Venus de Milo – Thelma – “The Night Woman” by Julene Robinson – Spiritual Formation – Women in Revolt at Tate Britain – Dr Roger Walsh Quote
December 1, 2023
MY body and MY art
I’m currently realising how much mental and emotional trauma impacts physical bodies as much as mind and heart at the moment. So many people write on this topic, yet for me the simple realisation that I’m still holding onto emotions I can release, if I give myself permission, is all I really need to know in practice. However, it is interesting to look at work I have carried out with a deeper understanding maybe of the purpose it was serving for me?
When I am painting I often dance or do some yoga moves, especially if I am experimenting with paint on different surfaces and playing around with paint application rather than attempting to pull an image together. I find it helpful as I do get some pain and discomfort at times when my bones seem to protest… Its osteoarthritis coming into play and moving is the best thing to do in response.
Thelma Sculpture
Thelma – “Her Water Supply was Cut Off, but her Spirit was Strong”
I’ve got Thelma out of her box. The brown wax version. I’m not sure what to do with her now. But I’m tempted to play. I haven’t worked on anything three dimensional for a while!
The plaster version of her became Exhibit Two: “Venus de Milo”, a sculpture I’ve shared on this blog more than once I suspect. It’s part of a series of three artworks: Exhibit 1: “The ruined woman” (a painting) Exhibit Two: “Venus de Milo” (plaster sculpture) and Exhibit Three: “Violence Vigil – Watch and Pray”.(video)
Above images show different angles of “Venus de Milo” by Jenny Meehan. It’s plaster and coated with beautiful Keim Mineral Paint, Soldalit the be precise, which is a Sol-Silicate paint.
The three works together are under the title “Evidence” and I made this collection of three works, inspired by watching a few information videos on the work of a forensic scientist and what they need to do when they get to a crime scene.
I discussed the artworks in one of my Psychotherapy sessions in 2021 and the session helped me to discern what was the symbolic resonance for me. It may sound strange, as rape is obviously a crime, but when a person is deeply traumatised and has been a victim of violence many times over in their lives, to normalise a criminal violation by blocking out the reality and depth of the transgression, I think this is something many people can relate to, sadly.
I can write about the other artworks in another post, but I will stick with the Exhibit Two: “Venus de Milo” for the time being.
My plaster sculpture had been nameless for a long time. It was sitting in a box in the cupboard for several years. It’s made of plaster and coated with the wonderful Keim Soldalit Sol-silicate mineral paint which I love so much. Its on a wooden base with cotton cloth, again soaked in the Keim Soldalit paint which is beautifully soft and highly light reflective. Matt to perfection.
The emotional, psychological, and spiritual gravity of it, maybe because it’s a physical object, has always been, and still is, hard for me to comprehend and take in fully, which made giving it a name extremely difficult. In my therapy session, even looking at an image of it was extremely overwhelming.
Venus de Milo’s broken off arm is her characteristic feature! An unfortunate accident with my plaster Thelma figure… (In which her head fell off because the plaster was not fully dry when I picked her up by her head!), led to me then deciding to snap off a piece from her already truncated arm. Life’s like that, it seems… No one or no thing is exempt, however beautiful, and of whatever status!
In her brokenness, I accepted her; let’s face it, what makes Venus de Milo unique is her broken arm. Without that, she just be another nice statue. Another nice female goddess. There are so many!
There is also a connection between “The Ruined Woman” (colour painting and black and white print) and “Venus de Milo”… A strange dialectic between the (idealised) goddess and the broken (real) woman. The woman is “ruined” in the historic sense of the phrase, solely because she has had sex out of wedlock.
And there is the other, deeply tragic and traumatic, ruination of a sense of self that comes to someone through the criminal act of rape, (and other forms of violent crime) which is far more destructive and a greater loss than can ever be seen from the outside looking in.
Exhibit 3 “Violence Vigil – Watch and Pray” can be viewed in my you tube channel.
So that’s the three artworks in the “Evidence” series. After completing the sculpture “Venus de Milo” I then used it along with my poem “Bandage Box” in the short film “Artefact/Artifact”
Looking back now to the beginnings…
Here are some images below of the earlier sculpture in wax variations. (Way back in 2014!) The images show it’s varied expressions/manifestations, but it looks rather different now, as I changed a lot in order to make it suitable for casting!
Early images taken in studio on course…
The life model for the course was a lovely lady, Thelma Purcell, and it was only right to keep her name to this sculpture, as she inspired its first stages not only my means of her life pose but also in conversation and personality. The theme of water and fluidity came from her practical household problem of having no water supply!
Then later experiments
It’s went through several phases.. including a female bishop (in celebration of the ordination of women bishops).
