jenny meehan art prints abstract digital collage First Day; Morning abstract art image licensable ©jenny meehan all rights reserved
Art Journal Post May 2019 by Jenny Meehan
First Day; Morning
Above: First Day; Morning. Archival Quality Digital Print.
I’m just sorting out some digital prints ready for this years Kingston Artists’ Open Studios. “First Day; Morning” is one of them. I’ve become fascinated with the circle as a geometric shape and am using it increasingly in my art working. Yet my ongoing interest in texture and surface persist.
In the run up to the Open Studios most of my focus is on organisation at the moment, as well as reviewing work and deciding what to show. It’s a busy time, but rewarding. There’s the odd conflict between selecting work that I hope might sell and selecting work which I personally want to spent a couple of weekends looking at! I do need to sell artwork. Money is needed. And space is needed!
I’m in the mood for writing now, so I’m going for it! I’d like to write more in the future but for now the “meandering discourse” serves me best for it’s function. It isn’t particularly focused in respect to editing, honing, and shaping. It never was meant to be something which stood on it’s own two feet. Rather, it’s a brook through my mind and thinking; sometimes feeling and often meeting an artwork here and there. Not showing art in a conclusive way, but simply being something useful for me to look back on.
Indeed, I do look back at past journal posts from time to time. And it serves it’s purpose. It works as a kind of gauge of directions. It shows movement in other areas, even though it moves itself. It leaves an indentation, which is easier to see when looking backwards.
jenny meehan art prints abstract digital collage ©jenny meehan all rights reserved First Day; Evening
“First Day; Morning” and “First Day Evening” will be available for sale at this year’s Kingston Artists’ Open Studios!
Sean Scully
I enjoyed the recent programme on Sean Scully. Interesting quote:
He admits to being a bit surprised that his stature has not just endured but grown exponentially. “I think it’s a question of the way the cultural ocean moves,” he explains. “Painting has made a huge comeback. There’s a whole generation of curators out there who are young, but they’re sick and tired of conceptual art, they’re interested in things that are actually made. So all over, in South America, in China, there’s a return to a world of emotional materiality in painting. In a way I was waiting for this to happen for a long time, but no longer.”
https://www.google.com/amp/s/www.irishtimes.com/culture/art-and-design/visual-art/artist-sean-scully-it-s-about-stacking-putting-things-in-order-1.3642099%3fmode=amp
Sat, Sep 29, 2018, 05:00. Article written by Aiden Dunne
Read the whole article.
He certainly has plenty of room (and studios in the plural!) to paint in!
“A mysterious embodiment, it remains silent, yet potentially potent, whilst never entirely giving up its mystery.” On painting, from Metaphor
On abstract painting and music….Kevin Power / Sean Scully October 2, 2002
(Questions to Sean Scully on the occasion of Encuentro, Mudial de Las Artes,
Valencia October 3-6 2002)
“It is sometimes said that all art aspires to the condition of
music. I would like my art to aspire to something like the condition of music:
but a condition that can be felt and experienced in a deep moment. I think
with painting you can get rid of the problem of time. You can feel it abstracted
in the rhythms, in the layers of the painting; but you are, for your moment,
free.
I do believe abstraction is and was meant to embody deep emotion. I believe
that’s its job, in the history of art. The edges of the character and forms in my
paintings should lie against and with each other, with complexity and
emotional depth. Naturally one feels time in my work, because it is layered. It
is repainted many times, in different colors and weights of paint, always by
me: until somehow everything lives, however gracefully or awkwardly, in its
right place. So it’s a façade, but it’s a façade that submits to feeling or is
overwhelmed by it: since nothing is perfect.”
This is something I wish I heard more often:
“You have talked about yourself as a ‘romantic realist”, a stance that given our
present circumstances is not easy to sustain both on account of the geo political changes
taking place in the world and because numerous philosophers seem to be questioning the
gains of our Western humanist tradition to which such an attitude clearly belongs. How
do you see the real as now penetrating the romantic frame through which you “feel” the
world?
This is a very big question, a question about which one could write a book. I
am very aware that the romantic is now seen to be of limited relevance.
