August!

I have been experimenting with egg tempera.  This is painting suited to a small scale of course.  Quite different to what I have been doing over the last few months. From large scale to small, the movement between the two is interesting.  All materials have their strengths and weaknesses.  For larger scale lyrical abstract expressionist painting quick drying acrylics have their advantages.  Yet for smaller scale paintings, it may be that egg tempera might provide an avenue for painting which yields promise.  I like using natural materials.

I experimented with egg tempera at West Dean College this year.  It has encouraged me to continue with my experiments with Keim mineral paints.  A gentle reminder about another strand in my work.  I love silica-sol paint and Keim Optil and Soldalit are lovely.  I dealt with Keim several years back when painting the mural at Trafalgar Junior School.  I used Beeck silicate dispersion paints and also the Keim Soldalit (silica sol paint) for the lines.  I found the Keim Soldalit much easier to use than the Beeck silicate dispersion paint and wished I had painted the whole mural in it.  We live and learn.  Keim were an excellent company to deal with and very helpful with respect to technical information.  I continue to experiment with Optil and Soldalit, on smaller scale paintings at present.  Here is a link to information on that mural.  It was good to teach the children about ecologically friendly paint options and materials.

 

https://jennymeehan.wordpress.com/2011/07/24/trafalgar-junior-school-exterior-wall-mural-painting-images-jenny-meehan/

https://jennymeehan.wordpress.com/2011/09/02/trafalgar-junior-school-exterior-mural-on-playground-wall-finished/

I experimented with making my own watercolour paints last year.  They are still looking good in their pots, thanks to oil of cloves.

West Dean Taster Session with Jon Edgar

One of the highlights of West Dean College for me this year was working in three dimensions during the taster session taught excellently by Jon Edgar.  Stimulating mentally, he facilitated our learning with a exercise involving making a sphere before going on to carve a block of soap.  I am rather pleased with mine.  I really need to do more work in three dimensions.  You can see I enjoyed examining the work afterwards!

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

soap sculpture west dean college jenny meehan

The blue gloves were part of my costume for the evening dinner event…

Gracious, look at those muscles!

Here are the other images from that taster session!

three photos above jon edgar©  for info on his courses see: http://www.jonedgar.co.uk/teaching/?main_selected=teaching

 

Artists writing about their work

As an artist who likes to write about what I do,  I prefer to do this  in a simple and direct manner, with the aim of helping people to engage with my work, rather than scaring them away.  And  I am also someone who engages in meandering ramblings this way and that, here in my journal, because it helps me sort my head out.  And because I can…I enjoy writing… And starting sentences with “and” as much as I want to…The following work on International Art English holds many a jewel! Language is an interesting matter. A matter we work with.

https://www.canopycanopycanopy.com/issues/16/contents/international_art_english

And I read this with wonder, and a certain amount of delight… for this work by David Levine and Alix Rule which “touched off a minor furor with its attempt to prove scientifically that the art world was a hive of pompous windbags”  is rather beautifully true.   It’s not a new piece of writing, and I remember  reading a little about it nearer to the time it was written.  However, the current of writing about art which is hard to understand, continues none the less, with vigour.  Maybe it is simply because it SOUNDS clever.  I would rather sound straightforward.  And be thought less intelligent or academic as a result.  It does not bother me.

I am sure I could compose some clever paragraphs which made me sound more intelligent than I am, but I would betray myself and others in the process.  And if that “intelligence” is some kind of delusion anyway,  or a mystic aspiration to enter a world which does not exist,(or even does, but I have no interest in) then that too seems a bad idea.  And, I would be ashamed of myself if I ever used “International Art English” for my own work.  If you ever catch me doing so, pick me up on it.  Back to the work in question.

They attempted to prove that  “the official language of art was a linguistically meaningless jumble of buzzwords written in a tortured style imported from French theory, a claim the authors said they could verify through running 13 years of press releases through a computer.”  (quotes from http://www.blouinartinfo.com/news/story/911210/international-art-english-the-joke-that-forgot-it-was-funny

written by BY BEN DAVIS | JUNE 06, 2013  Follow link to read the whole article.  It’s an interesting read.

My take on this  is simply a kind of relief and pleasure on reading https://www.canopycanopycanopy.com/issues/16/contents/international_art_english

and in looking into this a little, I found the following…Which added to the enjoyment:

https://careersuicideblog.wordpress.com/artbollocks-bingo/

I like ALL of the https://www.canopycanopycanopy.com/issues/16/contents/international_art_english , but this caught my eye:

“But not everyone has the same capacity to approximate. It’s often a mistake to read art writing
for its literal content; IAE can communicate beautifully without it. Good readers are quite sensitive to the language’s impoverished variants. An exhibition guide for a recent New York City MFA show, written by the school’s art-history master’s students, reads: “According to [the artist] the act of making objects enables her to control the past and present.” IAE of insufficient complexity sounds both better and worse: It can be more lucid, so its assertions risk appearing more obviously ludicrous. On the other hand, we’re apt to be intimidated by virtuosic usage, no matter what we think it means.”

I wonder what the greatest crime might be in the realm of International Art English. It might be something like “I did this because I felt like it”!  Or, “I did this picture for you.”  Or “I had a lot of this colour of paint left over, and I wanted to use it up.”  Or “I didn’t have a clue about what I was doing, to be honest.”

“I didn’t have a clue about what I was doing, to be honest.” is probably the best one, I think.  Yet, when pushing boundaries in painting, it may be the most helpful attitude to have.  I am not dismissing thinking analytically about one’s work and what it means. And history is very important.  Relating your work to what has happened and is happening from time to time is good.  But in the end the meaning in the most intimate sense is very personal and cannot be disconnected from ones self  and one’s experiences and situation.  The real context is, essentially, pretty small.  References and relationships can be made beyond that, because it is interesting, can be fun, and it is good to apply what we do to other situations.  Maybe this is because it enables both us, and others, to experiment with looking at what we do/produce from different angles. This may also open up new, related ways of looking at things, perceiving and understanding aspects of experience, which enrich us all.  AND we all want to be relevant and contemporary. That kind of sounds so good.   The reality is, that you don’t have to try and be contemporary, because you just ARE if you live in the here and now!!!!

There are times when I am working on something that I do know what I am doing…I feel I have to add that into the pot.  Sometimes I work with a design…I don’t mean a physical one, but a mental plan, and I do have an idea of where I am going with it.  But normally the brain work attached to my art work comes AFTER I have created it.  Not before.  It is a bit like something landing in a pool and ripples coming out from it.  You spend time looking at what kind of effect it is making, and then how those ripples relate to what is going on with yourself and the world around you.  THEN you might write about it.  But I would not want to pretend that I know what I am doing when I do it, because most of the time I don’t.  Is not that true of life generally?  Don’t we often look back, and then see what was going on in retrospect?

We need distance, when viewing art work, but not a distance created artificially by language which promises to open up our eyes to a vision beyond ourselves, but is, in reality, a mirage bearing no kind of nourishment at all.

I was chatting to a gallery owner in London recently, and she told me that for the Royal Academy Summer Exhibition artists now have to write a short statement about their work if they get past the first stage.  I didn’t know this, as I haven’t entered the Royal Academy Summer Exhibition for years.  I did realise they have changed the way they organise things, because there is now a digital image submission for the first stage.  I felt initially that this was good, because a lot less hassle practically, but in reflection of my conversation with the gallery owner, it is very  true that some paintings don’t look as good in a digital image as they do in real life, and some look much better than they do in the flesh!

I think some of my very textured lyrical abstract expressionist paintings would stand to lose a lot when viewed in an image.   Really need a few images in different lighting to see the paintings, especially as they are painted to be seen in different types of lighting across the day. Those different finishes I use sometimes cannot be appreciated at all in a digital image.  And there is always a huge distortion of colour, especially with reds and blues, plus the type of light the digital image of the painting is taken in.  When I produce images of my paintings I don’t spent ages matching the colours perfectly, because I don’t have any aim to make accurate reproduction prints.  I tend to see the digital image of my paintings as a separate entity and often develop the image as such.  However I do correct to some degree, having the painting in view as I make the adjustments.  I normally ensure levels are true, adjust the colour balance to remove the blue tinge which they carry, and adjust any prominent discrepancies which occur… just the obvious.. normally blue and red need attention.  So this gives me a reasonable reproduction suitable for use in conveying what the painting looks like.

However, not all artists will have the skill or knowledge to do this, and therefore this may be a stumbling block.  The other matter, that of providing an  artists statement for the submission to the Royal Academy Summer Exhibition isn’t something which is difficult for me personally, with my degree in Literature and love of writing, I enjoy analysing what is happening with my work and what it means, and how it resonates for me.  It’s part of the process I enjoy.  However it is the case that there are many exceptionally talented artists, experts in visual expression, representation, and highly skilled in the craft of painting, who have huge problems with written expression.  It is a different art form, and they may find themselves disadvantaged by the new process.

I guess I had better start entering paintings into the Royal Academy  Summer Exhibition.  I have found the cost a little prohibitive, but as I am so near London, it may be foolish not to randomly enter something now and again.  It doesn’t matter so much to me… it would be a bit of a buzz, though in reality the whole thing is a bit of a lottery, and down to luck.  It’s not really an endorsement of the quality of ones work.  Just a super event and very creative and inspiring.  A showcase in the finest sense.  But it might be nice to try.  I don’t gamble in any other area of my life, ie don’t do lottery tickets or anything else betting wise!  And on the hanging day, it really is about what fits. Could be a good fit.  Could not.  Nothing to do with the actual art work.  But as this kind of thing matters to collectors and lovers of fine art,  and they see it as being an endorsement, I probably should have a few bashes at it.  Will look good!  Even if not that meaningful as a validation in the direct sense of the word.   I would like to go to the church service. That would mean the most to me personally.

 

Technical Interest Regarding Resins

I have been wondering if there a difference between polyester, acrylic, and epoxy resins.   I do experiment from time to time with new materials, as I believe this is important in order to keep things fresh.  While using acrylic emulsion, which is the basis of acrylic paint,  I have only dipped my feet in using acrylic resin, in the form of Rosco clear acrylic gloss which I mix with pigments and paints sometimes.  Plus also using a hot melt adhesive (HMA), (also known as hot glue) which is a form of thermoplastic adhesive that is commonly supplied in solid cylindrical sticks.  I used the hot melt glue in this painting:

 

© Jenny Meehan DACS All Rights Reserved lyrical abstract expressionist colourful textural art painting spirituality christian religious faith licensable image book covers etc see jamartlondon.com

joy pain painting by jenny meehan© Jenny Meehan DACS All Rights Reserved lyrical abstract expressionist colourful textural art painting spirituality christian religious faith licensable image book covers etc see jamartlondon.com

 

I am still thinking about this painting, therefore it is still in progress.  There may be some minor alterations to make.

jenny meehan abstract expressionist painting licensable art images book covers   detail of joy pain

Acrylic resin is a thermoplastic, which means it is one of a group of plastics which can be heated and manipulated repeatedly, whereas polyester resin and epoxy are thermosetting plastics, which use heat or a catalyst to solidify into a solid mass that won’t melt down.  Acrylic is mixed from acrylic polymer, a dry powder, a methyl methacrylate monomer, a thin liquid, and usually an organic peroxide hardener of some sort.

Polyester resin is a syrupy clear liquid, and is mixed with a small but variable amount of a strong catalyst, which causes the curing mass to heat up (and to craze if you’ve added too much.) It is versatile stuff, being useful for coating, casting, and building up composites, usually in conjunction with fiberglass cloth. It is not as hard or as clear as acrylic, having a somewhat yellowish tinge to it. And it—and especially the catalyst—is also highly toxic, and is persistently evil-smelling as well.

Epoxy resin works similarly, doesn’t smell as bad, but it—and the hardener that makes it set—is a sensitizer, meaning that you can get a nasty allergic reaction after repeated exposure. Some hardeners are not as bad as others in this respect. Epoxy won’t set water-clear like acrylic, and doesn’t resist sunlight (UV) degradation as well.,

Almost any dry pigment can be used to colour these resins, as well as various inert fillers which also add colour; there are also special polyester dyes available. It can be made opaque or transparent—acrylic is used for casting “plexiglas” sheets, among other clear things.

I am interested in the problem of yellowing, which is a problem when using these materials clear without colouration. Even if you start with a clear resin, this does not necessarily mean ‘colour free’. Some clear resins will have a yellow tint to them, which varies depending on the kind of resin. If you’re unsure about how clear the resin is  be sure to check with the retailer or manufacturer before making a purchase. Know that the clearer and more colour free the resin, the more it will cost because it is extra expense to remove the impurities. If you don’t need it clear you may even want to consider using an opaque resin, which will save you some money.

I have some Epoxy Glosscoat made by Vosschemie which I brought from Tiranti, but I have not tried it out as yet. It is a solvent free two component casting or coating resin:

“Description
Glosscoat is a cold curing, solvent free, transparent, easy flowing resin.
It is cured with Glosscoat hardener. Decorative pictures, collages and coatings with a smooth, high gloss surface can be made. The colours can be separated by wire inlays (similar to lead borders) or allowed to flow into one another. A coating of Glosscoat enhances the effect of wood grain.

Appliance
– Decorative coatings, collages on wood and other materials
– High gloss, transparent coats on various materials e.g. wood, plastics,
metals etc.”

 

The problem is that all epoxies will yellow over time and especially under UV sunlight. A clear epoxy turns yellow, a white epoxy turns golden, blue epoxies turn sort of green.While all epoxies will yellow (and you cannot add UV blockers to thermoset resin systems like epoxies) there are some epoxies that yellow more and yellow quicker. Do not believe anyone that claims to have a non yellowing epoxy or an epoxy with UV protection (other than pigment).

Well, that’s my technical research for now done!

Varnishing Paintings

Most of my everyday yellowing concerns are to do with how I varnish my paintings, which varies immensely depending on the work and characteristics of the painting.  I have UV protective laminate coatings, spray coatings, brush applied coatings and different varnishes.  All hugely different.  I choose accordingly. For some paintings, a slight variation in the colour of the varnish in time actually looks good!  I normally make a note of what I have used on the reverse of the painting, and as I hold much of my work for several years before offering it to other people, I can monitor what is happening.  I am pretty sure so far that any changes are only noticeable to myself, and my highly tuned eye which remembers the unmemorable!  Some people say that you don’t need to varnish an acrylic painting, but I don’t agree.  Acrylic paint is micro-porous and because I do adjust my paints, sometimes making them myself and adjusting ratios of binder and pigment, I need to ensure the work is well sealed and paint is not lose.  I don’t worry about the actual pigment colour fastness because I only use light fast pigments and tend to favour those with the most robust colour fastness anyway!  Plus modern day synthetic dye based pigments probably benefit from a bit of fading because they are so obscenely bright!  I spend a lot of my time knocking them back!

Random Quote from Jung

Yep, bit random.  That is the joy of piecemeal!

Jung saw collective neuroses in politics: “Our world is, so to speak, dissociated like a neurotic” (Jung, 1964:85).
[Contemporary man] is blind to the fact that, with all his rationality and efficiency, he is possessed by “powers” that are beyond his control. His gods and demons have not disappeared at all; they have merely got new names. They keep him on the run with restlessness, vague apprehensions, psychological complications, an insatiable need for pills, alcohol, tobacco, food – and, above all, a large array of neuroses. (Jung, 1964:82).

Yep. What can I add?  Not a lot.  Thank God for psychotherapy, reflective practice, contemplation, and paint.

And God (source of all LOVE) in action in the world, in hearts and lives of people!

Some Lovely Flora and Foliage from West Dean Gardens

I have been there recently.  I like to keep myself professionally developed!

I can credit the bulk of my artistic training to the Short Course Programme at West Dean College.

west dean college short course jenny meehan flora and foliage images© Jenny Meehan DACS All Rights Reserved

west dean college short course jenny meehan flora and foliage images© Jenny Meehan DACS All Rights Reserved

 

 

west dean college short course jenny meehan flora and foliage images© Jenny Meehan DACS All Rights Reserved

west dean college short course jenny meehan flora and foliage images© Jenny Meehan DACS All Rights Reserved

Lovely Bees.  Teach us about being.  The worker bee and the queen bee.  We need both in our lives.  A version of Martha and Mary in the Bible.  Sorry, this is a bit random and cannot be bothered to explain it in greater depth.  Just in summary, that our selves need to value the act of being as much as of doing! Our culture is not geared up for this at all.  Those busy bees gather what they need.   The fruit of their labour is made into honey.