The story behind “Thelma – Her Water Supply was Cut Off, but her Spirit was Strong” (which is the title at the stage shown below!) lies in the experiences of the life model, who, in the midst of the hot and roasting heat we experienced at the end of July 2014, had to endure the stoppage of her flat’s water supply! Her lovely character though didn’t suffer, and while I was working on my brown wax sculpture the theme of water emerged… of flow, and of fluidity.
I joked how lovely it would be to have a wonderful fine spray of water falling down from above… I thought that I may well play with this thought as I continued.
The sculpture was carried out on a three day course at Morley College taught by Shelley Wilson. This was a complete joy, as I had wanted to learn about constructing an armature and working with wax for years. I do find it very important to try and do one short course each year if possible, or if not possible, at least a few sessions of life drawing. It keeps things fresh, and makes the mind think of new directions and new possibilities.
I continued to work with the sculpture and the sculpture took on more than one life of it’s own. With the need to fill in some areas due to my desire to cast the sculpture, I then let other ideas emerge. The sculpture went from it’s very watery focus, with it’s root in the memory of the model herself, Thelma Purcell, and then took several other forms…Such is the wonder of modelling with brown wax, I found. It’s so flexible.
With many gaps filled in, a greater sense of body came to be. This was a great process…quite therapeutic. This is what psychotherapy does for me, I was thinking…That patient fleshing out and filling in of my sense of self. Healing. A kind of spiritual formation process… and, for a Christ believer, as I am, all the art working I do is a sacramental practice. An outer sign of an inward grace. A sign of Christ’s work, on the cross, and in the world, through the Holy Spirit. This kind of thinking brought me swiftly to the very topical matter of the ordination of women bishops in the Church of England…and one of the versions of Thelma, as you see, took the form of a female bishop!
If you enjoy my content and would like to encourage me through material means I’d be very grateful. There isn’t the option for me to thank you via PayPal, so ‘Thank You’ from me in advance if you decide you want to do this!
“The Night Woman” by Julene Robinson
I had a wonderful time at The Barbican recently. It’s one of my favourite places! I saw a performance of “The Night Woman” by Julene Robinson. It was showing in The Pit from Thu 19—Sat 21 Oct 2023. I feel privileged to have seen it, and I hope she makes a book or something else from it because it was very a powerful, deep, and healing piece of work and performance. It’s described as so :
“A compelling new play about the power of Black womanhood, darkness and the redemptive power of self-love, told through captivating fusion of dance, singing and music.
Inspired by the true story of Robinson’s grandmother who was shunned and ostracised to the dark corners of post colonial Jamaica due to her African spiritual beliefs, The Night Woman acts as a reminder that even though misery and suffering exist in the darkness, it’s also where love is made and resistance is formed.
Skilfully portraying three different women who’ve found strength in unexpected places, Robinson guides the audience on an exhilarating journey transitioning through time and generations ending in our present day, with Jamaican folk songs and Afro-Caribbean movement taking centre stage.
Julene Robinson (The Witcher, Get up, Stand Up!) is an award-winning writer and performer. The Night Woman was developed as part of the Barbican Open Lab programme.”
I stayed for the questions afterwards and discovered that Julene made the costumes and devised the set also. I was particularly interested in her use of rope because I have researched the use of rope (sometimes called shibari) used specifically as a healing modality, in a focused, non sexual context. The centre piece in the set was a rope structure which made me think of both a tree and a placenta.
She started with rope on one arm, which she then transferred to the other, in a powerful visual symbol, of the things which bind one generation being passed to the other (my understanding/perception.. Unfortunately not enough time to ask about the rope symbolism as she intended more precisely!).
In a later section she removed it, but then there was a self flagellation scene with a rope whip, where her self hatred, will to die, and a descent into total despair within an innermost psychological darkness, was expressed in a deeply moving and resonate way. In the context of the drama, her personal story and it’s themes this was powerful, and multi layered in such a way that I could relate to it intimately even though my skin is a different colour and my family histories have different roots.
Her suffering related to words and actions experienced because of her being a black woman, and a rejection of blackness and darkness on many other levels, including the language and imagery used in the bible in parts, was a profound revelation and vital expression of something important to take note of.
I have often thought about some of the difficulties inherent in a light/dark polarity, for example, in relation to ideas in spirituality. Through my interest in Christian mysticism and depth psychology themes, I’ve explored a little the value of unknowing, of being in the dark, of darkness being a mothering, creative, powerful and positive state… Womb like. Secure.
These, and many other themes and facets of her personal narrative and a wider historical narrative and context, were expressed – too many for me to do justice to in my own personal response here.
Primarily this was a play centred around Black womanhood, which it’s obviously important to stress, even though I’m sharing my personal perspectives here. Yet as a woman, my sense of sisterhood forged an intimacy with the expression on many levels, and I’m a great believer in looking for commonality and connection, rather than differences relationally in my daily life. Oppression comes in many forms, and the abuse of power, instead of respectful mutuality, is a great shame, injuring many throughout history. The work is a triumph in expressing the power of compassionate love, and it’s a great truth that love does triumph.