However, I have attempted to articulate my idealistic sense of romanticism in
the world, as it is, with its problems now. Without giving up on my true
personal feeling. To say it simply, I think it’s not only possible, but important to
offer a deeply felt example of a humanistic art form: in a world that has
become extremely cynical. I have lived through many changes, social and
political, that have affected me and changed me. However, my art is trying to
address something eternal and universal. So however difficult it may be for
someone with my sense of connection (connectedness) to continue to offer
an idealistic/humanistic view, I have to keep doing it. In fact, the worse it gets,
the more crucial it is to offer it.
I hope my work can stand as an example of another possibility. I realized,
when I moved out of the political arena in my radical days, that I would
experience as an artist moments of guilt and impotence.”
You can watch it here if and when it’s available again on the BBC player.
https://www.bbc.co.uk/iplayer/episode/m00041pb/unstoppable-sean-scully-and-the-art-of-everything
Signs of the Times Continues!
One of the great things about art working is the way that things develop over time. I think it may be the best! I love the way I get new perspectives on things I have done often several years ago.
The “Signs of the Times” strand of experimentation is something I started a few years back, but set me off on a useful path into working with flat surfaces and geometric elements. This is a welcome change from the lyrical abstraction. It’s very easily possible to become over saturated with one aspect of your work. Contrasts and changes, trying new mediums, and keeping an open mind are essential in artistic creation. Concepts are all well and good, but the tree of ideas grows from the art working, in my opinion. Life and its experiences enter the life of the artist and strange things happen there! Well, this is the approach which works for me.
There are many others ways into creativity. It can work in so many other ways too. I find openness and flow essential in my own creativity process. Openness and flow involve a fair amount of trust, risk, and uncertainty. We get to know our materials well. We need to also get to know ourselves well. Because what we do comes from deep within us. It cannot come from anywhere else in the end. And life changes. It changes us. And the work of any artist evolves along with everything else.
The night time version, maybe calm moment in the dark, partner of calm moment in the light! © Jenny Meehan.
Above is one example of my series “Signs of the Times”: Geometric abstraction experiments carried out using vector graphics software. It was a delight to try communicating simple phrases and emotions visually in an abstract form, making simple yet emblematic pieces of affordable art. Affordable because the artwork is printed via Redbubble.com, which is a print on demand site.
Yes, it may not be very “fine arty” in the exclusive sense, but it’s no less fine art because it is accessible. I have grown tired of the whole idea of value and art. What I mean is, the connection (which is sometimes made, though not by all people) that if something is very expensive and out of reach it is somehow more well, “art”. The reality is that sites like Redbubble.com make the work of artists very accessible.
When people buy products on Redbubble.com, for example, they may be buying a potentially mass produced item, BUT, and it’s a big but, the design and the artwork on the items is far from mass produced because Redbubble is a print on demand fulfilment company. Prints are only made as ordered. A print may be potentially available on Redbubble.com, but that doesn’t mean that lots and lots of prints are going to be sold.
Far from it, because thankfully the world is FULL of marvellous artists. So full, in fact, that most of us only occasionally sell now and again. So the items which people buy on Redbubble.com could quite easily be “one-offs”. Yes, there is no limiting of editions, (the traditional way of restricting prints executed in the traditional manner) but if someone is looking for a piece of art by an artist, they could consider buying something through a print-on-demand site. They may well be getting a totally unique object which ends up being a “one-off”, even though it is not marketed as such.
The appearance of one of my own artworks through the avenue of Redbubble.com is a choice I have made most purposefully. It reflects my feelings and values. It’s part of how I operate, and not just for practical reasons. There are practical reasons. I carefully selected Redbubble.com because of the quality of the products as they met my own requirements for forms that my artwork might be re-presented through.
Yes, I also have my original paintings, and sometimes I sell those. I also sometimes sell signed numbered (but not limited edition) prints. But I have no time or desire to do things which distract me from my main focus of innovation, creation, experimentation, and development.
https://www.redbubble.com/people/jennyjimjams/shop
Digital printing is a whole new world!
Part of my thinking in this kind of direction also leads me to an interest in using substrates which are generally utilised in distinctly “non-fine art” realms. Banners and advertising boards. Company promotional material product materials and equipment. Printing is now so wonderful! So much is possible which was not possible before! We see such much printed matter all around us. So many interesting surfaces and substrates.
