The Art of Caring Art Exhibition at the Rose Theatre -Kingston Artists Open Studios – Art at the Bridge #7 – Original Print Fair – Biggs & Collings present Turn the Colour Down! -And lots of other snippets!

June 3, 2016

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 .   https://uk.pinterest.com/Jamartlondon/abstract-expressionist-paintings-jenny-meehan-jama/

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 http://caringandcare.blogspot.co.uk/ 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: http://www.augustlaube.ch/fileadmin/user_upload/catalogues/72.pdf

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]

 

https://en.wikipedia.org/wiki/Veil_of_Veronica

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.  

https://aberystwythuniversitycollections.wordpress.com/2013/06/11/keith-vaughan-figure-and-ground/

http://www.invaluable.com/auction-lot/keith-vaughan-winter-landscape.-655-c-f25ffa4e33

http://www.originalprints.com/printview.php?dx=1&page=1&id=21761&sid=ff7adddc9f0ce40761b8a4c2ff26afe9

 

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
attention’.2
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 http://1.bp.blogspot.com/-j-0oyT3yeUA/UNC-e4mLUFI/AAAAAAAAATk/ij1eNODkPPk/s1600/sketch-book-sketch-leith-hill-jenny-meehan-drawing-web1.jpg

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!  mshazis.blogspot.com 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.

 

http://www.methodist.org.uk/static/artcollection/image41.htm

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 http://www.theartsdesk.com/visual-arts/theartsdesk-qa-artist-maggi-hamblingtheartsdesk 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!

http://www.markelfinearts.com/blog/

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.

https://www.premierchristianity.com/Blog/Steve-Chalke-Why-I-ve-created-a-church-charter-for-gay-marriage

https://www.oasisuk.org/sites/default/files/A%20MATTER%20OF%20INTEGRITY%20Expanded%20version.pdf

 

http://www.acceptingevangelicals.org/

 

Zachary Keeting

http://www.conversationprojectnyc.com/blog/2016/5/21/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!

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. 

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 www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com 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:  www.jamartlondon.com

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 

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. 

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

A selection of non objective paintings can be viewed on pinterest:   https://uk.pinterest.com/Jamartlondon/

COPYRIGHT INFORMATION

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

www.jamartlondon.com

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 www.jamartlondon.com

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!)

COPYRIGHT INFORMATION FOR OTHER IMAGES

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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