 

Quote From St. Teresa of Avila

Let nothing disturb you,
Let nothing frighten you,
All things are passing away:
God never changes.
Patience obtains all things
Whoever has God lacks nothing;
God alone suffices.

— St. Teresa of Avila

Painting, Painting, Painting, Painting

SOOOOOO GOOOOOOOOD  to do everything without my knee stopping me!  Instead, it is helping me!  I am incorporating exercises and movement into my times of paintings.   This has always been important to me.  I find it helpful on so many levels.  Painting is not a static activity. It is movement, all movement, internally and externally.  The paint is moving and I am moving.  I am playing with space and colour.  It is a dance of motion, emotion, reflection and liberty. Now I am freer than I have been for years.  I can move better and I can paint more freely.  It is psychological and emotional as well as physical.  These parts of a person are not disconnected.  I have more time released to paint, because everything does not take as long as it used to.  I have recovered my old painting clogs and can wear them again!  I couldn’t wear them for two years because my knee was too painful and needed cushioning all the time when I was standing on my feet.  I haven’t limped since my TKR, not once.  Not even a glimmer.  I can stand up straight.  Not sure when the novelty of this will wear off!  Hope it never does!  Also great to get around London.  I can live without constant worry of if I will be able to get somewhere or not.  And not have what I do dictated to by knee restrictions!

 

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

The painting above is quite an old one, oil on canvas, done while dancing in my clogs.   Last time I wore them.  Now I am back in my clogs once more!  Tipped y tap!  I am not due to post an update on “The Very Patient Knee Replacement Story by Jenny Meehan” as yet, but if you would like to read it the link is at the right hand side of this blog.  Or go here. https://jennymeehan.wordpress.com/the-very-patient-knee-replacement-story-by-jenny-meehan/   It is at the five month mark at present.  It is not ideal to need a TKR aged 52, this is true.  It may not be a cause of rejoicing for many people.  But life is now life, while before it was running down a plughole.  I suffered a lot of agony before the knee replacement, and thankfully it all seems a distant memory now.  It wasn’t a good two years preceding the surgery.  But knee replacement surgery, far from being a “procedure of limited clinical value” is a life changing and liberating surgery, and I will always be grateful for it.

Another Cluster of Random Images

Here’s a few more photographs from the archives, as I look back for a while…

 

jenny meehan jamartlondon photo black white

jenny meehan jamartlondon photo black white

This was a small section in the ground either in or near the  Victorian Glasshouses in West Dean Gardens.  It was on a slab of stone, so I guess there must have been/or is something underneath the slab.  From the website;

“These splendid glasshouses were all built between 1890 and 1900 and were completely derelict before their restoration in the early 1990s. They are magnificent examples of Victorian craft and ingenuity. They are repainted on a four year cycle; the exteriors over summer, when the weather is kinder, and the interiors over winter, when the glasshouses can be emptied. In addition, they are hand scrubbed from top to bottom, inside and out, each winter, a process that takes two tolerant gardeners two months to complete. There are thirteen glasshouses in total, superbly restored. “

 

 

jenny meehan jamartlondon photo black white

jenny meehan jamartlondon photo black white

 

Another fond West Dean memory.  This restful landscape view is one I have in colour, which is a rich green.  However, this black and white version supplies so much visual interest, I dispensed with the green.  Most of my photography ended up being in black and white because I demand more colour control than I could deliver without actually printing my images myself.  I do continue with photographic imagery as part of my practice.

 

jenny meehan jamartlondon photo black white

jenny meehan jamartlondon photo black white

 

Again,  West Dean Gardens.  Looking across the River Lavant,  in the Spring, with the young Horse Chestnut leaves opening. The River Lavant is a winterbourne that rises at East Dean and flows west to Singleton, then south past West Dean and Lavant to Chichester. The River Lavant dries up around July and starts to flow again in November.


jenny meehan jamartlondon photo black white

jenny meehan jamartlondon photo black white

 

Do you remember these steps up the slide when you were a child?  I certainly do!  Being rather fond of metal objects of all kinds, this is one of my photographs of metal!  Now I can stand more, I may even make it back into the forge at some point!

 

jenny meehan jamartlondon photo black white

jenny meehan jamartlondon photo black white

 

Wooden ground/flooring, another image taken at West Dean Gardens.  I have used photography to develop my awareness of different textures and light.  My photography is completely relevant to my paintings, as though pictorial and black and white, the process of looking and taking them, and of creating the compositions is most valuable.  Wood, metal, and rock/stone, water and sky…All this awareness can be taken inside oneself and expressed in one’s painting.  You cannot always make direct associations with the source and inspiration of a painting, sometimes I detect a memory here and there, but I think my paintings are mostly a simple response to my experience of living and life.  Sometimes there is a clearer and more direct reference which I feel comfortable making.  It varies a lot.

 

jenny meehan jamartlondon photo black white

jenny meehan jamartlondon photo black white

Many of my photographs have been taken on Oxshott Heath, a much loved place for me, starting with walks as a child, and I am still walking there today!  Which is rather nice.. a sense of continuity and a link with myself as a child.  My Dad used to pluck a fern from the forest floor for my brother and I to hold like an umbrella.  It’s hard to pluck a fern from the forest floor… He was rather strong!  So this photograph makes me think of him!   I love growing ferns and have a bit of a collection in the garden now.  Cannot resist them!

 

 

The Snail in the Studio Painting by Jenny Meehan

abstract expressionist collage painting jenny meehan jamartlondon snail in the studio artists studio paintings

the snail in the studio jenny meehan abstract painting

 

Thought I would pop this up. This is an example of one of my paintings with a very direct and clear reference/inspiration!  I have posted it not that long ago, but because I have been learning the art of patience, it seems so apt to post it again! I have not done so much in my studio this year, apart from tidy it up and sort it out,  because I have been working in the garden on bigger paintings, and also spent the earlier  months of the year  focused on recovery and rehabilitation from knee replacement surgery.  But I do go and sit in my studio tent often, to pray and contemplate.  And memories of constantly discovering snails had eaten up pieces of painted card I have from last year still fill my mind.  I painted on the card sometimes to mix paints and sometimes to take note of certain colours.  Amazingly the snail poo contains the colours…not surprising but novel to discover what has been eaten!  I have painted some more pieces of card and laid them out to see what those lovely snails will do this year.

So… “The Snail in the Studio” is my image of my studio.  It does not show you the appearance, but the general feel is right on.  The tarpaulin is translucent white and there are dabs of paint all over the place.  Things hang or sit in a random fashion and objects have a look of waiting to be picked up somehow, to my thinking.  It is a place of movement and activity which is also very still.  The shaft of sunlight breaks in through the generally diffused light.  And evidence of snails, working their way through things, is dotted here and there.

I used some of the remaining card, which the snails had left their own patterns on, in the painting/collage “The Snail in the Studio”.

While I enjoy my new found freedom, I am also surprised that the narrowing down my activity has been as rewarding as it has been.  The lead up to the knee replacement was like a river, the knee replacement surgery like a dam, and the time after has increased my mental meanderings, maybe because of the earlier necessity to drop all other activities.  I have this image in my head of tiny little rivers, or rivulets (must be a word?!) coming out of small outlets in the dam and what once was a river, is now many small and more slowly flowing rivulets.  I wonder how this is going to change my creative work? Will it just be a matter of doing less, (does not seem to be!) or just moving at a different pace? Or will I find greater depth even in the shallow and more slowly flowing waters? There is a certain discipline involved in doing less. Maybe when it comes to passionate art making, this is a good thing, and the holding back will bear its own fruit?   I have certainly lost the panic of feeling that I am never doing enough.  Had to let go of that completely over the course of this year!

And my studio…Yes, chaos, and wonderful creativity!

 The Very Patient Knee Replacement Story by Jenny Meehan

Yes, still banging on about this.  Will continue to do so!

On the theme of knee replacement surgery,   I wrote a lot about it in “The Very Patient Knee Replacement Story by Jenny Meehan” which is on a separate page of this blog.  Look to the right hand side under pages and you can follow the link to it there if knee replacement surgery and patients experience of it is of interest to you! As well as the full version, which had colour coded text to help selective reading, “The Very Patient Knee Replacement Story by Jenny Meehan” is now in an abridged form.  You can get to it by following this link, and the link is also on the side bar of this blog under “Pages”.

https://jennymeehan.wordpress.com/abridged-version-of-the-very-patient-knee-replacement-story-by-jenny-meehan/  It is still pretty long, so skimming may be a good idea!  It’s an ongoing project.  I am also going to attend the patients forum at SWLEOC (South West London Elective Orthopaedic Centre).  I want to offer back anything that might be useful.

Oh what a laugh I am having watching the BBC series “Quacks”!  Puts knee replacement surgery into the background!  Love the humour…

http://www.bbc.co.uk/programmes/p05bsn8k

Rather outrageous!    So, beware, never worship your surgeon, however good they may be!!!

Good job they didn’t do TKR’s in Victorian times!!

 

Images of artists’ studios

How do artists depict their studio space? It is the most intimate and sacred place.  A place of being and creating at the core of the creative artist.  In that place what is revealed and what is discovered?  How is the studio space shown and why is it shown in the way it is shown?

In February 2015 (Yes, a while back) Gagosian Gallery picked “In the Studio” as the theme for an exhibition, more details here:  http://www.gagosian.com/exhibitions/in-the-studio-paintings–february-17-2015

The exhibition was devoted to images of artists’ studios, as recorded in photographs and paintings and featured more than 50 paintings and works on paper ranging over five centuries.    You can read more about it by clicking on the link below:

 

This year, a more recent peep into one artist’s studio!

Matisse in the Studio – Exhibition at the Royal Academy, London

Well, I am very pleased about this, as Matisse is certainly a painter who has influenced me and my own painting.  From seeing “The Snail” as a primary school child, a door opened into abstract art, and it was a pleasant introduction! Since then I have spent time looking at different examples of his vast creative practice.  But the opportunity to see this exhibition is most welcome and I will probably go in September I should think!

Here is the text quoted from the Royal Academy website, which gives a little insight into the nature of the exhibition:

“Step into the studio of Henri Matisse, brimming with the artist’s treasured objects. Focusing exclusively on their important role in his work for the first time, we will reveal how this eclectic collection took on new life in his transcendent art.

Matisse drew his collection from the far corners of the world: Buddhist statuary from Thailand, Bamana figures from Mali, furniture and textiles from North Africa. Rarely of material value, these objects were nonetheless precious. Offering points of departure to which he could return again and again, they appear in his work in different guises and across spans of decades, reinvented afresh in each new setting.Matisse’s objects formed his repertoire, but they also provided him with influences from beyond the limits of Western art. African sculpture and masks were a revelation, suggesting more expressive models for depicting the human figure and face. Later, Matisse adorned his Nice studio with props from the Islamic world to create the sensuous sets for his ‘odalisques’, in which a harmonious synergy emerges between figure and object. And as his oeuvre reached its joyous apex in his cut-out period, he looked to the concise precision of Chinese calligraphy and African textiles as he sought to invent his own simplified language of signs.This sumptuous exhibition offers a rare glimpse into the artist’s personal collection, as well as the paintings, sculptures and drawings it inspired. Seen together, they reveal how Matisse’s masterful vision of rich and masterful energy first stemmed from the collage of patterns and rhythms which he found in the world of objects.”Oh, that does sound rather inviting!More details here:It is probably going to be rather crowded, and far to busy, but I will still go and see it!https://www.royalacademy.org.uk/exhibition/matisse-in-the-studio

The exhibition has already been seen at The Museum of Fine Arts, and here is a quote from Boston Magazine:   http://www.bostonmagazine.com/arts-entertainment/blog/2017/04/07/matisse-exhibit-mfa-2/ :

“Eclectic, personal, and vibrant, “Matisse in the Studio” at the Museum of Fine Arts offers you the chance to delve into Henri Matisse’s whimsical world of figures, patterns, and objects. The new exhibit showcases 34 paintings, 26 drawings, 11 bronzes, seven cutouts, and three prints by the artist, along with 39 objects from his studio.

“Nothing happens alone,” says MFA director Matthew Teitelbaum. “There are some really extraordinary works that came from overseas, and without the National Endowment for the Arts indemnity program, this wouldn’t have been possible.”

The exhibit was curated by Helen Burnham, curator of prints and drawings at the MFA; Ann Dumas, curator of the Royal Academy of Arts; and Ellen McBreen, a Matisse scholar and associate professor art history at Wheaton College. Forty international lenders, both public and private, contributed pieces to “Matisse in the Studio,” organized by the MFA and the Royal Academy of Arts in London, where the exhibit will be displayed starting in August after its residency in Boston. The MFA partnered with the Musée Matisse in Nice, the only museum in the world dedicated to the art of Matisse.

Director of the Musée Matisse, Claudine Grammont, says that this exhibit gives the viewer access to the artist’s studio and his process of artistic creation, and describes the collection of paintings and objects as both “personal and intellectual.”

Located in Ann and Graham Gund Gallery, the various rooms of the exhibit focus on different themes in Matisse’s work, from pots and cutouts, to portraiture and more, shown alongside Matisse’s objects of inspiration.

In the first gallery, for instance, you’ll find a Spanish vase that Matisse acquired in Spain in 1910 and a silver chocolate pot, both shown in surrounding works by the artist.”

Quoted from: “Matisse in the Studio” Offers a Look into the Artist’s World
The Museum of Fine Arts offers a blockbuster exhibit of Henri Matisse paintings, as well as objects from his studio. By Claire Selvin | Arts & Entertainment | April 7, 2017, 12:42 p.m. Boston Magazine

Read the full article here: http://www.bostonmagazine.com/arts-entertainment/blog/2017/04/07/matisse-exhibit-mfa-2/

“To meditate is often to move through a land without paths.”
Christophe André

That’s it for now! Leaving you with a Summery Expression, in a portion of a painting!

 

summer seaside details romantic expressionist lyrical abstract painting by jenny meehan jennifer meehan

summer seaside details romantic expressionist lyrical abstract painting by jenny meehan jennifer meehan © Jenny Meehan DACS All Rights Reserved

 

About Jenny Meehan

I am a painter/visual artist/contemplative/poet/writer and mother, based in Surrey/South West London, UK.
Interested in spirituality (particularly Christ centred spirituality), creativity, emotional and psychological well-being.

I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios. I am a trained teacher (PGCE) and hold occasional small groups in developing painting and drawing skills, and general visual creative expression.

Contact me via the contact form on my website http://www.jamartlondon.com if you would like more information with respect to art tuition, and/or if you wish to receive my my bi-annual newsletter.

My artistic training has been through the Short Course programme at West Dean College, Surrey and through local adult art education classes.  I exhibit widely over the UK and some of my paintings and prints are available for purchase.

Please note that all images of my artwork are subject to copyright law: All rights reserved: Jenny Meehan DACS (Designer and Artist Copyright Society). In the first instance, contact me, and I will refer, as/if appropriate.
http://www.jamartlondon.com

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 JOY!

The joy of TKR?  Really? Are you sure?

Um, normally one associates the word “Joy” with something like the joy of sex, or the joy of birth or the joy of life, and NOT the joy of a knee replacement.  I have used the phrase in The very patient knee replacement story by Jenny Meehan: “I loved having a knee replacement”.  Well, it is a very painful surgery, which tempers any experience, however I insist on keeping my  sentence in place, even though it is rather odd! (I am a bit odd, if the truth be know, but it’s great fun being that way!)   The reason for this is I feel people are unduly put off having elective surgery on their knees because of a fear of the pain, even though they are already enduring long term chronic pain. But surgical pain can be managed very effectively,  and if a knee replacement operation is successful, it has the potential to give someone so much liberty and happiness… it can give them their life back basically… and THIS is the joy of having a knee replacement.

It is hard to leave a life of pain behind.  Sounds silly, and there are often areas of pain still around after a knee replacement operation, as the healing process takes a good year, or even up to two, I believe.  There are complications and risks, as with any surgical procedure.  Pain and how we negotiate our way through it is an emotional and psychological, as well as a physical process.  But as I have said before, the key difference is pain which happens as the body heals itself is a lot easier to deal with than the pain of deterioration.  Well, for me this has been the case.  We are all different.  There are people who regret having it done, or who don’t feel that it has helped them in their lives.  Who are disappointed and expected more of a result.  My “result” has been beyond what I could have imagined.  It is not simply a matter of pain reduction, but of restored function.  I can WALK and STAND up properly now.  I have no regrets, not one.

