Kingston Artists’ Open Studios

Here are some images from this year’s Kingston Artists’ Open Studios.

kingston artists open studios

kingston artists open studios – image of “Rush Hour” (below) and “No Cares” (above)

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan  “laid to rest” and “clog dance/sacred dance” oil paintings by Jenny Meehan

Okingston artists open studios jenny meehan

kingston artists open studios jenny meehan showing various acrylic on linen paintings by Jenny Meehan

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan  “bright and breezy” and “resurrection one” paintings plus the table with information and prints.

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan – “bright and breezy” painting.  this was exhibited at the Dulwich Picture Gallery a couple of years ago but still lives with me at the moment!

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan – “Resurrection One”

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan view showing my work and some of Cressida Borrett’s ceramics.


Writing this after the first weekend and before the second.. So still time to come along and visit 13 venues in the Kingston Upon Thames area…

18/19th June. 11 – 5pm at Studio KAOS 3, 14 Liverpool Road Kingston KT2 7SZ to come and say hello to me,  and:

Caroline Calascione, find out more about her work here:

Lizzie Brewer, find out more here:

Cressida Borrett, see some of her ceramics here:

Plus more ceramics from Bali Edwards here:

And also Anna Tikhomirova

Martina van de Gey will also be here from Germany:

and Seana Mallen:

There are 74 artists taking part showing their work in 13 venues, so plenty to see!  Take a look in the catalogue to plan your route!

It’s wonderful to have other creatives to talk with, bounce ideas about with, and generally spend time with.  We need each other to encourage and support each other.  One of the wonderful things about being part of KAOS I have found is that we a mutually supportive group, rather than competitive with each other, and this means a lot.  While taking part in the Kingston Artists’ Open Studios event does take a lot of effort, it is good to talk to each other and those who visit.

One lady profusely thanked us last weekend for all our time and effort and I was very much blessed by that, as she recognised that we are offering something which we don’t often get thanked for.  While we hope to sell some of our work (of course)  the time and effort of putting on an event like the Kingston Artists’ Open Studios doesn’t normally generate profit for the vast majority of us (even if you sell something, it doesn’t translate into profit!).  So we hope very much that people not only come themselves,  but spread the word, as the more people who know about Kingston Artists’ Open Studios and who come along to the Kingston Artists’ Open Studios weekends each year, the more our work is appreciated.  The process of showing artwork, introducing people to our work, and talking about what we do is a valuable contribution to society which is sometimes not appreciated.   Aside from the practical necessity of selling the work, which does exist,  (both from the point of recovering storage space in our already too “jam packed with artwork” homes and the need to reinvest in the development of our work/materials, etc) it is immensely motivating to see people discover art work which resonates for them in a powerful way.

Artists Need Collectors!  

I have put that in bold, because it is a reality.  We need people who discover that our art works resonate with them to a degree that they purchase them, and also, that they then invest themselves into keeping in track with what we are doing, and make a kind of mini internal commitment to “openness to buy” our work, not as a means of purchasing a commodity, but by way of a creative relationship which supports and encourages the artist, and also benefits the collector.  A ideal collector will buy something not just because they love the art work itself but because they are interested in the artist and recognise that the artist is involved in a creative process which they need support and encouragement in.  It is not simply a matter of buying objects for oneself.  When you buy a piece of art, you help the artist in the creation of their work and support them in their vocation.

While there are some artists whose art working is a business, (among other things) (they have my admiration, and I applaud them on all fronts!) , there are many whose art working will never be, nor does it aspire to be a business (I am one of those!)  What I do is a vocation only.  However, this does not remove the need for money to fund it.  Buying a certain piece of art may not be an investment of the financial type (however… you never know, when I am dead!!!  Ho Ho Ho!!! Give me 100 years…or 300) and there is a challenge in purchasing a piece of art for yourself,  I think. And the challenge is this:  If it speaks to you, do you consider that encounter worth investing in?  I feel personally that buying a piece of art and/or being a collector of art might very healthily be viewed as a type of self investment.  There is a mysterious type of poetic strengthening of life which happens in the face of a deep resonance between a work of art and the human being encountering it.  Sometimes,  just sometimes, this is worth investing in, if the work is such that it has a sustaining effect on you as a person, and that you sense this will be a long lasting affair.

Profit is not simply about money… Indeed, I find it is seldom about money at all.

Where collectors  (I term “collector” as anyone who has purchased one of my art works either to add to an ongoing collection, or who has purchased more than one of my art works) become patrons, is at the point where their relationship with your work of art becomes not something simply to do with them and an object they have paid for, but becomes a recognition that they are part of a creative process themselves.  In collecting a certain artists work they recognise that they have a supportive role.  Not one with  strings attached.  But one which recognises that in choosing to pay money for an artists work they are contributing in some way to the production of future work.  The buying of an art work is not just a matter of themselves,  but might be, if they choose to make it so, the beginning of an interesting and ongoing journey, in following an artist in the creative path they travel down, and periodically assisting in that path by buying that artists work not just once, but over a period of time.

This type of collector-patron, one who will invest in an artist and their work, and pick out specific artists which they develop an ongoing creative relationship with, is something I am mulling over right now, as I bounce around my thinking in this Journal.  I think this is because I have been thinking about the word commodity.

Simple Definition of commodity
: something that is bought and sold
: something or someone that is useful or valued….Merriam-Webster’s Learner’s Dictionary

It is the sick feeling I get each year before the Kingston Artists’ Open Studios event which has led me to start thinking this through.  My experience or rather fear, of my work being viewed as a commodity only... an object brought and sold, probably brings on the dire feeling.    An artists work is so much more.  The usefulness and value of a piece of art is not very measurable at all.  And the buying and selling bit has to happen, such is the world we live in.    But what is the exchange really meaning in all this?  Money is the medium of exchange, but what is the meaning of the exchange, what is it’s nature and what might be it’s potential?   The use and value of someone choosing to buy artwork which you as an artist have created  isn’t simply a material matter.  That someone decides to invest and that this is symbolised partly through the exchange of money is always a great thing.  Useful too, on a practical level. Essential. But the transaction can mean so much more to the artist.  We are separate from our work, and don’t need to hang on to it, control it, or refuse to let go, however, what it will be,  we always hope, will be so much more than something brought and sold.  We want it to have a life of its own. An existence which will live new lives in the people who relate to it.  We want that to be a good relationship.  We poured ourselves into it, and then let go completely.  Even if it ends up in a charity shop, we wish it well, and hope that no one sits on it.  Well, I speak for myself with my very big “We”.  But it writes better to say “We” and I know I am not alone.

