal, and under the surface, they now announce themselves with a louder unity.  I dislike even using words to pin these things down…immediately, I feel “Oh, yeah, “life”  “death”…yeah, well that pretty much covers everything, doesn’t it.  However,  the general expressed in the specific, is maybe something else in it’s generation.  So I shouldn”t worry about repetition.  Searching for some novel new idea or concept may be a thankless quest, maybe even hopeless. Probably.  The ground is rich by virtue of years and years of accumulated matter.  It’s lived and died, and brings life and death again.

Spiritual Mentoring

I  continue my strand on the way that “Spiritual Direction” has been described:

“Spiritual direction can mean different things to different people. Some people understand it to be the art of listening carried out in the context of a trusting relationship. It is when one person is trained to be a competent guide who then “companions” another person, listening to that person’s life story with an ear for the movement of the Holy, of the Divine.”

Rev. Jeffrey S. Gaines, Presbyterian, USA

Quite like that one…the listening part, in particular, is a real skill.  I am rather in awe of the listening skills of my own spiritual mentor and of my therapist!  (I prefer to use “mentor” rather than guide, as I see the guiding/direction part of the interaction as something which comes from within the person, rather than something I do…It is more a matter, to my mind, of encouraging the person to keep by the/and realise, the well which brings most life to them in terms of their spiritual life).  

I am a real newbie in my thinking about spiritual direction, but am enjoying thinking about it, none the less!  I am interested in the way that my own spirituality and creativity interact, and how stepping out  creatively can have such a positive influence on a  sense of significance, meaning and purpose in life.  I have recently been accepted onto the SPIDIR training, which is one day a month training for two years.  I am delighted about this.  SPIDIR is an informal ecumenical Christian network promoting spiritual direction.

 

 

santissima trinita 1927 winifred knights female british painter

santissima trinita 1927 winifred knights female british painter

With thanks to Sacha Llewellyn for allowing me to include this image and its accompanying text. Readers may wish to consult the website http://www.winifredknights.com/

‘Tomorrow morning I am going right up into the mountains with a mule and a very beautiful cover & some Anticoli peasants to see a miracle which happens every year, at Valle Pietra, in the Abruzzi’. (Letter from Knights to her Aunt, 1923).

While I have not gone on a pilgrimage, I use walking in my own contemplative practice almost every day.  Since walking the Labyrinth at St John’s Waterloo, I realised that walking, like swimming, is a great way to get my mind into a gear which enables me to think more clearly about things.  It is rather like painting, but with no specific object in mind.  Maybe a painting is like a pilgrimage, in the sense that there is an object at the end of it?  Hopefully, a miracle of some kind!

This lovely painting, shown above,  by Winifred Knights has a lovely “other worldliness” about it, but expressed in the natural landscape.. I do like that combination!

The painting below is mine… Water and flowers tend to go well together, as flowers wilt without water!

 

 

 

Falling Flowers - Jenny Meehan

Falling Flowers – Jenny Meehan

Water Flow and Flowers… Falling Flowers.   That kind of thing.

Art and Culture – The role they play in society interesting article in The Observer by Peter Bazalgette

Peter Bazalgette,  (the Arts Council Chairman), has published an article in The Observer highlighting the role the arts play in society and focusing on the health, wellbeing and educational benefits of culture.  He notes: “Although the arts do not pretend to be a front line health service, we’re coming to understand how they can function very effectively in a complementary role.”

As an artist who sometimes (thankfully not too much!) comes across people who ask me “What’s the point?” of what I focus my time on, or who have simply not spent any time thinking about the value of the arts in society, it is always interesting to find a read like this!

Read the article by Peter Bazalgette in the Observer here:

http://www.theguardian.com/culture/2014/apr/27/value-of-arts-and-culture-to-society-peter-bazalgette

On the subject of health and well being, one of the paintings that has given to me very much in terms of positive mental massaging is this painting by John Martin which can be found at Tate Britian.  I have gazed at this painting on many occasions:

http://www.tate.org.uk/art/artworks/martin-the-plains-of-heaven-t01928

The romantic in me, enlightened once again!

This is an excellent essay.

http://paintingperceptions.com/art-politics/how-painting-can-help-save-the-world-actually

Apologies, reader, I am using my Journal as a note taking device… I do this, but it doesn’t make for good reading in itself.  It’s very handy for when I am out and and about, and I want to look back on something I have found and referenced.  Quick, easy, and all held within the long and rambling strand on a single blog!