It is wonderful to paint BIG paintings!  Wonderful to walk where I need to go!  Wonderful to carry what I need to carry! Wonderful to be able to embrace again the aspirations which I found torn away in the two year period before my knee replacement surgery in March this year.  I reflect a bit on work, value and time at the end of this post.  Well, this surgery has blessed me with a lot of time!  I am miles more productive already than I was before the TKR.   This is everything to me, because my work is my passion, and it’s what keeps me alive, in the truest sense of the word.

I sold a couple of paintings and I have another image being used for a book cover.  This is great because it funds the work I do and enables me to carry on doing what I do. And now my knee cannot stop me from doing my work and as work is so important to me, it’s a great relief!

I like to give my artwork to people and organisations from time to time, if I am particularly grateful and so true to form I donated a print to the South West London Orthopaedic Centre in Epsom where I had my surgery.  It was such a positive experience which helped me in so many ways.  It is very important that the whole person is treated…not just the knee and the care I received was fantastic.  It helped immensely with my recovery.  And you need a positive hospital experience with TKR, because there is no getting away from the reality of it being a hard slog for the few months afterwards!   My surgeon was Mr Dinah, with his team,  and they and all the staff,  have done a very good job!

http://www.eoc.nhs.uk/news/artwork-donated-by-jennifer-meehan

Quote from their newsletter:

“SWLEOC would like to say a warm thank you to Jennifer Meehan who very generously donated a piece of her own artwork to the Centre.
 
Jennifer met with SWLEOC Medical Director Mr Philip Mitchell and Director Mary Richardson to discuss her experience as a patient at SWLEOC and her surgery which was performed by Mr Dinah. 
 
Afterwards, Jennifer kindly  donation a piece of art that she had created, which will now take pride of place in our Pre Theatre Department for all of our new patients to admire.”

 

It gives me a lot of pleasure to donate what was my personal print of ” No Problem/Moving On”.  I won’t be making another of the work the same…It’s a digital print mounted on foamboard and laminated.  Just right for a medical setting, as easy to clean!

Detail on the work:

No Problem/Moving On – Geometric Colour Abstract Print by Jenny Meehan jamartlondon.com

One of the “Signs of the Times Series” by Jenny Meehan

This artwork design conveys a positive attitude, and is the fruit of my interest in positive psychology and personal mobility challenges. A “can do” attitude in the face of resistance and difficulties is the only way to move forward. The design has something of my own experience of exercising in a gym with motion suggested through various formal elements, of varying speeds and a sense of progression.

www.jamartlondon.com

It gives me a lot of happiness to know that people will see it when they come in for their surgery.  It’s a good image of positive movement forwards, up beat and certainly has some bounce to it.   I think they have put it in an excellent place and it can do its work now.

The world needs artists.

Thank you to the person who said that to me!

It’s a treasure!

Here is No Problem/Moving On:

 

Jennifer Meehan/Jenny Meehan No Problem/Moving On abstract art print by Jenny Meehan jamartlondon.com bright bold motivational art for physiotherapy experience personal mobility challenges, jenny meehan,now at SWLEOC south west london elective orthopaedic centre

No Problem/Moving On sign of the times series jenny meehan (jennifer meehan) now at SWLEOC

 

Now I CAN move on!  With my “new” knee!

No Problem/Moving On Jenny Meehan/Jennifer Meehan SWLEOC art donation image 2017

Jenny Meehan/Jennifer Meehan SWLEOC art donation image 2017 No Problem/Moving On

I have an “Attune” Knee!

https://www.depuysynthes.com/hcp/knee/products/qs/ATTUNE-Knee-System

It’s LOVELY!  Really settling in well!

If you like the image “No Problem/Moving On”  I have it on the “print on demand” site Redbubble.com.  I get a small percentage of any sales.  Work is not signed personally by me, and hasn’t been through my own fair hands, but the quality of their products is very good in my experience at least.

Once I have worked on my digital images, I don’t tend to print them out myself, or get them printed directly, as I have too many other projects to work on, plus the voluntary counselling/mentoring and the small amount of  teaching/art tuition I do.  And domestic work.  But Redbubble is a good way to make my work available to all.  If you do possess a signed digital print by me,  it’s a bit of a rarity, and ever increasingly so at the present time. I am painting MORE than ever before.  This is good.

https://www.redbubble.com/people/jennyjimjams

Plenty of unsigned prints here though!

https://www.redbubble.com/people/jennyjimjams/works/20507601-no-problem-moving-on-geometric-colour-abstract-print-by-jenny-meehan-jamartlondon-com

The clothing looks, erm, different, but I thought I would leave it on there anyway!  Just an art print may be a more conservative choice!

 

“Starting Out” by Jenny Meehan

© Jenny Meehan DACS All Rights Reserved

 

© Jenny Meehan DACS All Rights Reservednew starting out geometric abstract design jenny meehan

new starting out geometric abstract design jenny meehan© Jenny Meehan DACS All Rights Reserved

Very fond of the above!  Still getting a lot from it.

I have “Calm Moment” which is another of the same series of work on show at JAX Cafe in Kingston Upon Thames. (52 Old London Road, Kingston Upon Thames KT2 6QF)

Calm Moment by Jenny Meehan at JAX Cafe Kingston upon Thames

Calm Moment by Jenny Meehan at JAX Cafe Kingston upon Thames

I have more similar work, which can be purchased very easily on Redbubble.com.

http://www.redbubble.com/people/jennyjimjams

Here is another example produced around the same time period:

“Drawn Together”

Southwark Arts Forum,Tower Bridge "Art at the Bridge" #7 “Building Bridges, the Female Perspective" in celebration of International Womens's Day,Drawn together by Jenny Meehan, Victorian Engine Rooms Tower Bridge Exhibition, jamartlondon, modern contemporary abstraction geometric art,

Drawn Together by Jenny Meehan

“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.”

(Statement for the Building Bridges Tower Bridge Exhibition, for the above work)

 

As said earlier, the versions of geometric prints  I had printed myself are laminated and mounted on foam board, and signed by me personally, but the work is also available as open edition unsigned prints on the “print on demand site” Redbubble.com.  I like my work to be available to a wide range of people, with all budgets.  The laminated prints on foamboard would be particularly good for a bathroom or other slightly wet area.  I have one in my bathroom and it’s been there for five years and is still looking very good.   On Redbubble.com I noticed they now do prints on metal…I imagine they may be similar in being fine in a bathroom.   Need to check them out.

 

“The Very Patient Knee Replacement Story by Jenny Meehan”

The recovery and  rehabilitation from my surgery which was on the 8th March continues!   I wrote a lot about it in “The Very Patient Knee Replacement Story by Jenny Meehan” which is on a separate page of this blog.  Look to the right hand side under pages and you can follow the link to it there if knee replacement surgery and patients experience of it is of interest to you! As well as the full version, which had colour coded text to help selective reading, “The Very Patient Knee Replacement Story by Jenny Meehan” is now in an abridged form.  You can get to it by following this link, and the link is also on the side bar of this blog under “Pages”.

https://jennymeehan.wordpress.com/abridged-version-of-the-very-patient-knee-replacement-story-by-jenny-meehan/  It is still pretty long, so skimming may be a good idea!

Just have to post this again!  I love it!  Such a good memory!

very happy with my new knee in bright red Asda nightdress

very happy with my new knee in bright red Asda nightdress

 

Just loving the new knee.  Can paint for hours.  Stand for hours.  No longer limp at all. Can carry my art work places and use public transport with ease.  Can walk fast in a London crowd.  Can plan to go places, without fear of being stranded. Can keep up with friends.  It’s all just great, at just coming up to five months post op.    Very minor pain, when over doing things.  Well worth the effort, is the verdict on it for me.

 

Working on some new paintings…

Now I CAN!

Very early sneak preview of some in progress.

Bear in mind I work in a very piecemeal way.

These may not be ready for a few years.

Little and often.  Just like TKR post op exercises!

I have around 20 paintings “on the go” right now.

I often just put a couple of colours and marks down at a time.

They need a lot of thought.  A lot of patience.  They are ready when they are ready.

Some come together quite quickly.

Others take years.

I thought I was going to be stuck with working on tiny little paintings for the rest of my life.

Nearly got used to the idea.

Thankfully not.

I need to walk around a lot when painting.  I need to view the work at a distance, and this involves a lot of walking back and forth.

Plus all the hunting around for what I need!

Great to be in action again!

 

These will develop significantly over time.  That’s the good thing about acrylic paints. Quick drying.  Layers.

Miss using oil paint, but studio is not big enough…Need a lot of drying space for those!

 

Can  You Put A Price On Art?

I have been thinking about the question “Can you put a price on Art?” recently.  And the simple answer is “No”. Even though artists have to put a price on their art work if they offer it up for sale, and they may use various factors to determine the price, for example, how established they are, where it is being shown, how much time and materials it took to make, and the general ball park figure that they normally sell work at. The figure they choose does not reflect the value of the art work, but serves more as an entry point, to another person, in respect of if they are able to access it.  If they love it, the range of what they can afford will adjust accordingly, to a point.  Hence the importance of artists being consistent in their pricing of work.  It is simply a matter of integrity.

For the artist there are additional considerations, like how much commission the organisation they are showing with takes, how much their expenses were all around, and how much they had to pay to take part in the exhibition in the first place, etc, etc.  These need to be born in mind, and do make some variations in what the price label finally is.  The majority of artists, as I have said before, find that they might sell work very occasionally, and the whole matter is rather an added bonus rather than something that they actually depend on happening, particularly if their focus is not commercial, as is the case with myself, but is more a matter of progress and being able to progress one’s work.

It is also true that, along with that progress, there is a desire that people should be able to possess my work, and that does not mean a certain class or type of person, but simply any person who sees, loves, wants and relates to the art work in some way. This does not mean I am going to give it away, (though sometimes I do) or that I do not value it myself, because of course I do.  When I put an affordable price on a piece of work, it does not represent the value of it to me, because I do not personally gauge the value of it in monetary terms.  But I price my work in a way which I hope will make it accessible, as far as possible, without discounting my own time and effort, which matters very much to me.

This approach is also why I have no problems with my work being reproduced and used, as long as the appropriate legalities are in place.  It is not, in my opinion, only for the famous and well known fine artists, to enjoy the multiple reproductions and use of their imagery, while the less well known fear publication and reproduction of various kinds because they feel somehow that it makes their work less “fine art” and somehow more common!  To make art accessible is not to undervalue it, but simple to share it around a little more liberally and let it do it’s own work without hiding it away or keeping it to yourself.  Copyright violations are another matter…Artists of all kinds should always get appropriate recompense for their work, unless they choose to do otherwise, because it is their work and as work it is investment.  This applies regardless of the way the artist sustains their practice.

While there is plenty of information about on how artists should choose to price their art, and there are also wider economic considerations, such as in the article below:

http://www.bbc.co.uk/news/magazine-21481381

Putting a price on the value of art
By Jane O’Brien
BBC News, Washington
18 February 2013

This was a good read!

 

I tend to bring myself back to the fact that the value of many things in life cannot be measured.   It is not over spiritual and unrealistic to hold this important fact in mind, and the presence of it, and an awareness of it, is very important for any person involved in any type of work which, for whatever reason, does not equate, in their realm of doing and practising it, with money.  The work of a person parenting, housekeeping and domestic managing, plus all that is involved in caring for others and nurturing growth, is something which does have a monetary value if the tasks are all broken up and done is one particular setting, but in another setting, any currency that would apply is suddenly not there.  There are also those involved in paid work which has a monetary value applied to it far beyond and out of proportion to the work in hand, and others whose work is paid and yet is completely underpaid, bearing in mind the nature of their work, it’s value in society and what they actually do.

So money is a very random and inaccurate way of telling what things are worth.  It is a consideration, and may become a more important and crucial matter for an artist at a certain stage in their development if that development starts impacting the so called “art world” at some point.   The following is a helpful read, if that is the case:

http://www.huffingtonpost.com/daniel-grant/artist-art-sales_b_1097873.html

THE BLOG Putting a Price on (Your) Art Takes Some Thought
11/17/2011 04:36 pm ET | Updated Jan 17, 20 written by Daniel Grant

I do not believe that it helps an artist to focus in this direction though.  People who love with passion their work are able to see it’s value completely apart from any measure of value put on it from external sources.

This is excellent, and quoted from  “10 Reasons Why Following Your Passion Is More Important Than Money” by

Siobhan Harmer

“Money is a very powerful thing, it builds empires and breaks down kingdoms, it allows for dreams to come true and it takes others away, it makes some people happy and others completely miserable. Today the pursuit of money is almost directly linked to the pursuit of happiness, many will argue that money = happiness.

However, this is inherently problematic as this mindset leads many people to stray down a path that doesn’t best suit them. When people choose their careers, they are sometimes blinded by money and so choose to follow the paper trail. Although money is great and can buy us all the things that will temporarily make us happy, no amount of money can buy time. Time is our most valuable asset and it is something, that while on this earth, we should spend most wisely. You shouldn’t feel like you’re mindlessly wasting your life away.”

“10 Reasons Why Following Your Passion Is More Important Than Money” by  Siobhan Harmer

Read the rest of the article, it’s excellent.  My favourite line:

“Time is our most valuable asset and it is something, that while on this earth, we should spend most wisely.”

It is obvious really.

This article, “More than job satisfaction – Psychologists are discovering what makes work meaningful – and how to create value in any job by Kirsten Weir”  was a good read too:

Something that’s meaningful for one person may be inconsequential for another, however. What makes work worthwhile to you probably depends on your culture, your socioeconomic status and how you were taught to see the world, according to Pratt. An academic might find value in scholarship, for instance. “But a firefighter might look at an academic and ask, ‘Are you helping people on a daily basis? If not, it’s not worthwhile work at all.'”
People assign significance to their work in a variety of ways, as Pratt and doctoral students Douglas Lepisto and Camille Pradies describe in a chapter in the 2013 book “Purpose and Meaning in the Workplace.” Some may derive meaning not from the job itself, but from the fact that it allows them to provide for their families and pursue non-work activities that they enjoy. Others may find meaning in being able to advance themselves and be the best they can be. People with a craftsmanship orientation take pride in performing the job well. Those with a service orientation find purpose in the ideology or belief system behind their work. Still others extract meaning from the sense of kinship they experience with co-workers.
Craftsmanship, service and kinship orientations are especially likely to be meaningful, as they all point to something beyond the individual, says Pratt.”

More than job satisfaction
Psychologists are discovering what makes work meaningful — and how to create value in any job.
By Kirsten Weir
December 2013, Vol 44, No. 11
Print version: page 39

Nice quote from the above:

“Meaning doesn’t take money,” she says. “At any rank, people can make different meanings of their work, and also of themselves at work.”  – Jane E. Dutton, PhD, a professor of business administration and psychology at the Ross School of Business at the University of Michigan.

So throw that status away!  Because it may well be measured in monetary terms… And that is not very reliable at all! If others do it, so be it.  But make sure you don’t do it yourself.  Because we all mean an awful lot.

On a very practical note, I tend to price my original artwork at between £200 and £500…  It is not for me to assess the value of it, but I guess that is the monetary range I personally feel appropriate.  As my work is well developed and strong, I have been focused on it for the last ten years, and I assess what I ask for it based on that, as well as the other factors mentioned at the beginning of this post.  I don’t work on a profit making basis, but I need to develop and continue what I do, and this enables me to do so.  I don’t think about my work in terms of the “market”  or even with thoughts of what I might potentially get from it.  I am simply not orientated that way.  When I paint, I paint to paint and that is all that is involved.  I do not paint to sell and I do not paint thinking one little bit about even selling the work.   I paint to paint and that is it.  And when the work is done, it will live with me for often many years, for it still has a lot to say, and I do not mind learning from it one little bit.

What I want is to be able to die knowing that my work is not where I personally left it!  But in other places living it’s new life with a new owner.  That is far more important. Consequently, I probably under price my work.  But there comes a point at which you know for sure a painting is ready for a new home.  If the new owner comes and recognises the fact, then both collector and artist are very happy, and go away pleased, having both their lives enriched.

Our time does end.  At some point!  There is nothing morbid about that. And I do not want to leave a pile of paintings behind me that haven’t really been able to enter into anyone’s heart but my own.

Time is our most valuable asset and it is something, that while on this earth, we should spend most wisely. You shouldn’t feel like you’re mindlessly wasting your life away.

 

And something completely different…

Bruce The Great Poem, by Jenny Meehan

I wrote this poem as one of my efforts when attending a local poetry writing group.

Unfortunately due to needing to allocate the time elsewhere, I had to stop attending the group.  But I hope to rejoin again at a later date.