Do I feel that I somehow debase my art work by presenting it on materials used for advertising? Not one little bit. Why should I? This is the matter we meet in our daily life and it should be the material of fine art too. Why not? It’s a most definite form, and we associate it with one type of activity but that doesn’t mean it cannot be associated with another. The longevity possible now, and the quality of printing and inks has come such a long way. It’s amazing! Exciting! Fantastic! If I had more money available to spend, I would be printing my work on many more substrates than I use at present…if it suited the realisation aptly!
Maybe there is a kind of redemption going on for me in this desire? For our desires are so much influenced by what is around us.
“A successful advertising message transcends the audience perceptions of needs and wants. It creates an emotional appeal that subtly convinces the audience that the item being promoted will make a difference in their lives by either making them happy, giving them status, satisfying a desire or providing security.”
I like an emotional appeal to a viewer to come from the imagery I create. But because it is what it is. And it can be to them how they wish it to be. It’s always good when someone connects and it’s helpful to me if they decide they want to buy something. (Why not?) But to replace advertising with my own imagery and take over the territory, even in just a very small way…As a gesture maybe? It feels good to do this. Maybe I have moved myself from the position of passive object of the advertising to the active subject in some sense? I won’t be told what I desire…(I am sure I often am! Not advertising proof!) I will put my expression, the product of my own desire to create, on substrates/objects/forms associated in our minds with advertising.
It’s nothing new. But I need to think it through, so I am doing so.
On a slightly different, but allied tack…
There are various billboard art projects going on/which have happened. The materials and context are often used to great advantage. There are many themes developed by billboard artists, yet the majority address social issues. There’s a kind of takeover bid…using that advertising space (and so the same media). A kind of graffiti form, with just a bit more of an element of disguise maybe?! Billboard artist use many strategies, including appropriating well known ads to alter meanings, making objects which look and function like adverts, and graffiti over advertisement boards.
There’s often text and a clear concept, rather than something which is abstract expressionist though. I like my work to be in the public realm, but it doesn’t have to have the kind of extent of publication that something with a message would be targeted at. (Though wouldn’t the world look lovely if all the adverts were removed? I think we would probably feel all a lot better to be honest.)
So much public space is dominated by the media, corporate culture and advertising.
I’m very fond of the Guerrilla Girls work! (Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world. The group formed in New York City in 1985 with the mission of bringing gender and racial inequality into focus within the greater arts community. The group employs culture jamming in the form of posters, books, billboards, and public appearances to expose discrimination and corruption. (wording from Tate website)
Mmm.
I do remember there being some project I came across years back which put artist’s work up on posters on the tube. Trouble was it did cost quite a lot of money to do so. Nice way to share your work if you can though. I remember coming across some and very much enjoying the fact that I wasn’t being exposed to an advert. Simply a piece of work with a name, which I could look into if I wanted to, but could just enjoy it’s presence in front of my eyes.
And look at this… What an interesting read! Coming from a slightly different angle…Very interesting on “special status”.
https://www.sciencedaily.com/releases/2011/08/110823130029.htm
Fine art in advertising can backfire
Date:
August 23, 2011
Source:
Boston College
Summary:
Fine art has been used for centuries to sell goods and ideas, but a new study finds artwork can lose its special status with consumers if it’s improperly used for product illustration.
“The researchers suggest the responses reflect how humans have evolved to recognize and appreciate art as a special category of expression.
“People have evolved to care about art,” said Hagtvedt. “It is something we have appreciated in all societies known to man, throughout history and pre-history. It is also a magnificent tool for marketers who rely on its communicative power in a thoughtful and honest manner, but those who use it thoughtlessly are not likely to impress anyone.””
Ah! So that’s one way which “fine art” might be utilized, from one direction. Many very successful artists are happy to have their art work used in this way, and often they are very well known ones. While others, far less well known and defensive of the “value” of their work (even though it generates little in the cash sense) may feel horror at the very thought.
It is the sense of being set apart from the objectives of advertising…This is important.