I am always  keen to make my Jenny Meehan Artist’s Journal blog more concise and not such a large accumulation of pretty much everything I spend time mulling over. (However, I am, of course, unsuccessful in this respect!)  I am a little bit conscious that it might be read (with being on the internet!)…Though please just skim, skim, skim... that is the wonder of reading things on the internet, and the wonder of scrolling down your phone at high speed.  Things have changed.  I don’t really need to worry about oppressing you with detail or not ordering things enough, you can do it so easily yourself!

So, skim over the surface, as you will, dipping in here and there only when caught with particular interest!

Everything nowadays requires a great deal of filtration…because there is so much, too much, to choose from.  This brings a complexity into life which can make it harder to define one’s own path. My journal  helps me narrow down all I come across, at least a little bit.   If you read it, and it serves in some way to provide some interesting routes for your own thinking, then I am well pleased.  If it dissolves into endless ramble, which I know it does from time to time, this is part of the intention.  I am not seeking to craft a resolved structure in my writing, but chase, my endlessly meandering mind, a little bit here and there, attempting to find some kind of light in the never ending darkness!   The question “Where am I going?” is always going to be a bit of a mystery!

Painting…

Well, it is happening, in it’s normal piecemeal fashion.  I am constantly working on one thing or another… Be it constructing frames for paintings (this is both cheaper than buying frames, and far more satisfying!) or just experimenting with materials.  I’ve found myself in the depths of abstraction once more…  working in that drawing from the subconscious way again, with no pre determined plan at the outset.  I like the surprise of seeing what evolves.  I like not knowing what will be.  I like to meander my way through the painting process and just respond as it happens, sometimes changing my mind.  It’s a great big risk and I love it.   It stretches my out of my comfort zone, which seems to be my main enjoyment.

Buried Mother Oil Painting - Jenny Meehan

Buried Mother Oil Painting – Jenny Meehan

This painting “Buried Mother” ((oil on canvas) started out as a mother and child (flip over to the left in your mind) but became “Buried Mother”.   I’ve just made a frame for it, but haven’t decided quite which colour to paint the frame as yet.  Gosh, I love oil paint.  So forgiving.  It’s quite interesting starting one painting, reacting badly to it, and covering it over!  (always a risk when painting a mother and child for me! ) Maybe it is  cathartic, in some sense, to realise that some image, from memory, might be, quite literally, re-covered!

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

Well, that’s it for this year, Have a Great Christmas!

 

Jenny Meehan is a painter and designer based in East Surrey/South West London.
Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also offers art tuition.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details.   

 Jenny Meehan works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.   

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please email j.meehan@tesco.net requesting to be kept up to date.

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

Note About Following Jenny Meehan Contemporary Artist’s Journal 

I would be very pleased if you would  choose to “follow” the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed of what I am up to this way.   Just press  the “follow” button and pop in your email address.  You determine how often you get updates and you don’t need a WordPress account to follow Jenny Meehan Contemporary Artist’s Journal.  

You tube video with examples of photography, drawing and painting

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

Website Link for jamartlondon:  www.jamartlondon.com 

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

Notice regarding my use of images on my Jenny Meehan Artist’s Journal blog:   I always try and contact the relevant artist if I include images of their work on my blog and make clear the source.  Where images are taken from other websites, I make it my practice to  cite the source and normally include a link to the place where the image was found.  When I include images I do so in the belief that this will not cause commercial harm to the copyright holder. I  believe that this is fair use  and does not infringe copyright.  Images are used in order for me to comment and reference them in relation to my own creative and artistic practice.  When I include extracts of text, I also do so with the understanding that again, this is permissible under the widely accepted fair usage terms with respect to copyright.

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

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Surrey  Artist’s Open Studios 2015

I am pleased to say that I will be taking part in the 2015 Surrey Artist’s Open Studios as part of the Kingston Artist’s Open Studios group.   I plan to show some paintings and a few digital prints and though it seems ages away, I know from experience how quickly the time flies, and so invite you to make a note of the Surrey Artist’s Open Studios well ahead of the actual dates, which are from the 6th until the 21st of June 2015.  I will be showing work with other Kingston Artist’s Open Studios artists on the weekends 6th and 7th  and 13th and 14th  June …So pencil it in!