I am Bruce; Bruce the Great

I do not fear the purr, and whirring rotation of blades;
The black box behind me,
a dark and solid mass, suckered to the side
of the invisible container…
which I refuse to acknowledge.

I am Bruce, Bruce the Great…
Amid the mass of bubbles, I fly
high above the rocks;
No wind will blow
me off direction.

What moves before my face
speaks an echo…
It too, testifies of the extent of my domain.
You may fix me in your eyes,
open your orifice, and flash your fins
to the beats of time. Maybe,
dissolving thoughts of moving ahead
into aqueous meditations?
I wait; My pause is ever before me,
but I will not turn.

I am beautiful !
Reflective and fiery orange,
flame-like,
un-cooled by water, which is my elemental matter
of flecked and opalescent wonder!
Did you not see the extent of my tail?
Did you come to listen to the oracle of my mind?
Surely not to invade?
Do you see in the darkness of my mouth
the end of your existence?

The edge of my world is not something I like to admit.
I do not speak of this, but hollow out bubbles of air.
Send them up;
Prayer, to the fish that fly.
I hear them, even though I have no ears,
rotating my eyes upward
and twisting my dorsal fin.
My body placed in perfect alignment.

It is in this yogic moment…
when you caught me
and recorded my existence, forever.
Against the flowing, green, weeds
and the purr and the whirring
rotation of the blades; that black box behind me,
a dark, solid, mass.
But no darker than the tunnel
I breath into you.

Go no further!
I am Bruce; Bruce the Great

Jenny Meehan 2016

 

I wrote the poem in response to a photograph of the group facilitators gold fish. Her pet fish was called Bruce, and the poem is what came to mind.   I keep tropical fish and love watching them.  So my own fish also helped the process.

 

Enjoying the Sunshine!

Just loving the weather we had in June, and now also.  Great for drying paint.  I am experimenting with painting on some large A1 greyboard.  It’s nice to have a bit more room to move the paint around!  I am also working on smaller paintings, and experimenting more with perceived texture as well as actual texture.   I have many pieces of card with paint on, both very small and large.  And there is a lot of looking going on.  At past work as well as present.   I have been blessed to meet some lovely people so far this year, and I am enjoying the fruits of the patience I have come to appreciate more.  The knee replacement surgery has had unexpected benefits.

 

………………………………………………….

Jenny Meehan (Jennifer Meehan)

Jenny Meehan is an artist and designer based in Chessington Surrey, Greater London/South West London/Surrey

(text from website jamartlondon.com)

Jenny takes a process led approach and while the art she creates is informed by her research activities, her outlook on life, and personal experiences, it is the formal qualities and what she perceives as the presence or poetry of the work itself which she is most concerned with. Her visual art is intimately connected with her writing and poetry, and the relationship between these two strands of her creativity is a lively and interesting one.

Jenny is particularly interested in the relationships between creativity, spirituality and mental health and wellbeing and uses both Christian contemplative practices and participation in regular psychoanalysis to inform the direction and development of her artistic practice. While specialising in abstract painting and interested in lyrical abstraction and abstract expressionism, she also enjoys working with digital imagery and graphic art. Her visual art relates intimately to her spirituality, writing, and poetry, and she explores this dimension of her work and experience through an artist’s blog on WordPress: Jenny Meehan Artist’s Journal – The Artist’s Meandering Discourse.

 

 

 

Well, this year’s KAOS Open Studios is all done and dusted!

Now I need to put back all the paintings, prints, easels, etc etc.

There is not enough room in our house, but never mind.  It is what it is.  My favourite phrase for this year.

It was great to show my work with other artists, and we love to chat and spend time with each other over this time as well as welcome guests.   I was showing with Sandra Beccarelli, Cressida Borrett, Lizzie Brewer, Caroline Calascione, Ikuko Danby, Bali Edwards, Yuka Maeda, and Anna Tikhomirova.  This was a good mix of work and people.

For more information on Kingston Artists Open Studios, see here:

http://www.kingstonartistsopenstudios.co.uk/

We are a group of East Surrey/South West London Artists.

Each year we hold an Artists’ Open Studios Event. If you like this kind of thing, contact me and I can put you on my mailing list.  Use the contact form on my personal website jamartlondon.com 

 

The Knee

My knee is good.  So fantastic to be able to walk around without restrictions, stand as long as I need to, and just get on with life.  I write about my experience of TKR (total knee replacement) on “The Very Patient Knee Replacement Page” of this blog.  I wanted to write about my experience in order to both give myself something purposeful to do and also hopefully to help others in some way.  Everyone’s experience of knee replacement surgery is very different, but it is certainly a challenging time.  You can get to the page by following the link to the right handside.

 

 

Feeling good with my new knee!

 

“The Art of Buying Art”  Alan Bamberger.

Nice quote, from this book, which I have read recently…from the chapter on “Building a Collection” which contains a lot of very helpful advice for people who would like to start collecting art but are not sure where to start.  I particularly liked these paragraphs, and think them particularly important for anyone wanting to collect art today.

“Believe in Yourself”

Buy what you want to buy, and collect what you want to collect.  Far too many people deny their own dreams, compromise their tastes, follow the crowd and end up with dull, boring collections.  One collection looks just like the next when unimaginative collectors try harder to be correct than they do to collect.  This type of buying behaviour is all too often based on fears of being rejected, ridiculed, or not doing what’s “right”, of wasting one’s money, and so on.

In a way, fears like those mentioned above are justified.  When you’re true to yourself and you follow your own inner urges, you become vulnerable to hash judgements by others who see art differently than you do.  Your art tells outsiders revealing things about what you like, what you believe in , what your philosophies are, who you like and how your mind works.  And revealing yourself like this can be scary.

But the positive results of honest collecting far outweigh the negatives.  For one thing, you end up owning art that your really love and not art that you feel lukewarm about just because someone else told you to buy it.  you call the shots, you direct the show, you have total freedom and control over your actions and, in the end, you experience a level of freedom that is not easy to come by in this day and age. “

Above quotes taken from my copy of The Art of Buying Art, 2nd Edition, by Alan Bamberger.  I jotted this down a while ago in one of my many notebooks, so I am not actually sure if they are direct quotes or adapted by me!  But I include as quotes just in case.

Reading the above brought to mind the excellent programme I watched this year on Peggy Guggenheim.  She certainly collected what she liked and set about her collection in a passionate and devoted way.  Quite an inspiration!  She was quite ahead of her time, and built a culture changing collection, which must have taken a great deal of determination and love.  The film on the BBC was called “Peggy Guggenheim: Art Addict” and offered a very interesting insight into Peggy Guggenheim, an heiress who became a central figure in the modern art movement; “a colourful character who was not only ahead of her time but helped define it.”

 

watercolour painting submitted by Jenny Meehan to the Royal Watercolour Society call out in 2015 cozens inspired internal landscape english watercolour contemporary painting jenny meehan

watercolour painting submitted by Jenny Meehan to the Royal Watercolour Society call out in 2015

Contemporary Watercolour painting by Jenny Meehan “Accidental Shapes” painted with watercolour and gouache  paints made by the artist and soluble wax crayon.

I have been looking at some of my painting with watercolours from 2015 and am using this to inform some more recent larger scale paintings I am working on at the moment.  I am moving up to A1 in size for a change.  It’s helpful to work larger for a while.

 

Contemporary Watercolours

I have decided to spend some time researching contemporary watercolour artists, and finding this was a good start:

http://watercolor.net/british-contemporary/

Do take a look.  Text from above:

Five British artists engaged in contemporary work discuss the use of watercolour in their art practice… Several artists are cited who are currently challenging some of the perceptions about the watercolour medium. Given the diverse nature of contemporary art, it is little surprise that artists use watercolour in a range of ways, sometimes unorthodox, that best suit their ideas and working method.

I rather like what Alf Löhr has to say:

For me, creativity is in the sketch, when the mind is still free to explore and is open for things to happen. That’s why watercolours are always nearer to life and more lively than cleverly executed artistic statements. Watercolours allow you to avoid big, heroic simplifications. You either look for life or you don’t.”

I do like that, and watercolours are certainly super spontaneous, and beautifully immediate,  something which is great for  working in a free manner.  The way they are easy to remove while working  is similar to oil paints, and unlike acrylic.  The difficulty in removing acrylic paint is a restriction. You can remove it before it is dry, but after it is dry it is a matter of painting over the top.  I have found my experiments with watercolour so far to be very exciting and liberating.  It’s nice to have the body colour (gouache) and the watercolour colour relationships to think about too.

I am hoping that looking as some good and exciting watercolour paintings will inspire me in my own direction.  Appreciating other artists work is very important as it opens new ways of seeing things and shows you what a medium can do. Unfortunately I was not successful in having any of my work accepted in the The Contemporary Waercolour Competition, run by the Royal Watercolour Society  a few years ago in 2015.   Very disappointed.  I have a very restricted budget for entering competitions, and it is quickly  used up.  Artists need to pay to submit their work, regardless of whether it gets chosen.  I mention this because many people are not aware of it, and it is one of the things, I personally feel, which does a disservice to artists in this country.  If you are talking about under £10, to enter several art works, (ie not payment per work)  then I have no issues with that. But when you are talking of over £10 for each work, I think you can see that entering your art into competitions becomes somewhat of a luxury expenditure for many artists.

Not all.  For others it will not be a problem.  However, my personal belief is that any artist, from any socio economic situation, should be able to submit art to such competitions for ten pounds or less. And for that, to submit at least three pieces.  Ideally, submitting art to competitions and for exhibitions would be  free of charge, though that may be a little unrealistic.   We need to move with the times and help artists to show and share their work.  Artists bear all other costs in providing their work free of charge for exhibition.  With the internet and digital technology, it takes no more than one minute to view a piece of artwork, even when you consider it thoughtfully.  Two minutes to look at it again when the selection is narrowed down.  Three minutes, as before.   And four minutes at the very most.  Please, if anyone can justify to me why the artists themselves bear these costs, I prepare to be enlightened. I bang on again, and I will continue to do so.  I know I am not alone in my feelings.  I don’t rant very often, but this is one of my popular rant subjects!   I simply want as many people as possible and as much variety of artwork to be on show for people to see.  I know there are costs.  But the  system works in a way which penalises artists and exploits their desire to simply share what they do.

Come on now,  unless an artist is particularly popular and well known, they don’t normally make a profit from their artistic practice.  A sale of an art work exhibited is usually an unexpected bonus.   They may not want to be commercially orientated.  Why should they? Art for the creator, has never been fundamentally about money. If that does come with it, or they want to make it profit making, then that’s up to them.  some do. That’s what they want.  That is their aspiration/need/want/motivation.  It may be their business or a significant part of a much needed income.  But a lot don’t treat their creative profession as a business enterprise,  but still want to exhibit their work. But exhibiting work is not a business venture.  We don’t exhibit in order to sell.  We exhibit in order to show, primarily. We just want to share what we do.  I need to sell sometimes to pay for materials and enable me to continue my work.  This is what matters to me. But it’s never something I count on.  I pray for it, but it’s a venture of faith, rather than by design.  It does not feed my children.

My paintings are like little children though, and I want to send them out into the world to find a home elsewhere.  They cannot live with me forever!  I love to wave them off as they go into the world.  They are my legacy. I seem to live with a sense that I won’t be around forever.  So aware of my mortality. It’s a wonderful gift, to be able to paint as I do.  It also takes a lot of constant work.  I have invested myself in this endeavour, this vocation.  It’s the only way for me to go. It’s great when a collector finds just what they are looking for and loves it.  It’s a pleasure to make an exchange then, and both people benefit.  The problem with galleries and exhibitions isn’t just submission fees but commission.  Many people buying art are not aware of these matters, which is probably one of the reasons I like to rattle on about it.  I think people should know.  And know that the best way to deal with an artist is to deal with them personally.

Spiritual Direction Training 

It’s over two years since I started training in the art of spiritual direction with SPI-DIR!  (nothing to do with spiders!).  It is now finished (well, never finished, as an ongoing process, but that chapter of it!)  and I look back fondly.   This course, along with lots of different short courses, (mostly one day training courses) has been of great use to me and given me lots of useful tools and insights.  Whatever training one has though, it is the Holy Spirit who actually provides the direction aspect of this kind of ministry.  The term “spiritual director”is unfortunate in the respect that it tends to communicate the idea of the facilitator or guide being the one “doing” the direction, which is far from the case!   Here’s another useful description for all unfamiliar with the term “Spiritual Direction” which I hope clarifies the ministry a little better:

Spiritual Direction

What is spiritual direction?

It is an ancient ministry, sometimes called Spiritual Counsel, Prayer Guidance or Soul Friendship. It is about taking the time to meet with another person to talk together about your spiritual journey, prayer and search for God. Many people find that this pattern of reflective companionship can be a significant help.

What can I talk about?

The important thing is that this is a ‘sacred space’ into which we can bring anything but into which we do not have to bring anything. There are no expectations, and no judgement. It is a listening and accepting space.

Sometimes you might have a sense of something happening in your life and needing to make sense of it in a spiritual context: ‘Where is God in this for me?’
Sometimes you might have a particular spiritual issue you want to work through.
Sometimes it is as simple as: ‘How can I pray?’
Sometimes it is an individual’s awareness of God inviting them to ‘something more’, and needing help to work out what that is really all about.
So the answer to the question is: ‘Anything that impacts on your relationship with God.’

Who?

The person offering this ministry will be a person of prayer who makes the commitment to accept you as you are and where you are. The companion or guide’s role is to support the discernment of God’s activity in your life.”

The above quoted from http://www.oxford.anglican.org/mission-ministry/spiritual-direction/

I quite like the above explanation.

Spiritual direction is something which many people are not familiar with, and I tend to use the phrase “Spiritual Mentoring and Guidance”.  It isn’t quite counselling in the usual sense, but I suppose it would easily fall under the umbrella term of being counselling, though not a problem focused activity, which counselling normally is.   It’s been an interesting development for me in terms of activity, and runs alongside the creative project very well.  It is sometimes something I integrate with individual artistic tuition or as part of a person seeking direction in their creativity and artist pursuits as part of one of my “Painting and Drawing Workshops”.  They are on hold at present, due to lack of time but I plan to start holding them again at the end of the year.

I would like to do some further training in the art of spiritual direction in the future, but cannot afford to do so at the moment.  I don’t mind waiting.  I would like my next training endeavour to be related to visual art in some way.  Keep looking at the West Dean College Short Course Programme.  It’s good to use different materials and techniques to keep the vigour in one’s creative practice.  So easy to grow stale, due to lack of extension!

 

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon© Jenny Meehan DACS All Rights Reserved

“Flower Meditation” © Jenny Meehan DACS All Rights Reserved

 

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

 

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

 

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

 

I like these photographic studies I took a while back.  All my painting is inspired by nature ultimately, because this is what I am surrounded by.  The forms and movements of natural beauty as they filter in through my senses keep the creative will alive in so many respects.  That a painting does not look representational does not mean that it represents nothing.  For all around experience and life is breathed in, and for the painter, often breathed out in the work they produce.  This is living in the way I love to live.  This is the joy of being a painter.

 

“The Very Patient Knee Replacement Story by Jenny Meehan”

The recovery and  rehabilitation from my TKR surgery which was on the 8th March 2017 is still a big feature of my life! Getting there a little more quickly now, at around 14 weeks post op.  Goodness, I have often felt an affinity with snails, but little did I know how manifest that would be in terms of a physical experience.  But it is a very positive experience, and the positive part of it started from the moment I was listed for surgery.  My experience of being cared for in hospital was amazing and has helped me immensely in my recovery process.  When tired and feeling challenged, I have been able to look back and remember how well I was looked after, and this reminds me that I need to look after myself in the same way.

Knee replacement surgery is a challenging experience but mine couldn’t have been better!   I wrote a lot about it in “The Very Patient Knee Replacement Story by Jenny Meehan” which is on a separate page of this blog.  Look to the right hand side under pages and you can follow the link to it there, if knee replacement surgery and patients experience of it is of interest to you! As well as the full version, which had colour coded text to help selective reading, “The Very Patient Knee Replacement Story by Jenny Meehan” is now in an abridged form.  You can get to it by following this link, and the link is also on the side bar of this blog under “Pages”.

https://jennymeehan.wordpress.com/abridged-version-of-the-very-patient-knee-replacement-story-by-jenny-meehan/  It is still pretty long, so skimming may be a good idea!