Does my practice of sometimes choosing to manifest my fine art practice on a PVC banner, or in a material form commonly used for advertising change it’s nature at all? No! Why should it? If I think something looks right printed on something commonly used for marketing material, then might I fear it somehow less fine art because of the substrate or the intended purpose of the item when it was manufactured? No, of course not. I can print what I want where ever I want. If it serves the vision and works aesthetically. If the conceptual aspect materialises in line with my intention, then I could print on your bottom and that would be just fine. (Well, maybe not. With consent! I’m sure it’s been done before anyway!).
So the movement of some expressions of my work, which is indeed part of a “fine art” practice, onto objects which are part of everyday life, is a lovely thing, and something I need not ever steer myself away from. Indeed, for many years, I have used table clothes with my digital imagery on them (dye-sublimation printed) in my domestic sphere…There’s been no need for a separation of myself from my art working/results of my art working materialised in every day life. It’s been a necessary combination! I live in an art gallery! It’s called my home. The relative status of such a situation is one thing. Just one thing. Nothing more.
That my home is also my workplace is both great and challenging. It doesn’t offer me the same sense of status (it appears) as someone who works in a separate place, but to be fair, I think that may be partly just an ignorance thing… People don’t recognise what happens in homes as work in the same way they do when activities take place in other buildings. And many people don’t see art working as work. Or indeed, don’t see anything as “work” unless it involves the generation of finances. (However, I have a vague memory that I have probably rambled on about that in some earlier post!)
When writing this artist’s journal, repetition is the name of the game. I’m a stuck record on some things!
I may be digressing a little.
The main thing is that it’s my prerogative to use whatever materials I want, regardless of how they may be normally perceived or used in our culture/society. If, for whatever varied reasons, the appearance of something generated by me on an object of lowly status, be it via Redbubble.com or on an advertising banner, cushion cover, whatever, seems less in value because of it’s form, then so be it. I think maybe just to be aware that artists make very careful choices about what they do, and why: this may help understanding a little. It’s all part of the same thing in the end. What we do. It’s an expression of us. Whoever we are and whatever we do. We all measure up things all the time. Cannot help doing so. But in no way, not one bit, is doing what I do in the way that I do it any kind of indication that I am valuing my artwork any less than someone who only sells to Kings and Queens for large amounts of money. The whole value thing is an illusion. I kind of enjoy breaking through it a little bit. That’s all.
And redemption. Buying back the territory a little bit. I have become so tired of all this advertising so much in my face all the time. Isn’t it tiresome? Isn’t it relentless? Persistent! It’s a pest.
Final point; If you want to collect artists work, then please don’t shun any options you have to get the artwork which you want. It’s great to have an original piece of art, but also good to have examples of the artists you collect, across many of the mediums they use.
Nowadays print is a medium which cannot be ignored and there are many artists who see through the “value” goldfish bowl and the marketing strategies which often get used by art dealers, etc and which dictate more than they should what art collectors feel is worth collecting.
Realise the artificial constructs which are in operation. If you collect art, collect it because you love collecting the art you love to collect, and collect it in all forms, regardless of status or perceived value. The value is what it says to you and means to you.
London Downpour Painting – Jenny Meehan
We are a little past March and April now, but as I have been working on some editing of past writing “Some Kind of Narrative” my mind has taken me right back to the passage in my life, in 2012, when I started working with a therapist and started along the long road of recovery from much too much trauma! Trauma in early life, I discovered, has a habit of sticking with you, even when you would like to leave it behind. I continue in therapy. But looking back, I can appreciate all the work I have done, and I am reaping the rewards of it too.
And so my recollections dug up this painting for me. It was painted during 2012. I went into London twice a week for psychotherapy then. I met my therapist at the Guild of Psychotherapists, Nelson Square, which is not far from the South bank. I would very frequently walk along the river side and often in a state of numbness emotionally. It was exhausting at times. It was nice to sit down and gaze at the water.
And during 2012 there was plenty of water to gaze at, and coming from all directions!
“The 2012 Great Britain and Ireland floods are a series of weather events that affected parts of Great Britain and Ireland periodically during the course of 2012 and on through the winter into 2013. The beginning of 2012 saw much of the United Kingdom experiencing droughts and a heat wave in March. A series of low pressure systems steered by the jet stream brought the wettest April in 100 years, and flooding across Britain and Ireland. Continuing through May and leading to the wettest beginning to June in 150 years, with flooding and extreme events occurring periodically throughout Britain and parts of Atlantic Europe.”