For general information on the Surrey Artist’s Open Studios:

http://www.surreyopenstudios.org.uk/home/visitors/open-studios/

To see my Surrey Artist’s Open Studios Page on the Surrey Artist’s Open Studios Website:

http://www.surreyopenstudios.org.uk/home/visitors/find-a-surrey-artist/artists/?mem_id=993

Thinking On…

“The happiness which God designs for His higher creatures is the happiness of being freely, voluntarily united to Him and to each other in an ecstasy of love and delight compared with which the most rapturous love between a man and a woman on this earth is mere milk and water. And for that they’ve got to be free. Of course God knew what would happen if they used their freedom the wrong way: apparently, He thought it worth the risk. … If God thinks this state of war in the universe a price worth paying for free will – that is, for making a real world in which creatures can do real good or harm and something of real importance can happen, instead of a toy world which only moves when He pulls the strings, then we may take it it is worth paying.”(C.S. Lewis, The Case for Christianity).

 

Accepting Evangelicals Event at St John’s Waterloo

http://www.acceptingevangelicals.org/

This was a super event which took place on the 18th October 2014… I am so glad I made the effort to come along.   The talks were really inspiring and the worship and atmosphere were really very, very lovely, indeed.  It is very important I believe for people to  examine the problem of prejudice in ourselves and our religious organisations, and to be open to changing our views when we find them to be unloving and unkind.  It is a big step out of a comfort zone,  and does take considerable effort, as generally us humans find it much easier not to change our minds and our thinking about things…and much easier to stick to the familiar paths.  But so much hurt and harm is done to others because of prejudice.  And also, to ourselves, for we cut away the very part of our hearts which could have capacity for deeper and greater love.    We just need to listen and learn, talk and think,  and be prepared for change to happen.

Some Examples of Artwork by Jenny Meehan on You Tube

https://www.youtube.com/watch?v=TAXqzMIaF5k

I put this video together a few years ago… Gives you a little assortment of images to meditate on if you should so wish!   Please note the website address is incorrect, as my website is now www.jamartlondon.com

Chichester Cathedral

Looking forward to a visit here in the New Year…

Some images taken several years ago on a visit…Such lovely artworks!

This tapestry designed by John Piper…

john piper tapestry at chichester cathedral

john piper tapestry at chichester cathedral

 

Ursula Benker-Schirmir in the retro-choir chichester cathedral

Ursula Benker-Schirmir in the retro-choir chichester cathedral

 

Ursula Benker-Schirmir  Tapestry in the retro-choir, Chichester Cathedral.  The tapestry was designed by a German artist, Ursula Benker-Schirmer, in 1984.  It blends Christian symbols of a chalice, a cross, a dove (flying over the cross from the right) a flame, and fishes (at the bottom). Among other things, it was meant to symbolize reconciliation between the British and German people after WWII.

Looking Backwards

jenny meehan sketch book

jenny meehan sketch book

My “sketch books”  are not true sketch books, but a vast selection of different pieces of card and paper which are spread around the whole house.  My sketchbooks tend to get filled with notes and thoughts, rather than drawings.  I find it better to draw from observation on loose pieces of paper, because there is a horrid pressure with a sketch book to somehow turn it into a consistent piece of work as a whole, and I dislike that.   I use this time of year to look back and reflect on what I have been experimenting with.  This piece above was simply trying out different types of paint and pigments….Different viscosities of paint and different media for lines.

Henri Nouwen

“Our brokenness reveals something about who we are.  Our sufferings and pains are not simply bothersome interruptions of our lives; rather, they touch us in our uniqueness and our most intimate individuality.  The way I am broken tells you someting unique about me.  The way you are broken tells me something unique about you.  That is the reason for my feeling very privileged when you freely share some of your deep pain with me, and that is why it is an expression of my trust in you when I disclose to you something of my vulnerable side.  Our brokenness is always lived and experienced as highly personal, intimate and unique.  I am deeply convinced that each human being suffers in a way no other human being suffers.  No doubt, we can make comparisons; we can talk about more or less suffering, but, in the final analysis, your pain and my pain are so deeply personal that comparing them can bring scarcely any consolation or comfort.  In fact, I am more grateful for a person who can acknowledge that I am very alone in my pain than for someone who tries  to tell me that there are many others who have similar or a worse pain.”