I will be writing another update, probably in September this year, as that will be six months from the surgery date.  I am still in the early stages of my recovery and rehabilitation. Seems crazy, but it is a LONG HAUL experience.  Still immensely tired, and needing to limit time both walking and standing a bit.   I am looking at a September as being the time when I feel more fully back to normal, and the recovery process takes even longer than that. Up to two years I think.  I am happy with my knee though.  It feels a lot stronger than the how it did before the knee replacement operation. It’s given me some space to take in aspects of my practice which are proving rather beneficial.  It also provided a lot of opportunities for visiting garden centres and enjoying cream teas, which have also been beneficial!  I have realised I work much to hard, and need to spend more time relaxing, resting and enjoying life!

 

 

“The Realm of Between” Painting by Jenny Meehan

© Jenny Meehan DACS All Rights Reservedjenny meehan lyrical abstraction british 21st century emerging artist contemporary, london based female artists fine painting british women artists jenny meehan, christian art contemplative spirituality art, contemplative meditational aids for reflection through art and painting, jenny meehan jamartlondon collectable original paintings affordable,

“The Realm of Inbetween/Pushing it a bit” abstract lyrical expressionist british paintings jenny meehan© Jenny Meehan DACS All Rights Reserved

 

On the far side of the subjective, on this side of the objective, on the narrow ridge where I and Thou meet, there is the realm of ‘between’. Buber 1949

With “the space between”, I allude to Martin Buber’s conception of a sacred realm which opens when people of different faiths speak profoundly to one another, from heart to heart. In the suggestive words of Buber himself:

In the most powerful moments of dialogic, where in truth “deep calls unto deep”, it becomes unmistakably clear that it is not the wand of the individual or of the social, but of a third which draws the circle round the happening. On the far side of the subjective, on this side of the objective, on the narrow ridge, where I and Thou meet, there is the realm of “between” (Buber 2002: 242f)

“Today, when the word ‘dialogue’ is spoken in educational circles, it is often linked to Paulo Freire. The same is true of ‘subject’ and ‘object’. Yet, in the twentieth century, it is really in the work of Martin Buber that the pedagogical worth of dialogue was realized – and the significance of relation revealed. He wrote – ‘All real living is meeting’ (Buber 1958: 25) and looked to how, in relation, we can fully open ourselves to the world, to others, and to God.”

“I and Thou, Buber’s best known work, presents us with two fundamental orientations – relation and irrelation. We can either take our place, as Pamela Vermes (1988: 40-41) puts it, alongside whatever confronts us and address it as ‘you’; or we ‘can hold ourselves apart from it and view it as an object, an “it”‘. So it is we engage in I-You (Thou) and I-It relationships.”

Encounter

For Buber encounter (Begegnung) has a significance beyond co-presence and individual growth. He looked for ways in which people could engage with each other fully – to meet with themselves. The basic fact of human existence was not the individual or the collective as such, but ‘Man with Man’ (Buber 1947). As Aubrey Hodes puts it:

When a human being turns to another as another, as a particular and specific person to be addressed, and tries to communicate with him through language or silence, something takes place between them which is not found elsewhere in nature. Buber called this meeting between men the sphere of the between. (1973: 72)
Encounter (Begegnung) is an event or situation in which relation (Beziehung) occurs. We can only grow and develop, according to Buber, once we have learned to live in relation to others, to recognize the possibilities of the space between us. The fundamental means is dialogue. Encounter is what happens when two I‘s come into relation at the same time. This brings us back to Buber’s distinction between relation and irrelation. ‘All real living is meeting’ is sometimes translated as ‘All real life is encounter’. This, as Pamela Vermes (1994: 198) has commented, could be taken as the perfect summary of Buber’s teaching on encounter and relation. However, it seems unlikely that he would have agreed with the notion that where there is no encounter life is ‘unreal’. It appears to be in encounter ‘that the creative, redemptive, and revelatory processes take place which Buber associates with the dialogical life’ (op cit.).”

“Dialogue

Dan Avnon (1998: 5) comments, ‘the reality of “space” that is between persons is the focus of Buber’s philosophy’. At its root is the idea that self-perfection is achievable only within relationship with others. Relationship exists in the form of dialogue. Furthermore, self-knowledge is possible only ‘if the relation between man and creation is understood to be a dialogical relationship’ (Buber quoted by Avnon op cit). Significantly, for Buber dialogue involves all kinds of relation: to self, to other(s) anhttp://infed.org/mobi/martin-buber-on-education/d to all forms of created being. Recognizing this allows us to see that it is ‘the conceptual linchpin of his teachings’ (Avnon 1998: 6).”

All the above from Martin Buber on Education

http://infed.org/mobi/martin-buber-on-education/

The dimension that essentially makes us human, it could be argued, is  the “between”: the space between I and Thou which neither party is totally in control of, but is given life only through dialogue. Understanding is not necessarily the same as consent.  It can make one’s own position clearer and contextualise the self as situated in time and space. Interpersonal in-between-ness actually makes one human: the space of the between allows one to find their own voice and gives them the opportunity to step forward as own perspectives on the world.”

 

Images from this years East Surrey/South West London “Kingston Artists’ Open Studios” Event!

 

jenny meehan at 2017 south west london/east surrey Kingston Artists Open Studios event contemporary female artist painter jenny meehan

jenny meehan at 2017 south west london/east surrey Kingston Artists Open Studios event contemporary female artist painter jenny meehan

 

jenny meehan at 2017 south west london/east surrey Kingston Artists Open Studios event contemporary female artist painter jenny meehan

jenny meehan at 2017 south west london/east surrey Kingston Artists Open Studios event contemporary female artist painter jenny meehan

 

jenny meehan at 2017 south west london/east surrey Kingston Artists Open Studios event contemporary female artist painter jenny meehan

jenny meehan at 2017 south west london/east surrey Kingston Artists Open Studios event contemporary female artist painter jenny meehan

 

This is some of the text I displayed with the work this year.   People like to read about it.  I also had many interesting discussions with different people.  I enjoy assisting people in engaging with painting and my own work.

South West London based Fine Artist and Painter
Jenny (Jennifer) Meehan. 

Jenny Meehan is based in Chessington, Surrey. Her personal website jamartlondon gives you an introduction to her art working. For a more extensive online publication of her creative project follow her activities in more detail through her blog: “Jenny Meehan Artist’s Journal – The Artist’s Meandering Discourses – Poetry – Painting – Spirituality” on WordPress.com.

Jenny thrives on experimentation and innovation. Her highly personal style invites the viewer to embark on their own visual journey, opening up their senses to the interplay of light, colour, texture, movement and stillness.

If you are interested in digital prints, take a look at the selection of imagery available as prints on Redbubble.com by following the link below:
To see Jenny Meehan’s portfolio page at Redbubble.com follow the link: below: http://www.redbubble.com/people/jennyjimjams?ref=artist_title_name&asc=u

Using digital imagery, painting, drawing and writing, I take a primarily process-led approach, acting in response to the materials I am working with. It is a spirit and emotion led practice which I often describe as an articulation of fragmentary experience. This expresses the core of my art-working well, as all I create is autobiographically rooted and expressionistic. It acts as a kind of “re-membering”; a way of bringing things together, and making sense of life.

 

My interest in spirituality and mindfulness mean that I view my art work as a type of contemplative tool, which hopefully enables the viewer to connect with their own emotional life and experiences and gives space in a busy world for imagination and connection. Working with abstraction provides an opportunity for openness, allowing the viewer to determine their own path into my work, and this is coloured by their own experience and memory, unique to them.

Contact me if you have any enquiries. I am happy to arrange studio visits. Digital images of my paintings are numerous, and it is quick and easy to obtain a license for use through DACS (see end of page for more details).

I am a qualified teacher (Post Graduate Certificate in Education) with a BA Hons in Literature. I offer individual tuition subject to other commitments.

I am a member of Kingston Artists’ Open Studios, Guildford Arts, Kingston Arts, and the faith community of St Paul’s Church of England Church in Hook, Surrey. I am interested in spiritual formation and art working in relation to emotional and psychological wellbeing.

 

Jenny Meehan is an established artist who has been exhibiting for over ten years, mostly in the UK. Notable exhibitions include, most recently being selected for the Imagined Worlds touring exhibition of artworks inspired by the poem ‘Kubla Khan’ and inclusion in “Building Bridges, the Female Perspective” at Tower Bridge Victorian Engine Rooms in 2016. Jenny has been a keen supporter of various charity art exhibitions over the years including the National Brain Appeals ” A Letter in Mind” at Gallery@oxo, South Bank, London and the “Anatomy for Life” Exhibition for Brighton Sussex University Hospitals Trust in 2015

Selected by a wide range of judges in open submission exhibitions, her work appeals to the aesthetic and emotional discernment of many, and has been displayed in many prestigious galleries. These include the Dulwich Picture Gallery, London, in 2015, as part of their Open Exhibition, and the Pallant House Gallery, Chichester, West Sussex, as part of the Pallant House Gallery/St Wilfrid’s Hospice Open Art Exhibition in 2010.

Jenny Meehan’s work has been included in several academic projects and and publications including “Speaking Out – Women Recovering from the Trauma of Violence” by Nicole Fayard in 2014 and the ongoing “Recovery” Exhibition project – Institute Of Mental Health/City Arts, Nottingham University, also in 2014. While her romantic, lyrical, expressionistic, abstract paintings offer a contemplative space free from cares and concerns, other strands of her practice engage with subjects ranging from violence, trauma recovery, psychoanalysis, and mental health.

For more information regarding exhibitions go to the “Exhibitions” section of jamartlondon.com

 

Oh gosh,  sometimes I wish my parents could see what I was doing.  I think my mother would like my paintings.  Not so sure about my father.  My mother was Swiss German and came to England to work as an Au pair for Dr Boxall and his family in New Malden.  She was born in Villingen, Deutschland,  and her mother, Rosa Josefina Eicher originated from Eschenbach St. Gallen, and later lived in Basel.  I have no idea why my mother came England by herself in her early twenties, but she did, and she brought with her an appreciation for paintings which I can thank her for now.  Just prints, but they informed my eyes when I looked at them as a child growing up.  Impressionists.  Certainly made an impression on me.  It’s sad to lose your parents when you are fairly young, however it happens.  But as said, I think she would enjoy looking at what I do now, which is a nice thought.  Shame she can’t though. She died when I was 31, which is rather young to lose your mother I think.   “Buried Mother” is one painting painted in memory of her.

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

Buried Mother/Laid to Rest Oil Painting – Jenny Meehan

Really need to get those oil paints out again.  Paint quite differently in oils!

 

 

 

 

 

 

Germination Image

© Jenny Meehan. All Rights Reserved, jenny meehan, jennifer meehan, jamartlondon.com,germination seed image,new life,creativity image, black and white graphic image germination,jenny meehan woman female contemporary british artist 21st century,

germination print jenny meehan jamartlondon© Jenny Meehan. All Rights Reserved;

I have just done some framing.  Knee is painful. Knee cap is grating.  But framing brings quick and impressive feelings to the forefront of the mind.  So nice to see the printed image sitting so comfortably in it’s position.

Escape from Death Image

© Jenny Meehan. All Rights Reserved, jenny meehan,jennifer meehan graphic art print,jamartlondon,escape from death deliverance from evil image, christian art and spirituality,christian artist uk based,british contemporary christian art, jamartlondon.com,life and death art image, birth and death art image,

escape from death by jenny meehan graphic print to buy jamartlondon.com© Jenny Meehan. All Rights Reserved

The actual print has less of a colour contrast than how the image shows here on screen.  I altered it a bit for the print so it is more subtle.

Knee Replacement Season

Well, I start a new journey soon into the land of knee replacement.  So I may be working on some digital images for a while rather than working on larger paintings.   I do have some small scale projects I can work on.  The months of December, January, February and March tend to be a little more sedentary anyway.  So it should work out quite well.

Going into hospital has suddenly reminded me of my “real name”… for I am a Jennifer Meehan not actually a Jenny Meehan.  I have used Jenny Meehan since around the age of 18 when I left home.  When people call me Jennifer I seem to loose a few years and am reminded of how I was when living at home in my parents house.  Well, that is one way to loose a few years I guess!  It is odd when you are suddenly referred to with a name you do not use anymore.  Though it has made me decide to use the “proper” form of my name a little more, in addition to the Jenny Meehan which I work with and use all of the time.  The world is full of Jennifers who are Jennys!

I sign my work with my initials which are J, A, and M.  Jenny/Jennifer Meehan is née Jennifer Ann Gray.  So Jennifer Ann Meehan becomes JAM.  Hence the name jamartlondon for my website.  If I used my maiden name, it would be JAGARTLONDON.  That’s not bad, but JAMARTLONDON is better!

Well, that was a pleasant little meandering discourse!

 

Past painting…

Sack of a Great House/Arise, Sleeper

Painting experiment with acrylic,pigments,textures - Jenny Meehan

“Arise, Sleeper, Wake/Sack Of A Great House” Jenny Meehan 2010

© Jenny Meehan. All Rights Reserved, DACS

This painting is an early example of my experimentation with texture in my work.  It may well be the first time I used fillers of different sorts.  That was back in 2010.

Ephesians 5 v14  “This is why it is said: “Wake up, sleeper, rise from the dead, and Christ will shine on you.”

 

Jenny Meehan, Oil painting experiment, 2010

UnderPainting for an Oncoming Vision/The River Within  by Jenny Meehan  2010

© Jenny Meehan. All Rights Reserved, DACS

Under Painting for an Oncoming Vision/The River Within is an example of some of my earlier work.  In this painting I was experimenting with glazes.  Oil on board.  In the flesh the painting does radiate light in a very pleasing way.  You cannot quite get that from looking at it on a screen.

 

 

Interesting information on Gloss and Emulsion Paint

Well, you know I appreciate that this won’t get everyone excited, but for me as a painter when I find nice clear information on paint, I am very happy indeed!  Someone mentioned gloss paint to me in conversation and it is not something I have tried, so this maybe something for the new year.

Gloss or emulsion

When we buy a can of paint we expect to be able to apply it with a brush or roller and for it to dry leaving behind a solid film. To achieve this paints are made up of a mixture of different components. Although paints designed for different purposes will have different formulations, they all have some key features in common.
Paints contain a pigment to give colour, including white; a film former that binds the pigment particles together and binds them to the surface to be painted; a liquid that makes it easier to apply the paint and additives to make the basic paint better to store and to use.

The two main types of paint are gloss and emulsion. (My addition, well, not quite, but for domestic household use, yes!)

Gloss Paint
Gloss paint is widely used because it produces an attractive shiny surface that is so durable that it can be used outside. The binder or film former in gloss paint is called an alkyd resin. This is a long chain polymer made by reacting a vegetable oil such as soya bean or linseed oil with an alcohol and an organic acid. The resin is dissolved in an aliphatic petroleum solvent, so that it can be spread easily. When the solvent evaporates, the oxygen of the air interacts with the resin which results in the formation of cross links between the polymer molecules and produces a strong, dry film.
A typical gloss paint formulation
Component Percentage by mass
Alkyd resin binder 54
Pigment 25
Solvent 17
Additives 4
(Additives might be driers and anti-skin agents)
Emulsion Paint
Some paints are emulsions . They are made up of tiny droplets of liquid polymer binder spread out in, rather than dissolved in water. This emulsion can be spread easily.
The polymer is made by the addition polymerisation of alkene monomers such as ethenyl ethanoate, methyl 2-methylpropenoate and 2-ethylhexyl acrylate. These monomers can be mixed in different proportions before polymerisation to form a co-polymer which has exactly the right properties for the purpose it is to be used for.

After an emulsion paint is applied, the water evaporates and the polymer particles pack closely and fuse together to form a continuous film. The use of water rather than an organic liquid means that emulsion paints produce fewer VOC (volatile organic compounds) when they are used.
A typical emulsion paint formulation
Component Percentage by mass
Co-polymer binder 15 to 23
Pigment (white) 20
Pigment (colour) 0 to 5
Extenders 15 to 25
Water 25 to 50
Additives 2 to 5
(Additives might be antifreeze, dispersing aids, wetting agents, thickeners, biocides, low temperature drying aids, antifoam agent, coalescing solvent, ammonia)”

The above is quoted from: http://resources.schoolscience.co.uk/ICI/14-16/paints/paintch1pg1.html

 

I am so happy reading this! Crazy, Yes.  For sure!  Love Paint!