And I guess it varies a lot with the type of work it is, and how much creative energy/significance/effort one has invested in it.  I am thinking of my paintings here, rather than anything else.  My paintings are the spear head of my creative energy and the tool with which I hammer on into reality, searching, but always in the dark! Wonderful abandonment, which strangely, I am found in!  (And probably pretty much any other paradox which could be applied, could be applied!  So words do fail..)

I do ramble on!

To finish on this one, I hope that those who I will call, for the reasons of my ramblings above, art “collector-patrons”; those who buy a few select pieces that mean the world to them, and who follow artists and take a genuine interest in them, recognise how important they are to the ongoing creation of art.  For example, those who have brought my work and continue to do so, encourage and inspire me, by their investment.  Which is not actually simply a matter of paying money for something, but rather the faith that what they have brought matters. That it matters to them, yes, this is clear and true, yet also, in that process, a recognition that it matters to me to the extent that I pour myself out for it.  They see my investment and choose to invest.  That’s a good thing.

I have just found this, which is kind of what I am getting at I think:

Terry Eagleton offers insight into the idea that art may transcend systemic titles of value such as money, by “…suspending itself between life and death. The work of art seems full of vital energy, but is no more than an inanimate object. The mystery of art is how black marks on a page, or pigments on a canvas, or the scraping of a bow on a catgut, can be so richly evocative of life”(Eagleton, 2010, p. 71).”

I have quoted this from:

(Art as an Autonomous Commodity within the Global Market
Dan Zimmerman)

Other interesting thoughts:

“It’s cold logic then to think of art as a commodity, but what you are really seeing is a whole generation of peers and people older and wealthier than you deciding whether art history is going to remember you or not,’ said Crow” ( Kelly Crow, The Wall Street Journal’s art market journalist)

quoted from:

Also interesting:

from which comes:  “Todd Levin, Director of Levin Art Group, told me, “Art fairs are not places where aesthetic or intellectual fields of value are created. Art fairs are competitive fields where the destruction of aesthetic and intellectual values takes place for the benefit of consumptive value.”


Some artists prefer to see themselves as pilgrims rather than as stock commodities. Regarding the art market, Amy Ragus states: “If possible, make your money elsewhere, so your art isn’t compromised to forces that often seek to exploit and codify your message.”

(My thought,  not inevitable, and not terrible,  (one artist can have more than one single “art” and it doesn’t have to be kept in a protective environment)  however, worth being aware of what is happening and if it is exactly what you want.)

Kingston Artists Open Studios is still on this year: 

Follow the link to view the 2016 Kingston Artists Open Studios catalogue

There are  many different KAOS (Kingston Artists’ Open Studios) artists showing this year.

Below an image of the Cass Art Kingston Artists Open Studios Taster Exhibition.

Lovely private view, very much enjoyed. Even with my stick.

Exhibition open to all so do come and see it.  Free. Cass Art, 103 Clarence Street, KT1 1 QY in “The Art Space” above the shop.  Just go in the shop and ask to be directed in the right direction!


cass art taster exhibition wall 2016 with gentle leaves Kingston Artists' Open Studios

cass art taster exhibition wall 2016 with gentle leaves Kingston Artists’ Open Studios


The quotes  below come from Living Within .  (Copyright Living Within).

Friday 20 May 2016 – Kingston

“This year there will be over 70 painters, printmakers, photographers, sculptors, ceramicists, textile artists, glass artists, and many others, taking part. Open Studios is a growing national movement, with towns all over the UK taking part at different points in the year, and is an opportunity for the artists to share what they do with each other – and of course the general public. Often working alone in their studios for most of the year, it’s great to spend two relaxing weekends sharing ideas and meeting people. It is also an opportunity to show a wider range of work than they can in fairs and galleries, where space is limited.”


“2016 is the biggest event yet, with 13 different venues opening their doors, including a ‘taster exhibition’ throughout the week of June 11th, held in the upstairs art space at Cass Art, in Kingston town centre. Providing you live in the area, you will receive a flyer through your door, or alternatively you can pick up a catalogue at Kingston museum, the library, Cass Art, Pullingers or one of the many cafes around town. A trail map is included, or can be downloaded from”

Not forgetting the Anagrams Kingston Museum Exhibition.. Wheatfield Way, KT1 2PS runs till 2nd July.

So much to see!


Yoga and the Devoted Christian

Sadly, for the last two weeks I have been unable to do my local Our Parks Yoga class, due to my right knee becoming very unstable, and difficulty walking/pain just meaning I need to give it a bit of a rest.  Still doing a bit of Yoga at home and planning a return soon, but waiting till I have seen a specialist as rather worried about what is happening with it  right now.

Despite my current limitations, I am LOVING Yoga, and find it quite a revelation!

Wishing I had discovered it earlier in life, however, there is a time for things, so it being now is just fine!

Reflecting back on how my faith and views have changed… I am now in the second half of life.

There would have been a time, twenty years ago, when I would have viewed the practice of Yoga with suspicion and a certain amount of what can only be called paranoia and fear.

Maybe a feeling of somehow betraying my religion.

However, what has changed?

I think my experience with psychotherapy has changed rather a lot for me.  Because the tendency of all people is to try and avoid that which makes us feel uncomfortable.  Natural.  Understandable.

But our fears are rooted deep within.  We attach them to things.  Fear is good when there is a good reason for it.

A “good reason” for fear with vary a lot, depending on one’s life experience.

Every person has their own sense of integrity, and for some Christians, to practice something like Yoga is something they cannot allow themselves to do.  Others won’t even think about philosophical or religious ideas or possible conflicts and will just worry about if they are “doing it properly”.