 

Painting Details

One of the things I like about the way I am painting right now is that there is both brokenness expressed but also some beauty in this.  Years back I used to walk down the rear access roads of Chessington while taking my children here and there and I used to look very carefully indeed at both the ground and the neglected outbuildings, fences, sheds, walls etc which yielded for me a type of beauty most unexpected.  Rusted metal, in particular, often produced beautiful patterns and colours.  Peeling paint.  It was peeling paint which called me into painting, I think.  I found a beauty in the paint which enticed me into using it myself.  It encouraged me to spend a lot of time researching pigments and different types of paint.  All very useful to me now.

jenny meehan imagery, jenny meehan visual art, moon key photograph jenny meehan rusted metal door

moon key photograph jenny meehan rusted metal door

This image “Moon Key” was very inspiring.  How beautiful is that.  And a given.  Just happened.   Keeps one in a state of humility, which is a blessing indeed!

sketch of chessington rear access road jenny meehan

sketch of chessington rear access road jenny meehan

Above a little sketch-painting of one of the rear access roads in Chessington I used to roam around in!  I spent some time hunting around as many as a could find once I started.  It felt like another world.

all rights reserved jenny meehan DACS hinge painting jenny meehan

hinge painting jenny meehan
all rights reserved jenny meehan DACS

Please note all images are All rights reserved – Jenny Meehan DACS.  Please contact me in the first instance if you wish to include in anything online, and if required for other uses, a licence is required.  

Oh, and to the point, this part is titled “Painting Details”… So here they are some from recent painting:

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painting detail jenny meehan jamartlondon.com

painting detail jenny meehan jamartlondon.com

That’s plenty!

Bigger images of some recent paintings:

21st century female painter uk british english, the gift of orange 2014 by jenny meehan

the gift of orange 2014 by jenny meehan

 

Christian spirituality art painting uk british Divine Intervention - Jenny Meehan

Divine Intervention – Jenny Meehan

Now play spot the area!

 

I do remember being very struck when finding a book in a jumble sale, aged around 16, showing work by the Boyle family.. See here:

http://www.boylefamily.co.uk/boyle/about/index.html

I am wondering if this may have had more of an impact on me than I realised…All this concern with ground, groundwork, surface.

Textures just do so many interesting things with light, it is quite impossible to neglect investing time in looking at them!

Pushing the pushchair along the pavement was a good way of looking downwards for long periods of time.  I have many hours spent doing that!

Lots of my paintings when on the wall have numerous different appearances due to the changes of light which I like a lot.  This is due to the variety of textures and finishes used.  It is also nice and challenging when creating them to consider the appearance as not fixed but fluid… it keeps me on my toes.   My oil paintings tend to be thinner and flatter, which I also like.  It’s exciting to see different strands and directions happening within what I do.  Art working is not a narrow singular path.

Ann Gale

Oh, this was a good read…

http://paintingperceptions.com/featured-interviews/interview-with-ann-gale

I miss the figure drawing and the beginnings of figure painting which were a brief feature for me at the beginning of this year, and reading this has tweaked my interest in painting the figure from observation again.  It’s something  I intend to do.

Reading

Reading around five books at once, as usual.

And of course, the hard to resist realm of the internet…

Interested in Jung right now…Having followed my inkling around the phrase “wounded healer”  I find it a term many have used…

As always interested in psychological theories.  A brief introduction:

Carl Jung

Excerpt from Personality and Personal Growth (6th ed.)
Frager, R., & Fadiman, J. (2005). New York: Pearson
Prentice Hall pg. 56:

Carl Jung is one of the most important, most complex, and most controversial psychological theorists. Jungian psychology focuses on establishing and fostering the relationship between conscious and unconscious processes. Dialogue between the conscious and the unconscious aspects of the psyche enriches the person, and Jung believed that without this dialogue, unconscious processes can weaken and even jeopardize the personality.

One of Jung’s central concepts is individuation, his term for a process of personal development that involves establishing a connection between the ego and the self. The ego is the center of consciousness; the self is the center of the total psyche, including both the conscious and the unconscious. For Jung, there is constant interplay between the two. They are not separate but are two aspects of a single system. Individuation is the process of developing wholeness by integrating all the various parts of the psyche.

Jung’s analysis of human nature includes investigations of Eastern and Western religions, alchemy, parapsychology, and mythology. His initial impact was greater on philosophers, folklorists, and writers than on psychologists or psychiatrists. Today, however, growing concern with human consciousness and human potential has caused a resurgence of interest in Jung’s ideas.”

One of my favourite writers, Henri Nouwen, has also, used the term and has written a book with that title…So I have ordered a second hand copy.  Rather pleased to find that you can order second hand books from Oxfam online, which I did not realise.

 

So, another piecemeal journal entry.  Another collage of creative thinking.  Another meandering discourse.  Beats the hundreds of pieces of paper floating around the house.

Let me say “Happy Christmas” for now, and let the skimming cease…the scrolling subside, and the eyes look elsewhere, away from the wretched screen.

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