Quotes I like…

This below from http://abstractcritical.com/article/the-language-of-painting/

http://abstractcritical.com/article/the-language-of-painting/

by John Holland

Though it will deeply pain Mr. Gouk, I agree that art is not a language, except in the most metaphorical way. It’s not true to say that, “If art has a meaning, then it must be a language”; language is a particular conception, and all real languages share certain necessary features,such as modular units that must be arranged according to quite strict syntactical rules if they are to make sense. What are the equivalents in painting of tenses, verbs, word definitions? Any metaphorical application of the word ‘language’ to art (or music) is too vague to be useful. Maths, maybe, is the only thing that might meaningfully be called a non-verbal language.

As Gouk suggests, a work like Finnigan’s Wake pushes the rules about as far as they will go before sense breaks down- which is why, by and large, literature has had to ‘retreat’ since then to more conservative forms. There’s no equivalent in Modernist painting.
Art has meaning, but it lies largely outside language- this is why it fails when it tries to operate in essentially verbally structured contexts like political discourse.”

 

Art has meaning, but it lies largely outside language- this is why it fails when it tries to operate in essentially verbally structured contexts like political discourse.

 

Victor Brauner

I have been looking at some work by Victor Brauner recently, who I had not heard of before.  Here is some information on him.

Victor Brauner’s multi-media practice is now most closely associated with Surrealism. During his training at the School of Fine Arts in Bucharest, Brauner had in fact developed an expressionist style, which he later abandoned during his involvement with various Dadaist and Surrealist art publications. It was Yves Tanguy who formally introduced Brauner to the Surrealists and instigated his involvement with the movement. His practice, which included painting, drawing, and printmaking, drew from disparate symbolic systems like Tarot Cards, Egyptian hieroglyphics, and ancient Mexican texts. Brauner asserted that all of his paintings were autobiographical in some way. He led a turbulent life of constant displacement; anticipating the danger of World War II, Brauner reduced the dimensions of his canvases such that each could fit in his luggage for emergency travel—he called these his “suitcase paintings.”  (quoted from Artsy.net) 

And from my reading:

Dialogues; Conversations with European Artists at Mid-Century by Edouard Roditi
An interesting extract:
Victor Brauner interviewed by Edouard Roditi. A small extract from a longer interview.
ER: Do you believe that non formal abstract art can offer an artist a new kind of freedom?
BRAUNER: In theory perhaps, at least as long as it relies on chance to suggest meanings for its formlessness. In practice, however, it generally concerns itself with such problems only superficially and soon degenerates into a style of decoration that lacks any more articulated systems of beliefs, thought and emotion. In any case, such terms as figurative and non-figurative or formal and non formal suggest very superficial categories. An artist such as Paul Klee understood quite properly that he had to try his hand at any style that occurred to his mind, and this is how he managed to leave some works that are figurative and others that are nonfigurative – but all of them equally typical of his very personal genius.
ER So you would not advise an artist to seek too personal a style to which he would remain rigidly faithful in all his work?
BRAUNER : Certainly not. The modern art market requires that an artist specialise and, in the long run, repeat himself too. But what he then produces may no longer illustrate what remains indispensable to him as artistic expression – I mean a sense of adventure, of discovery and perhaps even of danger, of the risk of really making the wrong choice and of losing or destroying himself as an artist. Whenever I face a fresh canvas,I feel like a new man and become an utter stranger in my own eyes. When one faces this mystery of becoming and of self discovery and self-expression as an artist, one can no longer rely very much on what one has already achieved. But this is also why I can never have a very clear long-range plans. I do not want to become a specialist in any strictly limited style or range of subject matter, though I may actually find myself more often preoccupied by some problems or symbols than by others. Nor would I really be able to be such a specialist, even if I wanted. But this problem, fortunately, has never arisen in my life, and this may well be why I continue to feel the need to work and to create, as if I had never yet created anything in the past which I can still recognize as wholly my own”
At the time of this brief interview, Brauner was seriously ill and easily tired. A few weeks later Victor Brauner died and this was his last interview.

 

Interesting with respect to the matter of repetition, and what a wonderful quote:

Whenever I face a fresh canvas,I feel like a new man and become an utter stranger in my own eyes. When one faces this mystery of becoming and of self discovery and self-expression as an artist, one can no longer rely very much on what one has already achieved.

My own experience for the need for constant jumping into the dark, into the unknown, into the not previously explored avenues of the unfolding process of my painting, and how important it feels NOT to simply do something because it has worked well, or is popular, or has some other reason to be done, finds some agreement here.  This may not make commercial sense, however,  I ask myself what matters the most and what I personally think more important.  Freedom is a key not worth throwing away unless it is absolutely necessary to do so.   At the moment I am free to be led by whatever happens next, without needing to know what that whatever will be.  I do find that there are distinctive strands in my work, they resurface again and again; it just happens.  The art is to look back and consider them from a distance of time having passed, to ask if they have any direction to point one to, and to not force any coherence in one’s work, but simply let it happen.

 

Suburban Meditations/Painter’s Development Images…

Once more, a look into what caught me when my camera served as my main tool.  I am thinking of buying a new camera, but so confused by the choice!!!  My extensive archives of imagery lie waiting for resurrection.  But it is nice to look back at what I was looking at (and finding interesting) when I took more photographs more than I painted.  And then I ask myself what the images are saying to me now.   Quite a lot.  Of lovely silent words.

 

suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

jamartlondon. christian artist uk, women artist uk, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

christian artist uk, women artist british, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

women artist british, christian artist uk, suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

Types of metal fixings and neglected structures drew me towards them.  Wood and metal were the main materials I took photographs of.  I experimented with colour images but in the end presented a lot of my photographs in black and white as the kind of control over colour was too limited with photography, or at least, in my case, with using pretty limited types of photographic equipment and not printing the images myself.   I take very few photographs at the present time.  I feel I have so many that I have not utilised and engaged with sufficiently.  So much material that could bring forth so much.  So I have put an end to taking more images at the moment. ( Very occasionally I succumb!)  Sometimes I see something I cannot resist, but it is not helpful to try and do too much. We have too many images.  This feeling probably accounts for my getting lost (willingly) into abstraction!

 

There Will Always be a Point at Which We Will Meet

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

 

Past Painting and Poem :  Bandage Box

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

Bandage Box

Gently pressed
fabric
laid over a stretched surface,
soaked in milky balm.
I am tenderly
making, building
a new impression with my mind
whose inner wound cannot be bound
but which seeks
to make
new structure.

Jenny Meehan 2013 (written to accompany the above painting of 2013) 

 

There will be some wounding experience with my knee replacement, but wounding with the aim of healing and repair is quite a different matter to wounding with destruction as it’s intent.

 

 

And Now…

I have been dwelling on similar material recently… Reflecting on the healing process of painting, because it clearly is a healing process for me.  The bringing together, in articulating something, something which I don’t know when I start, but which evolves.  The something which is becoming.  Bringing into being a painting is like realising an emotion…, or maybe not just emotion, something of the heart; a heart connection and an experience felt.  Maybe coming from a memory or experience.  That memory need not be explicit and clear but I can still paint from it.  Paint from its centre, from the time when it started.  It may be from the past but the time doesn’t matter,  The main thing is that it is and that I don’t need to ignore it or push it away. So the whole thing about painting for me is that it is about being allowed to be.  Being and coming into being.  Feeling and experiencing the paint and the material and the process of painting.  And for nothing else to matter.  There is a space in that which is healing. There is a bringing together and a resolution of something within.  There is the fact that it appears and that it now matters.  It always mattered but it could not be seen.  And there is nothing about that painting which is not me.  And there is everything just laid there to see.  Which is rewarding.  And the work has been hard, not easy. Sometimes easy, in a kind of surprise, but often very hard.  But the bringing together of the painting is very rewarding.  I feel engaged in life in a way that is essential to my happiness.  I think I have written about the psychology of flourishing before on this journal.  And that whole thing of “being in the flow” or in your element.   I think some of the recent paintings I have been working on this year may touch on both the experience of flow, of happiness and of healing.  The relief of coming together.

And here is one of  my VERY recent paintings.

This one, “Mending”…It may well acquire an additional title as I continue the phase of contemplation through simple looking for a while.   Sometimes over time a painting speaks of something not so obvious at the time of painting, or even just after it.

But this is “Mending” for now.

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abstract lyrical expressionist british paintings jenny meehan

 

“Mending” uses a mixture of Keim Optil paint, acrylic paint, and household emulsion.  I have also used painted card which is something I have been keen to use for a while.  The substrate is hardboard which has a lovely colour which I have left showing in places.  There are also some areas of paper tape.  The size is just 20x16inches.  This is a good size for such experiments as not too big, and I rather like the aspect ratio.

 

A nice little quote, rather random, but still lovely;

“Conversion, at its root, is not the action performed but the source of that action, the experience of being loved.”
Carroll & Dyckman,  quoted from Inviting the Mystic Supporting the Prophet. 

That is it for now.  Happy Christmas!

 

 

As per usual, I enjoy writing so much I ramble on  for ages, so do skim and skip over content which doesn’t grab you, dwelling only on that which is of your particular interest.  This way, I don’t need to worry about being succinct or structuring my writing more tightly (it serves as exploration for me, and isn’t just written to be read by you.) but can let it evolve as openly and profusely as it will.

West Dean College Visit

A flourish of monochrome images from a recent visit to West Dean College will provide some inspiration for my current experiments with black and white ink, paint, and mono printing.   I have not edited these to cut down time but want them here as a reference I can access easily.  How beautiful is the hand of our Creator God, whose touch never ceases to inspire.

The photographs look nice in colour too, but during the course I have just come back from we worked with black ink on paper, and it is best to stay black and white for a while.  “Drawing in the Garden – Pattern and Place” was a pleasing contrast to my non objective paintings in colour.  The blurb for the course: ” Explore a pattern-based interpretation of the gardens through drawing from observation. Drawing in the garden – pattern and place with Rosie MacCurrach”.  The opportunity to simply do some observational drawing was very welcome, and it is always very interesting and helpful to be part of a group of people being creative.  It is amazing how unique and individual each person is, and the very special characteristics, challenges and triumphs of each person’s drawings were an education in themselves.  A brilliant time.  I will post my work up soon, but still in the whirl of what I have done, and don’t want to share quite yet as I need to continue to work with it.

There are quite a few here, so scroll down rapidly if you don’t want to view them!  The variety of pattern, line, form, texture is immense, and these photographs will serve me as a visual reminder.

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

west dean gardens jenny meehan flora foliage jamartlondon

 

 

Several drawings done, yes, DRAWINGS!  Finally!  Here is one below.  I will be experimenting further with some print making experiments based around the drawings.  That will be the Autumn project.

jenny meehan charcoal drawing west dean college art contemporary, jamartlondon, female british woman artists, emerging art historically significant artist,jenny meehan wordpress journal, drawing garden spiritual contemplation meditation visual art, spiritual growth image for meditation, christian visual artist 21st century

jenny meehan charcoal drawing west dean college art contemporary

 

I LOVE charcoal.  A timely reminder to use it more.  So forgiving, like oil paint.  Cannot wait to get into the studio tent and experiment with some black ink also.  I am going to immerse myself in black for a while.

 

Paintings I like…

I like these paintings very much.

http://www.widewalls.ch/artist/jiang-tie-feng/

Text below is quoted from the above:

“Splendid Watercolor and Serigraphy Works
Jiang Tie Feng was born in Zhejiang Province in China and he discovered his love for visual arts through painting and drawing while he was still a child. Consequently, he studied at the Central Academy of Fine Arts in Beijing. In the turbulent 60s and 70s in China, Jiang Tie Feng was asked to create propaganda posters for Mao’s Cultural Revolution. However, at night, the artist was secretly creating his very own artistic style, based on Chinese mythology and Buddhism. My paintings are not only pictures; they are also music and poetry that is bewitching, sweet dreams that are being dreamed, says Tie Feng about his work. The artist is considered one of the best examples of contemporary Chinese art and he is a truly creative painter, who often creates stained glass windows and focuses on the subject of women, horses, birds, and nature as his main sources of inspiration. He created mainly in watercolor and serigraphy and it is known that his masterpiece serigraph edition as well as canvas-based works have been popular worldwide ever since the early 1980s. The artist was also a member of the Chinese Woodblock Association as well as a professor at the Yunnan Art Institute.”

My paintings are not only pictures; they are also music and poetry that is bewitching, sweet dreams that are being dreamed, says Tie Feng about his work.

Sweet dreams that are being dreamed….

 

More Thoughts from other Artists:

” Lisa Yuskavage
Make art that you want to see that doesn’t already exist. Stand by it regardless of the response. Try to get past the desire to have everyone like you.

All positive feedback is not a good sign. It means you are feeding the views that they already like and not going to change how the world sees.”   

quoted from the article on artnet news; 18 Female Artists Give Advice to Women Starting Out in the Art World
“Try to get past the desire to have everyone like you,” and more words of advice.
Eileen Kinsella, July 21, 2016

Like this one too:

 “Marilyn Minter
Find your strengths and develop them! Don’t waste your time trying to do things that don’t come easy to you.

Go with your gut, even if it goes against all rational thinking.”  

and this:

 Mariko Mori
“Never compare your career with other artists. Concentrate on developing your work and believe in yourself. The necessary path to grow as an artist is all different and unique. Trust in your path as every moment is a gift to strengthen your creativity.”

and this one, which I found particularly interesting:

 Adrian Piper
“First, you should be clear about what you are aiming for: (1) public approval, (2) commercial success, or (3) art-historical significance. These three are not necessarily mutually exclusive, and there is nothing wrong with any of them. But my remarks address only (3).

The best means to art-historical significance is financial independence. Don’t even think about trying to earn a living from your artwork, or else you’ll start producing the artwork that will earn you a living. A trust fund will divert your energies in a different way. The best means to financial independence is a day job in a different field. Waiting tables, driving a cab, office work, and teaching are traditional alternatives for artists, but the digital revolution opens up many others. All of them will free you to make the work you are most deeply driven to make, regardless of whether or not anyone else likes it or buys it. That’s the work that’s most interesting and important to you. You won’t have time to waste on producing work that doesn’t obsess you.

Your day job will also free you to be selective about what you do in order to promote your artwork, and with whom. It will protect your pursuit of quality. That’s one reliable path to art-historical significance (although of course not the only one).”

All above quoted from the article on artnet news; 18 Female Artists Give Advice to Women Starting Out in the Art World.  To read the full article please follow the link: https://news.artnet.com/art-world/advice-to-young-female-artists-542609

 

Thinking about my own work, it is art historical significance which interests me the most.   Who put a stamp of approval on this or that work, in terms of the canons of art history may be another matter.  Women artists have not traditionally fared very well in this respect.  I am not very convinced that things have changed that much, but I may be wrong.  It seems that the people you know, the money you have, if you have it, and the circles you move in may have a big part in how significant your art is thought to be.  However, this then leads me on the the fact that it is not individual artists but movements, and what is happening, which determines the course of developments in culture.  As long as one shares what one does, and gets it out there as much as one can, then this will influence other artists.  It is not helpful to have an individualistic view.  What one does in life may not be fully known, or even known as much as it should be, or even deserves to be. But what matters is that one is faithful to doing it, and that one continues to believe that whatever it is within which drives one to create.. this deserves to be followed.

And so, for any artist, the pursuit of innovation and development, the desire for new discoveries which come from persistence in the task of art marking and art working….this pursuit and desire have their own merit.  Indeed, they become the life-breath of an artist.  It is not a simple matter of making an impression on the world one inhabits.  This may happen to a large degree,  and it may not.. It will happen to some extent, even if that extent is not as great as one would wish.   I do pray that the Creator God, in whom I live and have my being, works in the world through the Holy Spirit to bring people into my life and work who will support it, love it, benefit from it, and propagate it.  But for this, I must trust.

I dislike the term “Art World” intensely.  Because that is a small orb in something much bigger.    I am sure it can be very helpful, as well as a hindrance.  Whatever the result of art working, it must just be got on with.  Glorified or not, it is what it is.

Paintings in Progress….

Here is one recently finished!  Yes,  a Mad Moment!  I titled it “Mad Moment/Water Fight” in the end.  I like two titles. Both are right.   The painting did take several weeks, rather than a moment, but it has a good immediacy and can carry the moment part of the title.  And like many jumps into paintings where one tries out new things, it has an element of madness… into the chaos… about it.  During the week that I finished it I let my son and five of his friends have a crazy limitlessness water fight in the garden.  And it spoke of that too..  So “Mad Moment/Water Fight” it is.

jenny meehan waterfight mad moment abstract painting jamartlondon, christian spirituality visual artist female 21st century abstract expressionist spiritual poetry painting poet-painter jenny meehan, contemplative art practice meditation images,

jenny meehan waterfight mad moment abstract painting jamartlondon

 

Bit different on the corrugated plastic….  Wanted to try it out.  This painting took a long time…  still under review, as all my work, for six months.  But feeling pretty settled about it.  Water, water, water.  Seems I cannot get enough of it!!!