I feel that the practice of Yoga is pretty much like anything else, what it means, represents, and promotes varies hugely depending on who is teaching it, how they are teaching it, and what the intentions and objectives are behind it.  As is the case in the vast area of what might be termed Christianity, or in a more expressed in ritual/religious sense “the Christian Church” What is actually going on, being taught and expressed, and how this is being done, varies immensely.    There are all kinds of things going on!

“Nowhere’s Safe” comes to mind…. words I remember from a Graham Greene book I read. Cannot remember which one!

Might seem negative, but for me, not so.

There is a place of refuge in our Creator God.  Yes.  But it is easy to allocate “safe” and “unsafe” places in our life.  We are not always right.

If someone feels they are betraying themselves, their particular religious affiliation, or their innermost being, in some way by practising Yoga, then they should not do it.  It is as simple as that.  If it doesn’t feel “safe” somehow, then it doesn’t feel right.

However, if it seems in accordance with what God and the Holy Spirit are doing in their life, and indeed,  then it may be for them a gift, and a  wonderful thing, liberating, helpful, and definitely in the service of Christ and others.  In my humble opinion.

For me, it is a gift, and I am grateful to receive it.  I see my Yoga teacher’s work as an act of service, which I am grateful to receive.

I don’t feel any obligation to believe what I do not believe, or change what I believe, because of a variances and differences in philosophy  in the context of a Yoga Class, any more than I would in any other setting.  However, it is the case that I feel no imposition or pressure to do so, and this is probably something which varies a lot depending on the individual teacher of Yoga.  There are more religious and ritualistic ways of Yoga, I am sure.  It is doubtful that I would feel comfortable with that, just as someone who wasn’t a committed Christian believer and used to taking Communion at Church wouldn’t feel very right at all about taking Communion!

I am a big fan of Mindfulness as a practice, and I think that probably my appreciation of Yoga is the working together  of the mind and body in what I view as a prayerful discipline, and the whole matter of body awareness and opening myself up to God, (God awareness) which I really love a lot.  I do experience very good  sense of communion with God when doing Yoga, and invite the Holy Spirit into the whole of my being in a very intentional and focused way.

I can see that some folk would  worry about what they were opening themselves up to, if they felt that it was not actually in their own control and that their personal boundaries might somehow be infiltrated by “something else” spiritually without their awareness or consent.  Or if they felt pressured or imposed upon in some way.  But I think a good Yoga teacher is one, like any other kind of teacher, who doesn’t seek to impose anything, but instead, trusts, TRUSTS, in the Spirit of God.

I guess the problem for many devoted Christians with Yoga might be in a belief that there is more than one God and that actually the “God” or “Spirit” of Yoga is a different one to the one that they believe in.  My own belief is that there is only one God, but lots of different ways and approaches, or paths, which people negotiate their way along in their quest for spiritual truth and freedom.  I don’t believe God is an impersonal force,  and I hold passionately to the uniqueness of Christianity in relation to other religions.  Christ is God, and is Saviour.  The ultimate truth. The light of the world.  The point at which all points converge.  I don’t need to argue any kind of case about what I believe being better, or more right, or “the only way”.  Because quite clearly, it is not the only way to experiencing God’s truth, Spirit, and working in the world. God works in people who are not calling themselves Christians.  He worked in me, throughout my life, long before I committed myself to Christ, in many significant ways.

 The fact that I believe the SOURCE of all truth and revelation is indeed bedded in the work of the Lord Jesus Christ, is something I pray I hope to simply live out and testify to, in whatever ways I am given to. The way, it is a way of Love.  So I aim to love, as I am loved by my Creator.    I can express what about Christ, being a Christian, and knowing God through Christ, means, and how it matters, and have open eyes to the wonderful working of the Holy Spirit. In my own experience, I see the Holy Spirit manifest in my practice of Yoga.  It is as simple as that.

It’s not that I don’t believe that there are harmful spiritual influences in the world… because actually, I do believe they exist.   I don’t think a recognition of such is Medieval or delusional.  But I draw my attention to what is good, and orientate myself to  the workings on the Holy Spirit.  And God is using my practice of Yoga in a wonderful and exciting way. Which I am very grateful for.

Suspicions about yoga are shared by many Muslims, Christians and Jews around the world and relate to yoga’s history as an ancient spiritual practice with connections to Hinduism and Buddhism.  It is a spiritual exercise, to be sure, but what it means to someone is what it means to them.   All the things in our lives mean something different to what they mean to someone else, I think.   It is more OUR intention and purpose, which makes things what they are.

And as I mentioned earlier, the variety and differences, the various schools and approaches, the diversity of what Yoga “is” is rather hard to pop into one big lump.    Just because Yoga is ancient, and a bit mysterious, doesn’t make it evil.   You don’t have to agree with philosophies, theories and ideas about how and why it “works” or is beneficial to experience it as beneficial.  God does work in mysterious ways, as that familiar saying goes!  And, if Yoga is a “way” to God, then it doesn’t follow that this somehow supplants Christ, or that it is and “either” “or” situation.  Or that it is in itself some kind of salvation by works. (I am sure it might be practised in this way by some, but that doesn’t mean that it needs to be).  Deep down, we all struggle with the sense that we need to earn favour, approval and acceptance.  This is lived out in our lives in many different kinds of way.  Grace, pure grace, is always a challenge.

Even if yoga is, fundamentally, a religious activity, our yoga practice is OUR YOGA PRACTICE.  It does not belong to anyone else.  Therefore, if we are religious, then it will be, as we are.

No prizes for guessing what “Sun Salutation” is for me!!!!

Basically Yoga is a very broad term and this does cause difficulty.  There are lots of different forms of Yoga and some are more overtly religious than others.  For example, Hare Krishna monks, are adherents of bhaktiyoga, the yoga of devotion. But what most people in the West think of as yoga is properly known as hathayoga – a path towards enlightenment that focuses on building physical and mental strength.  The word “enlightenment” might cause some alarm to some Christians I guess. but what  “enlightenment” means  depends on tradition.  For some Hindus it may be a liberation from the cycle of reincarnation, but it doesn’t have to be.  For many yoga practitioners it is a point where you achieve stillness in your mind, or understand the true nature of the world and your place in it.  In this respect, it appears more to me to be a matter of  Mindfulness. With wonderful physical benefits!