The wettest April in 100 years!
The painting “London Downpour” was painted over several months. I always paint in a piecemeal fashion. Very rarely do I paint from start to finish. The London Downpour painting was exhibited at The Strand Gallery in June 2013 and was brought by a collector, Roger Lewis. Roger Lewis is a Welsh academic, biographer and journalist. I was very glad of this sale. Not only for myself and him (for it’s always a happy occasion when a person finds a painting they love) but for the charity to which I donated a portion of the price, as part of the arrangement, as was suggested by the exhibition organisers. The painting is a good example of some of the main elements I was experimenting with at the time, and it has its roots in my London trips for psychotherapy started in 2012.
I find it wonderfully encouraging that Roger Lewis, who has written for The Oldie Magazine, brought my painting in 2013 and the following year, Nigel Fountain, who is also a writer (he was also writing for The Oldie Magazine!), then meets me by pure chance sitting by the Thames in the very place so much of my post therapy recovery time was spent. It’s the case that the painting Roger Lewis brought, and the article Nigel Fountain then wrote, are both rooted in that place and phase of my life and both these writers were a blessing and encouragement to me in their own ways, one by buying my painting and the other by hearing my life story! It’s also true that I probably wouldn’t have trusted Nigel Fountain enough to agree to be interviewed by him if I had not already heard of The Oldie Magazine. It was only that I had heard of it that I thought he was making a genuine request and not just some strange, odd man that I shouldn’t trust to talk to!
The year before meeting Nigel Fountain, I had needed to leave the painting London Downpour to be collected by Roger Lewis at an Oldie Magazine Event, and so I knew about The Oldie Magazine because of that. If I hadn’t sold the painting and needed to leave it there, I’m pretty sure I wouldn’t have agreed to the interview because I wouldn’t have trusted what Nigel Fountain was saying to me about his reasons for asking me for an interview being because he was writing a series of articles for The Oldie Magazine! Because I’d come across the magazine via Roger Lewis buying my work, It was familiar and I realised the request was genuine.
I feel now, on reflection, that as I continue to put my energies into writing a bit more myself, my running into two very excellent writers so randomly but with such positive results is a good encouragement and a reminder of providence which I often look back on with fondness.
London Downpour- Jenny Meehan painting abstraction at The Strand Gallery London as part of “Lines” visual art exhibition. Lyrical and geometric abstraction painting southbank london from the imagination! painted in a process-led, intuitive guided fashion, external impressions from regular trips to London appear to have seeped into my subconscious!
Floating…. Yes, this is a strand I continued with. Solids and liquids… yes, another. Water… yes, that too. Formal elements…experimenting with paint continued and developed; textural elements becoming even more important and refined over time.
Mostly resonating with those walks along the Thames. Which looks quite different now! The sooty feeling of London. Always felt it on your skin. A contrast of buildings and water.
The paint is acrylic, but I see carefully balanced with earths… So important, because otherwise acrylic paint can be far too loud for a restful painting.
jenny meehan artist talk at st joachim’s catholic primary school 2014 on painting techniques used in london downpour painting
I later gave a talk at a primary school and shared a little about how the painting was created. Funny being in a classroom again. I used to be a primary school teacher.
Kingston Artist’s Open Studios 2019 in June!
Kingston upon Thames in Surrey has a lovely hub of artists and each year we show our work, dotted around different venues in Kingston Upon Thames.
Open Studios in Kingston is a collaborative public exhibition whereby local artists and makers open their own homes or studios to the public and exhibit their work.
The Open Studio venues are organised into art trails in and around Kingston, featuring a wide range of 2D and 3D work – painting, drawing, printmaking, sculpture, ceramics, glass, photography, digital art, textiles, paper art and mixed media.
This is a perfect opportunity to meet local creators, see their work, talk to them about their techniques and inspirations and buy affordable art direct from the artist.
British Lyrical Abstract Paintings
2019 Open Studios in Kingston will be taking place on 8/9th and 15/16th June
from 11am to 5pm each day.
There is a super video which was made last year which gives you an idea of what Kingston Artist’s Open Studios is all about!