I have experimented with using some synthetic organic dye based paints for this painting.  The colours are terribly intense and suited to the mood.  Rather transparent, in the main.  Quite different from my heavier bodied metal oxide, earth and mineral based pigmented paints. Good for a change.

General information about this type of paint…

By the way  Organic simply means “containing carbon atoms,”

With organic pigment, the molecules are made of carbon atoms along with hydrogen, nitrogen or oxygen atoms and organic pigments are further divided into two subgroups:

Natural Organic Pigments- These type of pigments are derived from animal products and plant products.  We don’t tend to use them anymore as they are not very light fast at all.  Nowadays a lot of these have been replaced by the synthetic organic dyes. They are remembered by their quaint historical names, which are often adopted by the modern commercial paint companies to lend romance in their traditional mixtures, for example, one of my synthetic organic dye based paint is called “Red Madder”  but it certainly does not contain any madder!
Synthetic Organic Pigments- Synthetic Organic Pigments are carbon based and are often made from petroleum compounds. Under intense pressure or heat, carbon base molecules are manufactured from petroleum, acids, and other chemicals and Synthetic Organic Pigments have been formulated from these molecules. Quinacridones Phthalocyanines Perylenes Pyrroles Arylamides Metal Complexes: e.g Transparent Yellow, New Gamboge Miscellaneous: e.g Dioxazsine in Danthrone; These are all synthetic organic pigments.

They are not my preferred colours.  I like the earthy feel of earths, oxides, and mineral pigments.  But again, as with the change in ground, it’s important to push forward.  The only way I can learn about these pigments is by using them.

There are other paintings, many of them, around 30 I should think, still currently in progress.  But they are resting for a while.  Various stages.  It’s good to go back to them after a while and see them with new eyes.

 

St Julian Talk at St Pauls Church of England, Hook – Jenny Meehan

Here are the notes from a mini talk I gave a while back:

St Julian of Norwich…

Not a man, but a Woman…. named after the church she was attached to…. ie St Julian, in Norwich.

She was something called an anchoress….kind of a counsellor/spiritual director who spent her time praying and giving counsel. She lived in an hermitage… which is a small stone dwelling with one or more rooms attached to a church, often with a garden too. She lived by herself but also had a maid to look after her practical needs. When people came to see her, they spoke to her through a little window.

She is well known today because she had a series of visions which she wrote about. These can be easily read today and are published as “Revelations of Divine Love”.

She was the first woman to write a book in the English Language

The Medieval times she lived in were very difficult and life were very hard for people. Famine, war, and early death were commonplace and made people very aware of suffering. It was easy to be tempted to view the suffering as God’s punishment, and to see God as vengeful, angry and harsh.

Haven’t got time to summarise her writings here, but her attention to the loving and caring nature of God is very strong, so I will focus on that. When she asks what God means, and what is the most important thing for us to understand about God, the answer she comes to is LOVE.

“From the time these things were first revealed, I had often wanted to know what was our Lords meaning. It was more than fifteen years after that I was answered in my spirits understanding. ” You would know our Lords meaning in this thing? know it well. Love was his meaning. who showed it you? Love. What did he show you? Love why did he show it? For love. Hold on to this and you will know and understand love more and more. ”

As well as her emphasis on God’s love, she also encourages us to Rest in this love and the goodness of God. She emphasises that God is our resting place and where we belong.

God is our rest: his love is endlessly turned towards us and active within us, whether we directly experience this or not. It is enough to turn and face God.
She writes a lot about the nature of prayer, how the Holy Spirit gives us both the desire and shows us the way to pray.
I think what we can learn from St Julian of Norwich is that we are wise to invest our time into making space in our lives for time to pray and wait on God. That if we want to know more about God’s loving kindness, we are wise to ensure we have set aside dedicated times for prayer, for seeking God in all things. This way we will have clear opportunities to really listen to what God is wanting to communicate to us. We might not live in a hermitage, like her, but we can make room in our lives to listen to our Creator.
Julian understood prayer as consciously choosing relationship with God as our rest… in other words, our resting place.. our place of belonging, where we can know and become our true selves.

That’s the end of the talk notes, but I like this quote from her very much:

“Our Savior is our true Mother in whom we are endlessly born and out of whom we shall never come.”
― Julian of Norwich

 

This was the painting “Comforter/St Julian of Norwich” while I painted over the period of researching St Julian of Norwich and thinking about her theological significance for me personally:

Acrylic, various fillers, acrylic mediums and pigments, and glass beads , sacred art painting religious, spiritual visionary painting, christ centred poetic visual art, The Comforter/St Julian - Jenny Meehan

The Comforter/St Julian – Jenny Meehan
Acrylic, various fillers, acrylic mediums and pigments, and glass beads

Now here is an example of some experiments on the computer… A great way to experiment with colour and pattern.  Rather large watermarking, but I think you can get a feel for the designs OK without them being too much of a distraction!

 

Crystal Cluster Surface Pattern Design

This design, shown below,  was inspired by my interest in quartz, one of the most well known minerals on earth. The pattern doesn’t seek to replicate the form, but suggests the cluster of the mineral reflecting light.  The text is from the Redbubble site the work is displayed on..

Jenny Meehan is a British fine artist, based in the United Kingdom. She paints non objective and semi abstract paintings, as well as working with digital imagery. For more of her paintings see http://www.jamartlondon.com

© Jenny Meehan. All Rights Reserved, DACS

My pattern designs and digital files of my distinctive, colourful and textural abstract expressionist/lyrical abstraction style paintings can be quickly and easily licensed through DACS.

 

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

crystal cluster surface pattern design uk jamartlondon

 

If you scrolled down quickly, your eyes would have been shaken in their sockets…If you didn’t, you might like to try it!

 

More Recent Painting

I consider this painting “still in progress” though I have not added anything to it and probably will not.  But after I think I have finished a painting I always leave it about six months and stay open to the fact that it may not be finished.  So sharing it now may be a little premature, however, I don’t mind popping it up here for now.

lyrical abstraction contemporary artist british, female artist jenny meehan london based, lyrical abstraction process led painting,collectable abstract paintings for collectors, jenny meehan jamartlondon uk, art historical relevant significant art british,exploratory innovative paintings, british women artists current today,affordable original paintings to buy uk, collectable paintings original british contemporary painting jenny meehan river journey christian spirituality contemplative art, jamartlondon collectable british female artists 21st century painting, affordable original abstract art to buy, process led abstract painting, romantic expressionist abstract lyrical painting modern art, uk mindfulness art, meditation art, contemplative prayerful art, christian art london, experimental painting, art and spirituality,

“River Journey” abstract lyrical expressionist british paintings jenny meehan

 

It is not possible to see the surface properly on screen, however there is a good sense of flow which comes in the way the broad white bands of paint have been applied and this inspired the title.  It reminded me of “Resting Place” a little, but as I had another painting painted over this painting session which kept saying to me “Harbour”  and this one had more of a sense of movement and flowing in it,  the two seems to compliment eachother, so I preferred a title with both a suggestion of water and of movement in it rather than something more static.

 

harbour painting lyrical abstraction contemporary artist british, female artist jenny meehan london based, lyrical abstraction process led painting,collectable abstract paintings for collectors, jenny meehan jamartlondon uk, art historical relevant significant art british,exploratory innovative paintings, british women artists current today,affordable original paintings to buy uk, collectable paintings original british contemporary painting jenny meehan river journey christian spirituality contemplative art, jamartlondon collectable british female artists 21st century painting, affordable original abstract art to buy, process led abstract painting, romantic expressionist abstract lyrical painting modern art, uk mindfulness art, meditation art, contemplative prayerful art, christian art london, experimental painting, art and spirituality,

Harbour Painting abstract lyrical expressionist british paintings jenny meehan

 

“Harbour Painting” has a lot of contrast between some very glossy areas and matt surfaces which cannot be seen on screen at all but which add another dimension to the simple composition.

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: http://www.carolinecalascione.co.uk/

Lizzie Brewer, find out more here: http://www.lizziebrewer.com/

Cressida Borrett, see some of her ceramics here: http://www.cressidaborrett.co.uk/

Plus more ceramics from Bali Edwards here: http://www.pots4u.com/

And also Anna Tikhomirova   http://www.artist-anna.com/

Martina van de Gey will also be here from Germany:  www.martinavandegey.de

and Seana Mallen:  www.smallen.moonfruit.com

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: http://www.artandeducation.net/paper/art-as-an-autonomous-commodity-within-the-global-market/

(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: http://ginafairley.com/artshub/is-art-a-commodity/

Also interesting:

http://archive.boston.com/business/blogs/global-business-hub/2012/04/art_as_commodit.html

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.”

and:

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:  

https://issuu.com/kingstonartistsopenstudios/docs/cataloguekaos2016 

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).

http://www.livingwithin.com/20052016-kingston-artists.html

KINGSTON ARTISTS PREPARE FOR OPEN STUDIOS WEEKENDS IN JUNE
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 http://www.kingstonartistsopenstudios.co.uk/show”

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 Redbubble.com .  Here is the link;

http://www.redbubble.com/people/jennyjimjams/works/20377969-drawn-together-building-bridges-the-female-perspective-design-by-jenny-meehan

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:

http://whatsgoodtodo.co.uk/art-at-the-bridge-7-review/

Art at the Bridge #7
Tower Bridge, London
http://www.towerbridge.org.uk

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:

http://www.culture24.org.uk/art/art548364-International-Womens-Day-2016-19-must-see-exhibitions-by-women-artists-this-year

More interesting reading from Gresham College:

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

 

That’s it for now….

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 

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

 

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.

 

 

 

Art at the Bridge #7 Photographs and Visit

Had a great time at the Art at the Bridge # 7 – Building Bridges, The Female Perspective, in the Victorian Engine Rooms at Tower Bridge.  Thought I would get in there before it gets too busy over the holidays.  Very pleased to have my art work “Drawn Together” on show.  Here are some images!

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

 

Here’s an image of part of the Building Bridges Exhibition…  What a lovely wall..!!  (As well as the art work, of course!)

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

As well as being part of a very harmonious corner in terms of the hanging of the exhibition,  I had the good fortune to even catch a colour coordinated passer by!

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

jenny meehan drawn together art tower bridge

It’s a great space, lovely and light and refreshing!

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

glass walkway tower bridge experience as part of the building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

Even lighter on the walkway!  It can hold the weight of several elephants, I was assured!

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

 

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

jenny meehan on her visit to building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

 

Massive “Thank You” to Southwark Arts Forum and Tower Bridge for this opportunity to show my work.  If you would like to support Southwark Arts Forum it is quick and easy to do over their website: http://www.southwarkartsforum.org/

Artists need the support of their local community in order to thrive, and organisations like the Southwark Arts Forum, Kingston Artists Open Studios, etc are always keen to look for ways they can partnership with organisations who can help them with the provision of exhibition space without charge.  It’s a challenge investing time into the arts, especially with the rising cost of  living, etc and partnerships like the Tower Bridge/Southwark Arts Forum one are beneficial to all concerned.  Artists are not exploited by being forced to pay ridiculous amounts of money to exhibit their work, and the organisations get a wonderfully high quality selection of art work free of charge.  It’s a win win situation!

Details of the Exhibition here, quoted  from the Tower Bridge website:

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 of ‘Building 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.

 

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

This successful partnership was set up in 2011 as part of Tower Bridge’s ongoing commitment to engage with and acknowledge the talents of the local community; and these regular exhibitions provide an opportunity for artists to gain exposure to our international audience of  2,500 daily visitors.Check out the Tower Bridge website for exhibition times.

For sales and artist enquiries contact: bridget@southwarkartsforum.org.

There are plenty of reviews and features on the exhibition on the internet… this one shows you some more of the art works on show.  I could not get to the private view as I was on a residential course, which was a great shame!

http://www.informationsociety.co.uk/all-female-exhibition-opens-in-tower-bridge/

 

Ps…  If you like my print “Drawn Together” you can purchase your own, quickly, easily and safely, on Redbubble.com.  Follow the link!

 

http://www.redbubble.com/people/jennyjimjams/works/20377969-drawn-together-building-bridges-the-female-perspective-design-by-jenny-meehan

 

British Female Contemporary Artists – Painter Rose Wylie

Very interesting read.

http://www.telegraph.co.uk/culture/art/11652527/Rose-Wylie-I-dont-like-arty.html

My particular favourite quotes:

“Two years ago, the art critic Brian Sewell dismissed one of her pictures as “a daub worthy of a child of four”, and the “worst” work in the Royal Academy’s annual Summer Exhibition.

Earlier this year, though, the RA elected Wylie a Senior Royal Academician.”

Something to remember next time someone slags off your painting!

” The extraordinary thing is that this hot streak for Wylie, who is now 80, has occurred in the twilight of her career, after years of relative obscurity.”

Well, that is rather a long time to wait, but at least she is still alive… You don’t have to die first!  

“For much of her adult life, she put her ambitions as a painter on hold while she brought up three children, two of whom now work in finance. “[Roy] was the dominant artist, certainly,” she says, “because I was the mother, wife, cook.” Once the children had grown up, though, she went back to art school, graduating from the Royal College of Art in 1981, and devoted herself to painting. Does she ever feel that concentrating on motherhood at the expense of painting was a sacrifice?

“That’s such a crappy question,” she shoots back. “People like to think that I was frustrated – that the male element was working and that I must have been jealous or angry.” That wasn’t the case? “No! I think children are important, relationships are important, life is important. Besides, I used to do stuff – like make their clothes. I used to make curtains, sofa covers. I made pâté.”

I Love this woman!  Creativity in whatever realm, is creativity.  The fact that it is not recognized by certain people, in certain circles, as important art, does not make it any less art, any less valuable, artistic, or worth of attention!  Plus, the domestic matters of life are important. 

“Painting is both horrifically demanding and exciting. When it’s going badly, it’s very depressing – it’s not fun. But then you get into it and you can’t stop. It’s compulsive. If it weren’t there, life would be very drab.””

 

The above is quoted from the very interesting article,” Rose Wylie: ‘I don’t like arty’
Alastair Sooke meets the 80-year-old whose childlike work is the toast of the art world” By Alastair Sooke 4:00PM BST 06 Jun 2015 in the Telegraph.  Read the whole article here: http://www.telegraph.co.uk/culture/art/11652527/Rose-Wylie-I-dont-like-arty.html

 

Very interesting read here also:

 

http://theartnewspaper.com/features/my-father-and-music-how-mark-rothko-s-love-of-mozart-made-his-paintings-sing/

The link above is an extract from the book, information below:

” Mark Rothko (1903–1970), world-renowned icon of Abstract Expressionism, is rediscovered in this wholly original examination of his art and life written by his son. Synthesizing rigorous critique with personal anecdotes, Christopher, the younger of the artist’s two children, offers a unique perspective on this modern master.
 
Christopher Rothko draws on an intimate knowledge of the artworks to present eighteen essays that look closely at the paintings and explore the ways in which they foster a profound connection between viewer and artist through form, color, and scale. The prominent commissions for the Rothko Chapel in Houston and the Seagram Building murals in New York receive extended treatment, as do many of the lesser-known and underappreciated aspects of Rothko’s oeuvre, including reassessments of his late dark canvases and his formidable body of works on paper. The author also discusses the artist’s writings of the 1930s and 1940s, the significance of music to the artist, and our enduring struggles with visual abstraction in the contemporary era. Finally, Christopher Rothko writes movingly about his role as the artist’s son, his commonalities with his father, and the terms of the relationship they forged during the writer’s childhood.
 
Mark Rothko: From the Inside Out is a thoughtful reexamination of the legendary artist, serving as a passionate introduction for readers new to his work and offering a fresh perspective to those who know it well.”

 

Kingston Art 2016: Anagrams Opens Friday 29 April at Kingston Museum
29th April to 2nd July 2016
Opening on Friday 29 April at Kingston Museum, Anagrams is an exhibition which showcases the winning entries to a competition where artists from Kingston upon Thames’ local artists’ groups, ASC Kingston (Artists Studio Company Kingston), Hawks Road, Fusion Art and KAOS (Kingston Artists Open Studios), have entered new work under the theme Anagrams.

This is an exhibition of transformational art, where the art work and the artist’s explanations of how they have approached the theme give the viewer a fascinating insight into each artist’s way of seeing and working. Many different techniques are showcased from painting, drawing and photography to mosaic, installation and much more.