I’m totally grateful for the opportunity to have seen and experienced “The Night Woman”. Thank you Julene Robinson!
As mentioned earlier, rope was used in many interesting ways and it would be nice to know more about the staging decisions and their inspirations. The beautuful macrame dress she wears as the night woman triumphant to my perception was the transformation of her oppression into a garment of strength and beauty. Perfect!
I know I’ll be continuing to reflect on how rope might be a tool or symbol in embodiment, mindfulness and non- sexual experience/expression. I can see how it might function as a healing modality within a psychotherapeutic framework with a focus on bring held and holding; a holding environment sense, as in the metaphor developed by Donald Winnicott, of a mother holding her baby.
On the topic of darkness, in a biblical context, I found this piece of writing “Darkness is important for your health, and your faith.” by the Rev Ken Cadette. Here’s a quote, but you can find the full article via the link at the end.
“God did not abolish darkness at creation. God added light. But for many, darkness symbolizes all that is negative, harmful, evil and fearful. God gave equal importance and prominence to darkness and light, and all life, including human life, begins and develops in the dark.
Scientists have referenced the importance of darkness in the circadian rhythm — the sleep wake cycle — and they advise that we sleep in the dark. If this dark/sleep cycle is disrupted, our health can be affected. A disrupted circadian rhythm can increase the chances of cardiovascular events, obesity and neurological problems.”
Another snippet..
“Darkness is not a barrier to God. Psalm 139:12 describes God’s response to darkness: “Indeed, the darkness shall not hide from You, But the night shines as the day; The darkness and the light are both alike to You.
We enter darkness to pray as we close our eyes to focus and avoid distractions. This then could be one purpose of spiritual darkness. It is a pulling away from the visions and distractions in the light and focusing the mind and heart on God. Here is where we begin to grow — in the dark.”
The Rev. Victor “Ken” Cadette an ordained minister affiliated with the American Baptist Churches of New Jersey.
Quoted from
47 Nelson Square
Jeff Brown Quote
“When we are young, it’s the illusion of perfection that we fall in love with. As we age, it’s the humanness that we fall in love with- the poignant stories of overcoming, the depthful vulnerability of aging, the struggles that grew us in karmic stature, the way a soul shaped itself to accommodate its circumstances. With less energy to hold up our armor, we are revealed and, in the revealing, we call out to each other’s hearts. Where before wounds turned us off, they are now revealed as proof that God exists. Where we once saw imperfect scars, we now see evidence of a life fully lived.” Jeff Brown
Neil and myself are enjoying getting out and about to various folk and jazz gigs, and though we didn’t go to the one that this video was filmed at, we have really enjoyed a more recent Suntrap gig, plus several others. We are fortunate to have so much opportunity around us to hear great bands and I’m discovering so many beautiful voices and talented musicians, it’s quite amazing how talented people are! Just lovely!
Art Journal Writing
I enjoy writing and talking about my artworking, though I often think of Henry Moore saying ” It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work.”
I heard or read that quote years ago and it has stuck with me. I completely “get” this. However, I love writing, and find that writing a little retrospectively about my artworks is something very helpful. It’s part of a reflective creative practice. Writing is a way of clarifying my thinking sometimes.
I find that, because I have so much work, ( I have numerous works in progress at any one time) my energy doesn’t dissapate in a bad way. If anything, looking back and writing on completed artworks from the near or distant past works as an idea generating tool for the present. Maybe it’s the timing which is important?
There is a lot of emphasis on things being “new”. But newness springs from the ground it’s rooted in, and paying attention to my own personal narrative manifest in past expressions always leads to exciting new directions, without fail. There’s the new perspective of the present time which brings something new into the equation straight away. Possibilities are always limitless!
It’s quite “the thing” nowadays for artists to share their work in progress. Because this is interesting, apparently. But I’m sure there’s an equal number who are quite happy to just view the end result! 😂
I regularly work (with my paintings in particular) in very piecemeal, gradual, and extended process, with work coming out and being put away, over a period of years. Privacy is part of the process. Its like a baby in a womb maybe. Good to keep in the dark and warm before exposure! It’s nice to be able to share some of it online though. Physical galleries are great too, but they don’t always include a lot of interesting information about the context of the art work on show.
Dr Roger Walsh Quote
“One of the great tragedies of our times is that our culture has confused love with addiction. Of course, there are also more mature forms of love, and healthy relationships and families depend on them. Mature love is based more on sufficiency and wholeness than deficiency and fear. But fear-based infatuation and craving for affection are so common and fill so much of the media that we sometimes assume this is all love can be.”
Below are some sections of different examples of my work. I post a lot on Instagram, so do please follow me if you use Instagram!
https://instagram.com/jennymeehan_jennymeehan
Jenny Meehan - Art Journal 