Do come along!
“If funders truly believe in the humanistic value of the arts, they must not compel artists to merely adopt the practices of for-profit entrepreneurs. They must advocate for the value in what artists already do: bringing the artistic imagination more fully into everyday life and making creative expression a fundamental human right. They must resist the inexorable logic of the so-called free market, and advocate for the fundamental core value that there are things in this world that are not for profit – they are for something else, something more vast, meaningful and enduring, and that artists can lead the way.”
Quote from Andrew Horwitz
Had to pop that in here… So good. So true!
The downside is we live in a culture which fundamentally devalues artists.
Buy Original British Abstract Contemporary Art
You can buy Original Art by Jenny Meehan AKA jennyjimjams!
Buying art directly from artists is a great way to help support creatives and brings a lot of happiness!
Original paintings by fine artist jenny meehan AKA jennyjimjams
You can buy my original paintings directly from me personally.
Price range of my original fine art is between £400 and £900. Larger original paintings (up to around A1) are at the top end with smaller original paintings being around the £400 mark.
It’s the combination of the artwork and your own imagination, thoughts, and feelings, which bring a special dimension to a piece of art… It meant something to me in the making, and then it goes to its new life in your life.
I love to sell my artworks… I need the money, of course, but equally its a great pleasure to see what I have created bring pleasure to others.
For people who find my work life enhancing but are restricted to a smaller budget, I have a large selection of my art and design on the print on demand marketplace Redbubble, and this enables people to purchase unsigned art prints of selected artworks for well under £200. Indeed, prints start at around £12, making the Redbubble site an accessible avenue for many to enjoy the fruit of my labour!
A Poem of Panes
It was only when they shattered
I felt the panes of glass between the window frame.
Those who knew me
could not see through my eyes.
I am aware of the surface, and of my own sinking.
I set my face forward,
but cannot progress.
They call my brother’s head injury “the invisible disability”.
The impact of one, booted, blow
also
unseen
in me.
Jenny Meehan 2014
The artwork I produce often relates to my psychological and emotional recovery journey, which is related to past trauma. In this instance, the full realisation of the impact of my brother’s traumatic brain injury on his personality and functioning, our relationship, and of its effect on my own mental capacity, made several years of my life exceptionally difficult.
A major part of the difficulty was my inability to express what I was going through. Though able to function through the depression and anxiety (sometimes “just about”) , my awareness was that of being disabled internally, due to the shattering of my sense of self, and the isolation I felt. This is something I will never forget . Art can be a wonderful and powerful communicator of a person’s journey.
I’m working through my own traumas, and very grateful to be able to do so. There is an image for the above poem, but it’s way back in the archives and I’m a bit pressed for time today, but I can dig it up in the future and I will post it. It is the case that it is often far easier for me to create visual art and write than it is to verbally speak about my own experiences. I am sure this is very true for a large number of people. While I can talk to a certain extent, it is far easier not to. I do have an ongoing interest in trauma and recovery which just seems to continue and certainly stretches far beyond my own experience.
I think it’s brilliant that mental health is more in the spotlight than it has been previously and there certainly is less stigma about it. Here is an excellent read below. I have just included a short extract here, but do follow the link to read the whole article.
People whose work does not involved repeated encounters with survivors of trauma frequently either cannot believe, or refuse to believe how common it is. For years it’s been assumed that people invented stories of trauma to excuse bad behaviour. The medical profession bears a lot of responsibility for this, largely ignoring the psychological consequences of rape until the last 30 years.”
Into the Studio Tent for 2019!
Yes! As the weather warms and I begin to tidy up the mess, so the studio tent becomes a place of artistic production!
Feeling GREAT!
Another good read…
One of my keen interests … I guess that’s what comes of having an exceptionally high ACE score myself! Lol! This is a great read, and very heartening! I have come a long way myself, but it’s a rough road to travel on, and exceptionally challenging at times! All worth while work though.
Jenny Meehan Art
My original artwork has two main strands: Lyrical Abstraction, which I’d painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction, which is currently created through digital imaging software in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces.
While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity. I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!
All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance.
Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative. Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious. It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art. I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.
Jenny Meehan - Art Journal 