I guess there will always be debate about whether Yoga is  compatible with Christianity, Islam and other religions.  The yogic asanas  might retain elements of their earlier spiritual meanings, however, as I move MY body and use MY mind, in prayer to MY GOD, then I think what is theoretically  “retained” becomes meaningless in my practice, because I do not hold onto it, nor have I even held it.  What Yoga embodies will surely stem from the soul of the person doing it, and no more or less?  It is an art, and like my painting, I use elements of what has gone before, but what I do is not what has gone before, it is what is now.

It is all about intention.

When I take communion, in my local Anglican Church, I take the wine, though I am teetotal.  I do this and it is deeply symbolic and special to me.  It defines the importance of the sacred for me.  I have rejected alcohol in my life, but I receive it in this context, and it deepens the symbolism for me actually, because it is about sufficiency in Christ for me.   Yet I could ,if I wished to, chose to receive wine in other ways, drinking at a party or something.  (Though it would not be a good idea for me!)   It is the intention which is different.  My fallen intention with alcohol was that it was, fundamentally there, as an instrument of destruction for me.  That is what it meant.  But in the rite of Communion, the intention is transformational.  Its meaning is blessedly transformed for me.  It is life, and life through the blood of Christ.

I mention this because taking that communion is not like drinking alcohol, even though it is drinking alcohol.  That is the best way I can think of describing it, and I also believe that kneeling, for example in an asana, is kneeling in whatever way the intention is focused.

Religion is not installed in a person through repetition of outward rituals or practices.  That is quite simply, rather empty. In my opinion.

Faith comes from the inside out, and from an inward working of God’s Grace.  As a sacrament is an outward sign of an inward grace, Yoga practice can be that too.  If you want it to be.

I won’t be chanting Hindu sutras, but I am happy to use “namaste” because I do acknowledge the meeting of God in each other.  I don’t understand God as just an impersonal force, but I do recognise very much, especially as an artist, the creative spirit at work in the world, as it says “In Him we live and move and have our being”.  There is something of the breath of God, which is very wonderfully engaged with by focus on the breath!

I view Yoga as a philosophy and approach, and one which can be very usefully engaged by Christians, without causing sudden destruction to their faith or adversely affecting them in any other way,  as indeed much can be gained from the many rich areas of life and experience, which happen to be new or different to us, in some way.

Quote from Rebecca Ffrench:

“People say that yoga is Hindu, but “Hinduism” is a problematic term, coined by outsiders for everything they saw going on in India.

Yoga stems from the Vedas – the Indian holy texts that were composed from around 1900BC. Besides yoga, three major religions came from those texts – Hinduism, Jainism and Buddhism.

Around 200-400AD, a sage called Patanjali composed the Yoga Sutras. His “eight limbs” of yoga still inform practice today and discuss posture, breathing, meditation and correct living.

For many centuries yoga was all about meditation and austerity practices, such as standing on one leg for weeks or hanging upside-down from a tree. There were only 14 yoga asanas or postures.

The big explosion in hatha yoga didn’t come until the early 1900s in Mysore, India – now there are over 100 postures.”

Well, that’s enough of that for now.

Apart from… Yoga has helped me deal in all respects with my ongoing experience of osteoarthritis, and been a fantastic tool and resource in so many ways.  It seems  a shame to dismiss something  or even prohibit something which is so beneficial to so  many just because of irrational fears…

It is, I think, what comes OUT of us, which is normally the problem.  So much inner trash!

Discernment with respect to our own inner brokenness and our faulty strategies of dealing with it, is probably more useful than avoiding this or that, in case of “pollution”.  However, each should only do what they feel comfortable with, this is the main thing.

Art at the Bridge#7

This exhibition is still up.  Wonderful to see my work in such a prominent place.  Tower Bridge! I never would have thought!    So pleased to be part of it.  “Drawn Together”  my piece of work can be brought as a print on .  Here is the link;

Artist Notes for Drawn Together:

“Building Bridges, the Female Perspective”.
This artwork expresses some of my female emotional experience: the emotion of two parts of my sense of self being pulled together. A feeling of balance and unity, which holds, even when the two sides are different in some respects. The suspended purple and yellow contrasting colours create stasis and tension. Yet, there is also a mirroring of the same essential structure in my composition, drawn together in a pivotal centre, which may suggest movement. This piece also resonates in relation to the Tower Bridge; an engineering achievement involving among other things, precision, balance, and design. Creative energy, both within and without, in both engineering and art.


building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan, all female art exhibition london, contemporary women artists british, jenny meehan jamartlondon, all woman art exhibition,

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

My friend Denise and me had a great day out!  Loved the glass walkway and the Engine Rooms were amazing!


drawn together by jenny meehan, art at tower bridge, abstract art female artist, feminist artist, contemporary women artists, contemporary female artists, jamartlondon,building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan  Jenny’s work “Drawn Together”


Here is one of the reviews:

Art at the Bridge #7
Tower Bridge, London

8 March to 31 July 2016

Reviewed by Amanda Hayes

“I was privileged to be invited to the press night of Art at the Bridge #7 – Building Bridges: The Female Perspective last night, held in the fantastic setting of the Victorian engine rooms at the iconic Tower Bridge site it was the perfect backdrop to display art works. The engine rooms are very much an industrial setting with uncluttered bare brick walls and this lets the art speak for itself showing off the different genres with clarity.

Tower Bridge work with a range of community partners such as Variety & Southwark Young Pilgrims and has partnered with the Southwark Arts forum since 2011 to provide an annual exhibition at the Engine Rooms. This year’s exhibition is entitled Building Bridges: the Female Perspective and showcases the very different art forms from a network of local artists, 15 of which have gone through a judging process to exhibit at this prestigious venue. The works are a selection of paintings, photographs, mixed media, drawings and lino cut prints each showing their unique view, either literally or metaphorically of what building bridges in a modern world means to them.

Whilst the moody photograph Momentary Flight by Ana Katrina Giles-Myers, and the lino cut Albatross from Charlotte Tymms portray bridges in a more literal sense Donna Leighton’s etching entitled The New Baby explores building bridges in a completely different way by portraying the bond between mother and baby. A particular favourite of mine was Bound to Remember by Victoria Coster, a collage on canvas layering paper that would typically be discarded such as receipts for food and travel from 2006-2011 bridging together the space between those times.

Running from International Women’s Day on 8 March until 31 July 2016, Building Bridges: The Female Perspective is a must see exhibition set in an atmospheric setting. Art being a truly personal taste I highly recommend you go along and find your own personal favourite.” 

Bits and Bobs

This is a nice little run down of exhibitions by British female artists happening in 2016:

More interesting reading from Gresham College:


That’s it for now….


Jenny Meehan is a painter, poet, and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  If you read and enjoy it, this would be an added bonus! 

Her website is  ( replaces the older now deceased website

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at or through the contact form at for further details as availability depends on other commitments.    

 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.  Both original fine paintings and other artwork forms  and affordable photo-mechanically produced prints are available to purchase.  

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:

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 


You tube video with examples of photography, drawing and painting

by Jenny Meehan

Website Link for jamartlondon: 

A selection of non objective paintings can be viewed on pinterest:


The usual assortment of bits and bobs from me!  It’s a bit of a scrap book really!   This journal is an invaluable tool for me, in that it enables me to look back and see what is happening with more detail than would otherwise be possible.  It is also a way for those interested in my work to delve a little deeper and pick out what they are interested in, while discarding the rest.  The internet is a wonderful tool.  Sometimes I cannot find things myself that I am looking for, be they notes or images, and if I cannot find them at home either digitally or on paper, I can often find them by looking in this Journal!

In this vein, do take a look at my pinterest board.  I often post my work up on there as it is a quick and easy way for people to look at my artwork .

The Art of Caring at the Rose Theatre

It was nice to go to the launch and be able to speak to people in person about my photographs on show.  I had three on display, of the late Reginald Driver.   Reginald Driver was a prisoner of war at the stalag at Teschen, Stalag VIIIB.  I just checked this out, as someone asked me.  I couldn’t remember which camp he was at, but  I had a photograph of a postcard which Reg had shown me, and it says Stalag VIIIB on it, dated 1945.  I remember he told me about the “Death March”, and mentioned Poland.  But I wasn’t sure so hunted through my archives to find it.

reg driver christmas card stalag at Teschen Stalag VIIIB

reg driver christmas card stalag at Teschen Stalag VIIIB

I was pleased that one of my photographs,  “Reg: Support System” has been selected as one of 20 to be part of a further exhibition at the Arts Project exhibition space in St Pancras Hospital from July – October 2016.



Reg Driver of Chessington Surrey, photo title Support System. photo copyright Jenny Meehan DACS

Reg Driver of Chessington Surrey, photo title Support System. photo copyright Jenny Meehan DACS

Description of the submission:  “The photographs show a neighbour (died 4th January, 2015) Reginald Driver, and were taken when Reg was 88/89. Reg’s experience of being a prisoner of war and fighting in the second world war included many very traumatic memories which stuck in his mind, and my own belief in the value of listening to people’s life stories as part of valuing them as a person and communicating love, motivates me to submit them to this exhibition.

The titles are as follows:
Reg: Incline Your Ear by Jenny Meehan
Reg: Support System of 2008 by Jenny Meehan
Reg: Sharing Memories by Jenny Meehan

Reg Driver Incline Your Ear photo copyright Jenny Meehan DACS

Reg Driver Incline Your Ear photo copyright Jenny Meehan DACS

reg driver for art of caring

Reg Driver “Sharing Memories”

There was lots of amazing work on show, but my favourite has got to be “Praying with Mrs. Cooper”.  You can see an image of this, and the source of the quoted text below by following the link.

This year’s crop include 3 artworks from The Rev. Robin Pfaff, he told us about his motivation to get involved, “As a hospital chaplain I often meet people at a time of intense change, but these encounters usually show me something of the indomitable human spirit. Healthcare professionals, however, who are regularly exposed to highly traumatic situations need to find their own way of coping and build up a resilience that is both sturdy as well as tender. Talking about what we do and see can be extremely difficult, as we all have a tendency to avoid emotional pain.”  (quote from by Alban Low)

Rev. Robin Pfaff’s paintings are AMAZING, I love them so much, and I have only seen a few digital images and the print at the Art of Caring Exhibition.  They are the kind of representational painting I love, rich with emotional  depth, profound, touching, sensitive.  When I looked at the small print of “Praying with Mrs. Cooper” it was as if the whole painting had been totally immersed in experience, dipped in and pulled out, saturated with reality and also with compassion.  This is the kind of painting I could look at for hours. I just count myself blessed to be able to see it.  Goodness knows what it must be like “in the flesh”.


Biggs & Collings present Turn the Colour Down!
Frank Bowling | Marcus Harvey | Tess Jaray | Chantal Joffe | Mali Morris | Justin Partyka | Dan Perfect | Fiona Rae | Biggs & Collings

16th April – 7th May

Talk: Saturday May 7th 5.00-6.00

“Colour in art can be powerful by being subdued. Muted colour is often what you’re seeing in work by artists known as colourists.  Many people’s idea of colour in art is something bright, like children’s toys or Pop Art, and it’s not particularly part of what’s celebrated in contemporary art.  It’s unusual today to come across anything like the sophisticated colour arrangements of historic art, which must now include Modernism. There are new technologies and the new sensibilities they produce, but these developments mean that some old sensibilities may be lost. There’s no material need to find colour now. It’s found for you in the popular medium you’re using — your camera, for example, with its colourising menu. If it’s rare for artists now to come up with the kinds of colour subtleties in painting that existed in the past it’s at least partly because the ingredients are no longer there in the social imagination.

We’ve brought together these works as an indicator — to our mind, at any rate — of the present’s difference to the past, even the recent past. But also — because we feel they have a rare intensity — as an example of how the lost is never really lost. We think there are possibilities for surprise. A law or rule that’s gradually set in can be joyously broken. Abstraction or figuration is a red herring, the world is the issue, and art turned towards it and interested in interpreting it can easily be abstract in form.

How do the works in this show express the world around us? Chantal Joffe strips away at figuration — people she knows; her family — until she arrives at a rich faux-simplicity with powerful abstract values. In Mali Morris’s painting scrawled maroon surrounds a thick, palpable yellow.  These contrasting presences and the painterly drama of accident and control suggest reality apprehended through light. Tess Jaray’s distilled geometric work with its play of edges and planes, and its subtle surfaces where many layers of oil are freely brushed onto wood, is one of a recent series. Recurrent shapes and colours echo the polychrome patterned entrance to a mosque she saw in Aleppo, the city whose destruction we’ve all witnessed on the news.  Because of the way he’s captured available natural light: low, dim, Goyaesque, Justin Partyka’s photo of a scene on a Norfolk farm is epic and tragic. Fiona Rae summons up the look of early abstract painting a century ago with its characteristic voids and floating objects, and air of the inner world, the unseen. In her painting she refracts all that through the kind of forms anyone might generate today on a screen: a balance of transcendence with the close at hand. Marcus Harvey shows a seascape with an imposed presence that suggests natural patterns, an earthy ceramic object that confounds the photographic context spatially and at the same time eerily connects to it. Dan Perfect paints what seems to be a 1950s lyrical abstraction suggesting river, rocks and wind. This painting on paper is a study, a halfway stage before he processes that pure lyricism into something more multi-dimensional. With our works, we try to achieve a quality of shimmer and vibration like the multiplying patterns that exist in the surviving religious art of late antiquity, but which also suggests its illogical ravages of time and repair. Frank Bowling is the only artist in the show that makes colour synonymous with materiality, the stuff of the world, as if there’s colour substance somehow on the tips of his fingers that he’s agitating and manipulating. He makes a living surface with it, which is also a picture.”

Biggs & Collings 2016


Ahh, Drat.   I liked the writing above so much, that I thought I will certainly go to the talk and see the paintings.  It is always a relief to find interesting and engaging writing on painting.  However, after going to visit the Original Print Fair,  my heel, which has been giving me sharp pain for over a month,  and my knee, which has been playing me up for ages, decided to get worse, and even with a stick, I really could not walk any further.   I am very disappointed.  Hopefully soon to see a specialist about the knee!

The Print Fair was enjoyable.  My favourite stand was the August Laube stand.   I was kindly given the annual catalogue by Brigitta Laube, and I will be feasting my eyes on that for a long time.    I love the selection of prints, so rich and interesting.  It must be my German-Swiss heritage (mother) that pulls me this way.

The catalogue can be viewed here:

One delight, a German Single-Sheet Woodcut, from about 1420-1440 showed Saint Veronica holding the Sudarium and two Apostles St. Peter and St. Paul on either side.   The Sudarium… Here is some information quoted from Wikipedia:

The Veil of Veronica, or Sudarium (Latin for sweat-cloth), often called simply “The Veronica” and known in Italian as the Volto Santo or Holy Face (but not to be confused with the carved crucifix Volto Santo of Lucca), is a Christian relic of a piece of cloth which, according to tradition, bears the likeness of the face of Jesus not made by human hand (i.e. an Acheiropoieton). Various existing images have been claimed to be the “original” relic, or early copies of it.

The final form of the Western tradition recounts that Saint Veronica from Jerusalem encountered Jesus along the Via Dolorosa on the way to Calvary. When she paused to wipe the blood and sweat (Latin sudor) off his face with her veil, his image was imprinted on the cloth. The event is commemorated by the Sixth Station of the Cross. According to some versions, Veronica later traveled to Rome to present the cloth to the Roman Emperor Tiberius and the veil possesses miraculous properties, being able to quench thirst, cure blindness, and sometimes even raise the dead.

The story is not recorded in its present form until the Middle Ages. During the fourteenth century it became a central icon in the Western Church – in the words of art historian Neil Macgregor – “From [the 14th Century] on, wherever the Roman Church went, the Veronica would go with it.”[1] The act of Saint Veronica wiping the face of Jesus with her veil is celebrated in the sixth Station of the Cross in many Anglican, Catholic, Lutheran, Methodist and Western Orthodox churches.[2][3][4]

more info, follow the above link.

The worm holes in the print were wonderful!

I want to keep this reference, so include it here.

Keith Vaughan 1912 – 1977 Old Seaweed Hoist, Lithograph, Window Landscape, and The Walled Garden, stood out for me, stunning.


Art at the Bridge #7

Launching on International Women’s day,’Art at the Bridge #7′, showcases the talents of 15 local, female artists.

8 March – 31 July

Celebrate female artistic endeavour this spring with Tower Bridges new ‘Art at the Bridge’exhibition. Now in its seventh iteration, this long running exhibition in partnership with Southwark Arts Forum will display the works of 15 female artists as they explore the theme ofBuilding Bridges: The Female Perspective’.

The exhibition aims to reflect upon female perspectives in the community, providing a platform for artists to express their ideas through a variety of media including paintings, etchings, video, photography and drawing.

Each of the artists have drawn inspiration from their own experiences and these artworks offer a striking contrast to the huge and beautifully maintained steam engines that surround them.

Tower Bridge is committed to engaging with, and acknowledging, the talents of the local community. Through its regular exhibitions in partnership with Southwark Arts Forum, we are delighted to provide an opportunity for artists to gain exposure to an international audience of approximately 2,500 visitors daily.

Learn more about our community partners here.

Entry to ‘Art at the Bridge #7’ is included in the admission price.

Book your tickets online now to receive your discount!


Well, yes, another plug from me for the above exhibition.  I am mega pleased to be part of it.  I had such a lovely day visiting Tower Bridge too, a real highlight of the year.


Art and the Subconscious

I remember well the day I realised that the inner world was just as an important a subject of my artistic interests as my external surroundings.   Around 2009, when the children were younger, just before I started to really get on track with my work, I went on a short painting course, and while I had produced some nice paintings, one afternoon, in a slough of despond, I painted this:

© Jenny Meehan. All Rights Reserved, DACS spinning table painting jenny meehan

jenny meehan spinning table painting

© Jenny Meehan. All Rights Reserved, DACS

Based on the sight in front of me, I looked into the darkness of the bushes and into the shadows, and worked into the background experimentally.  I played with the relationship of stillness and motion, and also with perspective, and while giving a lot of attention to the little naturalistic apples in the centre of the table, I took great care to ensure that the fact they were rotten was accurately depicted!  I realised the desire to experiment was more important to me than painting pleasing pictures.  I felt that my artistic endeavours shouldn’t just be to render what is seen accurately.  When I look back on this strange little experiment, I am glad I went with the flow, though it felt hard at the time as I didn’t have any understanding of the direction I was heading in.  It’s quite a significant piece, on reflection, as it marks a turning point.

Nature and the natural world is wonderful….There’s no rejection of that, because everything in my mind got in there somehow.  But I have little desire to attempt to copy what I see.  I admire others who do it wonderfully, and I enjoy and take in all that is around me, but to paint it?  That I am able to, is not sufficient reason to do something.  I have several older paintings which show me that I am able to paint representationally.  Occasionally the urge strikes me, though this is more likely to happen with drawing.  But I have fallen into paint, as into the ocean!    I can imagine in the future I might do some imaginative representational pictures, based on memory.  But it is not possible for me to force myself in one direction or another.  And I think, with painting, one should walk in the dark, just seeing a fraction of the way ahead sometimes, and glimmers of possibility.  But no more than that.


Interesting thoughts from “Mothers at Home Matter” on Facebook this March…

“How do global decision-makers measure ‘equality’ and by what criteria?
Where does care work fit in?
As mothers, do we agree with their interpretation of what constitutes equality and ‘progress’ i.e prioritising more hours of paid work for all family members whilst downgrading the value of caregiving work?

It seems to us that what tends to get overlooked in fight for women’s freedom is for caregiving work to be treated as equally valuable work – 100 percent equal alongside other forms of ‘contribution’ in society.

Sadly, because of the way care is devalued and disrespected, it means that equality is measured by minimising the amount of caregiving time women engage in, whislt maximising time spent in other kinds of work! But that means women lose the freedom to nurture their own infants and care for their families, which in many ways is the antithesis of progress surely? Mother-child separation doesn’t sound progressive to us.

Also it’s time to debate how/why poverty in developed economies is rising (and the gap widening between well-off and least well-off) just as there are more adults (men and women) in the workplace than ever before. So it’s clear that more paid work doesn’t equal less poverty or income equality, in fact it seems to correlate with a period of rising poverty and more income inequality. Perhaps rising housing costs/rents has a lot to do with it – ordinary folk can’t catch up no matter how many hours they put in.”

Well said!

Spiritual Direction Ministry Information

I often look out for different definitions/descriptions of what the art of spiritual direction “is”.  So many people have not heard of it.  As I am currently training in this area, I pop an occasional thought up on this blog from time to time.  So here is another:

Quote below from the Guidelines of Good
Practice for offering the
Ministry of Spiritual
Direction  from the Diocese of Liverpool


“Spiritual direction is described as being a way of helping
people ‘to pay attention to and to share with another member
of the community experiences of God, and, in the process, to
learn how to discern what is authentically of God from what is
not. In this way they also learn how to talk about their
experiences of God with other members of the community.’1
Spiritual direction then, is seen as having a communal dimension
which enables the individual to look within to the movement of
God, to bring this through reflection, and maybe with cognitive
reasoning, into conversation with another, and then into forming
and informing their way of life. This way of life is both personal
and corporate.
Reflecting upon the presence of God means that the time of the
director with the directee becomes a ‘holy time’, as a ‘sacred
space’ is created between each, and each with God. The director
offers a total and unconditional listening, putting their own self
away for that time to focus upon the directee. The spiritual
director offers to the directee, ‘the gift of disinterested, loving
It is a vital support for all people, lay and licensed alike.”


I am personally mulling over the possibility that it may be helpful to view it as a modality of psychotherapy… there is a lot of overlap, in many ways, though the focus on relationship with God is more central/explicit.  And the desire is, for both people, an invitation to the Holy Spirit, to meeting, hearing, and receiving from our Creator God.  The emphasis on the Holy Spirit as the source of guidance is very specific to Christian Spiritual mentoring/guidance ministries.  It may provide new perspectives and bring release and growth, (I would hope so!) but theses things are blessed additions to the central work of making space for both ourselves and our maker.  And seeing what happens.  I like the description I quote above very much indeed, in particular”enables the individual to look within to the movement of God, to bring this through reflection, and maybe with cognitive reasoning, into conversation with another,”

And the movement of God which happens in all people, should we open ourselves up, believe, and receive.


Boat House acrylic painting in progress Jenny Meehan 2012


the boat house lino print, jenny meehan jamartlondon

boat house lino print jenny meehan © Jenny Meehan DACS All Rights Reserved

The Boat House – Lino print and The Boat House -Painting, are two examples of a strand in my work based on the motif of the symbol for rest used in musical notation, which I used in combination with the concept of a river journey. A rest is an interval of silence in a piece of music which is marked by a symbol indicating the length of the pause. The rectangle shape I adopted is the musical symbol for a half rest, or minim rest, which denotes a silence for the same duration as a minim note. Half rests are drawn as filled-in rectangles sitting on top of the middle line of the musical staff.
Removed from their musical context and placed in the visual landscape, where they relate to the deeply resonate symbol of a river, the motif provides a way of expressing the importance of retreat, rest, contemplation and prayer for the human being on life’s journey. Symbolically the river represents the flow of time, and the river, on its long journey, is symbolic of life in general and our lives in particular. There are periods when the river experiences turbulent, chaotic and disturbing times; there are periods when it experiences twists, turns and pauses; and then there are periods when the river flows peacefully, smoothly and calmly. A pause taken on the journey, a rest in a metaphorical boat house, is a vital part of it.
In my own artistic practice and life I have found that time taken to pause, to interrupt the often frantic pace of life which seems to be something that our particular culture encourages, has fed into my creativity and enriched it by increasing both the potency and depth of my work. Allowing me time to mull over what I produce…the pauses between painting and writing, thinking and doing, might seem like gaps in activity, but it is in these spaces and what I like to call “the in-between-doing places” where we have opportunity to draw meaning from both our being and our doing.

The “rest” in the painting looks a little like a sofa, which is good!


Nicked image…

If you see this on the internet on

You will notice that it is MY drawing, and nothing to do with the young man who has posted it on his site.

Oh, so so sad.  To do that.  Much better for that person to learn to appreciate the value of their own work! is nothing to do with me or my work in any way.

Leith Hill Surrey Pencil Sketch Jenny Meehan Contemporary British Artist surrey artist artwork for sale to buy affordable english romantic artist modern, tree trunk bench resting place,

This pencil sketch is by Jenny Meehan.
Copyright jenny meehan.

Image of Christ walking on water by Maggi Hambling can be seen here

Good Friday (Walking on the water)
Maggi Hambling (b.1945)

Quote below from Q&A: Artist Maggi Hambling
The flamboyant artist talks to theartsdesk about sex, death and the sea.
by Hilary WhitneySaturday, 01 May 2010


“When I paint the waves I want them to seem as if they are crashing in front of you, right now. That’s the magic of oil paint over any bloody photograph because a photograph is just a single moment, immediately consigned to history, whereas an oil painting is the result of many hours’ work, culminating in a single moment. If you look at a late Titian or a Rembrandt or a Van Gogh, it’s as if you’re there at the act of making the painting and that’s what’s so exciting about paint to me. It’s something photography can never touch, no matter how moving the subject.
Although they are ostensibly very different, I can see a lot of similarities in the sea paintings with your other work, such as Laughing Mouth and Good Friday 2004.
What? You see Jesus in the sea? But yes, I think a lot of things have come together in these paintings – they’re full of mouths and animals and all sorts of things that people tell me about which I haven’t noticed – and I did paint a Christ of the waves although I only do him on Good Friday. It’s a kind of bad habit which comes from childhood memories of Good Friday being such a miserable day. My mother was quite churchy and it was instilled in me that you couldn’t have any fun so I find it very difficult to think of anything else on Good Friday but Christ on the cross.
And of course, it is an extraordinary image combination of life and death at the same moment. I think great art inhabits the place that is both life and death and that’s rather the point of it.”


“I think great art inhabits the place that is both life and death and that’s rather the point of it.”

VERY interesting!


Tips for Commissions

Find out if the person has commissioned art before, and how it went.

If they are new to commissioning art, get a good idea of what they want and make sure that their expectations are realistic.

Find out what they want to see in their painting…aim for getting a general idea, an also find out what they definitely don’t want.

Check out who will be approving the art, is it just them or a larger group of people.  If it’s a large group then it’s going to be less likely you will please everyone!

Make sure you  write and sign a contract or agreement.  This should include a description of the art, physical characteristics such as size and medium, payment schedule, late payment fees, how many times you meet to see the work in progress during the course of the commission, completion time and final delivery.
Take a percentage of the full fee in advance, and explain it is non-refundable.   If the client backs out before the work is completed, they need to understand that you have still invested a lot of time and effort, plus materials into it and therefore the advance is non refundable.
Arrange viewings as the work progresses, three or four is plenty.  And encourage plenty of dialogue and keep conversation channels open.   Stick to what you agreed and if you want to move the painting in a different direction then check this out first


Oh America!

I am glad I have found this.  I find it encouraging to see what is happening in America with abstraction and painting.  There is a lot going on here in Britain, of course.  But we do like a picture, and one we can get a grip on.  There seems to be more of a sense of abandon and acceptance of abstraction over there.  Well, thankfully because of the internet, the sea is not so wide!  This blog here makes a very interesting read. Kathryn Markel has conversations with the artists she works with, and I have enjoyed reading with a lot of pleasure!


Steve Chalke – Why I’ve Created a Church Charter…

I am pleased and so glad for the worthwhile work of Steve Chalke in this area, and I hope and pray for this man and his passion and love, which brings the heart of Christ into being in our world today.  What a relief to hear and what a balm for the wounded soul, wounded by prejudice, ignorance and fear.   Christ knows all about that.  He really does.

With time, I hope, love will reign supreme, on earth as well as in heaven.  But for now, we pray that eyes and ears be opened and that hearts be opened, to the Love of God, which has no bounds.


Zachary Keeting

I really like  and enjoyed reading this conversation very much!


Kingston Artists Open Studios

Well, yes, I have to plug this, as it is coming up soon!

I will have six paintings on show, plus images of others, as I cannot bring all my work to the KAOS 3 venue!  I will also have some greetings cards and smaller framed prints.   Here are three of the paintings I will show this year at the Kingston Artists Open Studios event.


copyright jenny meehan DACS clog dance, sacred dance, dance inspired painting,clog dancing, jenny meehan, jamartlondon, licensable painting, painting for sale, contemporary british abstract painting, lyrical abstraction,colourist expressionist abstract, modernist romantic, 21st century painters,

clog dance/sacred dance abstract paintings colour copyright jenny meehan DACS


copyright jenny meehan DACSBright and Breezy" Jenny Meehan Acrylic and Oil Painting, jenny meehan abstract colourist expressionistic, modernist lyrical abstraction,female british uk 21st century artist jenny meehan, contemporary painters in uk,

Bright and Breezy” Jenny Meehan Acrylic and Oil Painting
There’s a little memory from childhood of a tuft of a tree growing on the edge of a cliff


copyright jenny meehan DACSBuried Mother/Laid to Rest Oil Painting - Jenny Meehan

Buried Mother/Laid to Rest Oil Painting – Jenny Meehan


If you are interested in coming along, then take a look at the online catalogue:


Contact me via my website and let me know you are coming along, or just turn up!


Jenny Meehan is a painter, poet, and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  If you read and enjoy it, this would be an added bonus! 

Her website is  ( replaces the older now deceased website

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at or through the contact form at for further details as availability depends on other commitments.    

 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.  Both original fine paintings and other artwork forms  and affordable photo-mechanically produced prints are available to purchase.  

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:

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 


You tube video with examples of photography, drawing and painting

by Jenny Meehan

Website Link for jamartlondon: 

Digital photography can be viewed on

A selection of non objective paintings can be viewed on pinterest:


All content on this blog,  unless specified otherwise,  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 under any circumstances. 

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. There is a contact form on my website

Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the “Art image” selection on the Design and Artist Copyright “Art Image” page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)


Permission is always sought before use. 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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