Two prizes, the Judge’s Choice and the Public Choice, will be awarded to the artwork which gains the most votes in respective category.

“I am intrigued to see the works that have been submitted and the ways in which each artist has chosen to respond to the theme of “Anagrams” in order to convey their intentions to the viewer. Given Kingston’s rich artistic heritage, I am hoping there will be some great surprises in store from local artists”.

David Falkner, Director Stanley Picker Gallery & Dorich House Museum, Kingston University
Organised in conjunction with artist’s group KAOS. Last day is Saturday 2 July.

Anagram definition: An anagram is a type of word play, the result of rearranging the letters of a word or phrase to produce a new word or phrase, using all the original letters exactly once; for example, the word anagram can be rearranged into nag-a-ram. Someone who creates anagrams may be called an “anagrammatist”. Any word or phrase that exactly reproduces the letters in another order is an anagram. However, the goal of serious or skilled anagrammatists is to produce anagrams that in some way reflect or comment on the subject.
Main image: Jenny Meehan

KINGSTON MUSEUM
29 April – 2 July 2016
Opening hours: Tuesday, Friday, Saturday 10am-5pm, Thursday 10am-7pm
Admission free

Kingston Museum
Wheatfield Way
Kingston upon Thames, KT1 2PS
020 8547 5006

 

Nice quote:

 

“Know Yourself – in talents and capacity, in judgement and inclination. You cannot master yourself unless you know yourself. There are mirrors for the face but none for the mind. Let careful thought about yourself serve as a substitute. Where the outer image is forgotten, keep the inner one to improve and perfect. Learn the force of your intellect and capacity for affairs, test the force of your courage in order to apply it, and keep your foundations secure and your head clear for everything.” quote from Baltasar Gracián (1601 -1658) from The Art of Worldly Wisdom

Creativity and Divergent Thinking…

If creativity is not equivalent to a high IQ, then how else might it be defined and measured? Several different approaches have been taken to address this question. One has been to develop tests specifically designed to measure creativity and to designate people who achieve high scores on these tests as creative. The basic assumption behind most such tests is that creativity can be defined as having a capacity for achieving a high level of divergent thinking. Divergent thinking is defined as the ability to come up with a large number of responses to an open-ended probe; it is contrasted with convergent thinking, which tends to apply a sequential series of steps to answer a question that has only one possible solution (Runco and Marz, 1992). An example of a probe used to assess divergent thinking is asking: How many uses can you think of for a brick? A series of similar questions can be asked and then used to create a score that is a continuous measurement of divergent thinking (Torrance, 1998). This approach is favoured by some psychologists as a way of achieving an objective measure of creativity.” 

Quoted from  A Journey into Chaos: Creativity and the Unconscious**
Nancy C. Andreasen, M.D., Ph.D.    © Mens Sana Monographs

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3115302/

 

I cannot believe we are into November…!

Enjoying the frost on the cobwebs, and the colours of the leaves which have fallen.

The studio tent is a bit too cold to use very much, though I am popping in and out of it to work on paintings already started.  I need to spend some time sorting out frames for the paintings carried out earlier in the year.

I can walk without a stick now for longer periods of time, though rather sad that my walking is not as it was.  I am exercising more and feeling healthier.  Loving Yoga and swimming more.  Turmeric tea each day.  Much improved from last month, and only very occasional pain from the osteoarthritis in my knee.

 

Artwork Sold for Charity! A Letter in Mind – The Art of Journey, Gallery@oxo  

I am very pleased that when I visited the Gallery the day after the private view (which I couldn’t make) my artwork contribution was sold!  I am very pleased as this has raised some money for a worthy cause!

 

The Challenging Behaviour Foundation Art Auction

I have some artwork on display at Sun Pier House, Chatham, Kent from 3rd November until 29th November as part of a fund raising art exhibition for The Challenging Behaviour Foundation. The Challenging Behaviour Foundation is a Medway based charity supporting families caring for a loved one with a severe learning disability whose behaviour challenges.

http://www.challengingbehaviour.org.uk/

Artists were invited to submit work for this fundraising exhibition at Sun Pier House, Chatham, Kent, a few months back.

Unfortunately I cannot get to the Private View due to financial restrictions.  Travelling money for such things all adds up and I find I can only attend local or London based events. Here’s more information though:

“You are cordially invited to the Private View of the Challenging Behaviour Foundation’s fundraising art exhibition on Friday 6 November, 6pm-9pm.

We have received an overwhelming response to our ‘call for submissions’ and are happy to confirm, Contemporary Artist and recent Saatchi exhibitor, Darrell Hawkins, will also be submitting work for this exhibition.

There will be a programme of events running throughout the month-long exhibition, including:

Friday 6 November, 6pm-9pm
Private View

Tuesday 10 November, 6.30pm
Film screening of a ‘Mission to Lars’ with pre-show karaoke, courtesy of the Rochester Film Society

Friday 20 November, 7.30pm
Quiz Night – *tables available

Sunday 29 November, 2pm
Auction of artwork

We are incredibly grateful to every individual who has taken part in this show and would like to thank the following local businesses for their support of this event:

· Sun Pier House Gallery
· The Rochester Film Society
· Spicer and Moore Productions
· The Rochester Flea
· WoW Magazine
· Look Kloser Creative and Performing Arts
· University of Kent
· University for the Creative Arts
· Medway Messenger

Please feel free to share the news of these events with your friends, family and colleagues and please do email me for further information on any of the listed events.

With best wishes and thank you for your support,

Laura

Laura Brown
Fundraising Officer
The Challenging Behaviour Foundation
http://www.challengingbehaviour.org.uk”

I entered this piece which I hope will raise some money for this worthwhile cause:

 

“My Patch”

my patch canvas print jenny meehan websize

my patch canvas print jenny meehan websize

it is a 39 by 51 cm canvas print, varnished.

Here’s the text for it:

“My Patch/Face On” expresses that focused determination that people need when they confront difficult situations and face challenges in their lives. I very much enjoy experimenting with black and white graphic imagery, and in this piece the boundaries between the black and white areas suggested the ways in which conflict is sometimes a territorial matter, springing from our felt need to defend ourselves. There are aspects of us all, it seems, which are not so different from cats!

Jenny Meehan Biography
Human experience, emotion, and my own personal life journey form the centre of my work. The brokenness of human experience fascinates me, as well as the potential for growth and renewal. After a BA Honours (Literature) in 1994 and a PGCE in 1995 I taught in Primary Education. I’m now based in Chessington, Surrey and love my role in society as an artist, mother, and occasional art teacher. I would describe myself as a vocational artist, interested in psychology, spirituality, and emotional literacy.
I’ve had several solo exhibitions in community spaces, and exhibit widely across the UK. Painting, digital Imagery, writing and poetry make up the majority of my artistic practice, and you can see more of my work on my website: http://www.jamartlondon.com .

 

 

Thoughts on  Transformation

Transformation. Yes, the forming. The making of. I think of it in a positive way, as being a change from worse off to better, but I suppose it could equally be the other way around. My own understanding and way of approaching the word is centered around my own experience of the way faith can work in peoples lives, I think this is because my own personal faith/belief has been a source of great energy and power to me, however, I wouldn’t narrow this down to my own particular religious affiliation/understanding. I see transformation as related to potential, and to potency. Like the uncurled fern frond, or the bud about to open, it is a kind of positive expectancy of new life in my thinking. It is something I perceive as essential to creativity, maybe the essence of it? It is what we do when we take one thing, and see something else, something beyond that. So that is where the faith and vision come into play. Quite literally. Transformation has a sense of control, but also a sense of the unexpected. There is a natural process which happens, which guides and takes through, but the final form is completely different maybe to what we thought it would be. My life is a transformation, I cannot really narrow this down.

 

Oxshott Woods

One of my favourite places to walk is Oxshott Woods.   We used to go there every Sunday when I was a child, and its lovely to walk in the same places I did then, all these years later.  Here is a photo of my husband walking in the slightly snowy woods.

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

And one of the children, when they were younger:

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

A little bit more snow here; This snowy view of Chessington shows the Holmwood Road bus stop, and was taken when the White Hart pub still existed!

 

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

Interesting Reading:  

Another Benedictine, John Chapman, who was abbot of Downside in the Thirties, says: “The simplest way of making an act of attention to God, though without thinking of God, is by an act of inattention to everything else.” It is that letting go of our attachment to our thoughts and feelings, everything else, that is the essence of contemplative prayer. This is what it means to lose your life in order to find it, as Jesus says we should do: it is to let go of the controlling ego that likes to be at the centre in order to know our true centre, the Spirit of God within. And then nothing else is needed. At least for the time of prayer we hand everything over to God.

quote from Fr Robin Burgess is a member of parish team of Ealing Abbey, west London from article Leave behind words and enter God’s stillness
Keywords: Christian Prayer, Spiritual Practice,Meditation, Christian Mysticism, Spirituality, Christian Meditation, Catholic Spirituality, Prayer, Contemplative Prayer, State, Mysticism, Mental Prayer, Religion / Belief
in the catholic herald 23RD OCTOBER 2009

We all begin by thinking of prayer as words, or maybe thoughts, that we address to God. It is my prayer – my words, my desires, my needs that I lay before God and ask him to meet for me. Much of our worship and the prayers we say continue to be like that, but if prayer stays at that level it remains selfcentred (not necessarily in a bad way). It may never become what all the great teachers say prayer is – not what we do, but the Spirit of God, of Christ, praying within us. It is the Spirit of God poured into our hearts, as St Paul says, that prays when we do not know how to pray with sighs too deep for words. This Spirit cries out, as Jesus does, abba (Father), and so enables us to know ourselves to be in the same relationship of loving intimacy with God as Jesus is.
To be a Christian is not so much a matter of believing certain things or behaving in certain ways. It includes those, but it is more basically a matter of being – of being in Christ who is our Way to the Father. So Christian prayer will be not our prayer, but our sharing in the prayer of Christ who knows himself to be in God and God in him. It is this prayer of presence to God present to us that is called contemplation, or pure prayer (or prayer of the heart).

 

More Photos…

I am sorting through past images, as I hope to use some to create a book with some of my poetry and photographic imagery in…This will come together in the future, but the groundwork involves sorting through several years of clicking away with my camera!

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

The image above was taken in West Dean College/House gardens.  The river is the River Lavant.  I love to see a thoughtfully composed garden, it is such a pleasure to see the living and vibrant natural forms working together.  I take great pleasure in my own garden also, though I have neglected it rather in the last couple of years.  However, even though slightly neglected, the structure is in place in such a way that it still falls together rather nicely!

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

Another restful image taken in West Dean Gardens, Sussex.  The River Lavant again, with an inviting bench to sit on!

 

Paintings

A few from the past, with some information/text.

All of the paintings here are the result of my own constant efforts to push forward creatively into the unknown. They are part of a contemplative practice which involves listening with the heart, and opening myself up to the Holy Spirit. Though I use years of experience gleaned in my practice as a painter (in terms of integrating formal aesthetic considerations and use of materials) each painting is always a step into the unknown.
Each painting is created in a piecemeal fashion, with sometimes several weeks and months between painting sessions, and sometimes even a day or two between each brush mark. During the time I am not applying the paint, I look to the painting and ask “What next?” Without any predetermined plan or concept, and with only my response to the mark which has gone before it, the painting becomes whatever it becomes. This process involves risk taking, and paintings change significantly as they progress, sometimes descending into a slough of despond, and sometimes bringing a completely unexpected direction into play and opening up in surprising ways. Towards the end of the painting process I find possible ideas present themselves, as I attempt to interpret what the painting means to myself, which is partially reflected in the title. You title will be your own.
For you, the viewer, a lot is required in encountering paintings which don’t clearly dictate how you should approach them. Without pictorial content to place you in the familiar material world and without a narrative, some might find themselves struggling to engage with such abstraction. Yet, it is enough just to look, and to look at what is before you, without needing to understand anything at all. The light changes these paintings as the day progresses. The light bounces off the variations in surface and texture, and the types of finishes and varnishes. The paintings are different in the morning, and different at the end of the day. They will be different to each person. Allow yourself the time to simply gaze.

Surrey/South West London based artist Jenny Meehan painter-poet
http://www.jamartlondon.com

jenny meehan jamartlondon art work uk licensable images, pillar and moon transcript paul nash

jenny meehan jamartlondon art work uk licensable images

Above “Pillar and Moon”….  This is based on a memory of Paul Nash’s painting “Pillar and Moon”  which made a deep impression on me.  I like many paintings by Paul Nash, but that particular one seems to haunt me.

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

Rocks by the Seaside, with some looking out to the sea…maybe those three finger prints like people, this is what emerged through this painting process.  I think some very happy memories from childhood come to bless me again… The happy ones did come from times by the coast, both at Bexhill and Combe Martin.  This painting I therefore titled “Cove”.

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

“Time Passes” This painting seems to have both present and past echoing through it…My walks through the rear access roads of Chessington and the playing in the alleys which ran along the backs of the houses where I lived in Teddington… Both are here in this painting, and past and present exist together.

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

“Baptism”

 

If you would like to see these paintings and are interested in buying one, do contact me through the contact form on my website.

 

That’s it for now…!

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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

COPYRIGHT INFORMATION

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance if you wish to use images by Jenny Meehan. In the first instance, please contact Jenny Meehan. Copyright for all works of 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 DACS as indicated below:
Design and Artist Copyright Society
33 Old Bethnal Green Road

London E2 6A3A
Telephone: +44 (0) 20 7336 8811

Fax: +44 (0) 20 7336 8822
email: info@dacs.org.uk
website: http://www.dacs.org.uk
Offices are open 0930 – 1700 Monday through Friday.

 

 

As usual, a very eclectic assortment of random things which have caught my interest…Skim over in that “facebook” kind of way and stop where you will!

 

giuseppe passeri,web christ falling beneath the weight of the cross

giuseppe passeri ,web christ falling beneath the weight of the cross

 

Another post… As always, this is rather like an open journal…So I have been unconcerned if I ramble on… Yet you have the power of skimming as fast as you want and scrolling as furiously as you need to in order to avoid reading anything which is not a good use of time for you right now!  And….. YOU CAN JUST LOOK AT THE PICTURES!   So off I go!

Giuseppe Passeri (12 March 1654 – 2 November 1714) was an Italian painter of the Baroque period, active in his native city of Rome.

This drawing “Christ falling beneath the weight of the cross” by Giuseppe Passeri  is a wonderful example of drawing, and when I look at drawings like this I do feel only awe!  True masters of the art of drawing can only inspire…  There is so much emotion in all those bodies, the forms  radiate emotion…   Not including the human form in much of my work right now, but apart from abstraction, it is  my other main interest.   I cannot credit this image as I took a photo of it from a book years ago and cannot remember the details!

Drop In Drawing

If you fancy trying your own fair hand to a spot of Drawing, then remember that I do hold a once a month “Drop in Drawing/Painting” group on either a Wednesday or Friday afternoon, once a month.  Contact me via my website www.jamartlondon.com  for more information if you are interested in this.   Here’s a little more information:
“I won’t be planning a structured session but I am there to help people on a one-to-one basis with achieving their own objectives.
Many people just come now and again, so the more people who know about it the better. Please do mention to anyone you know who might be interested in trying something visually creative as the session is suitable for all abilities, from beginner to advanced, due to the emphasis on individual tuition.
You do need to bring your own materials and equipment. If you need some advice about what to bring, just email me and I can give you some guidance. I normally have a few additional resources available, if need be, ie, pencils and paper, chalk pastels and poster paint.
The idea of holding these sessions is that I am available to help you to develop your own projects and ideas. I will be there to add my technical and practical input, and help you by discussing your direction and the difficulties which may be encountered along the way, if you so require. As to what you actually do, this could be from drawing from the imagination, copying something from life, designing something abstract, or making a collage of text and images. Or simply experimenting and exploring what it is like to use a particular material or method of drawing.
I will provide some ideas if people like, but anticipate people coming along with some idea of what they might like to do beforehand. However, just a vague idea is just fine! If you want to use paint, then of course, certainly do, however, for practical reasons, you might need to work outside if you are painting on a medium to large scale and the group is running to full capacity.
These workshop style session will give you plenty of individual input and opportunities for feedback, discussion, and analysis, as you consider ways of developing your own direction. I also offer individual tuition in oil painting, painting with acrylics, and drawing which can be arranged if you wish. ”

I haven’t held any structured art classes (ie with set activities/objectives and/or areas of focus for the group as a whole)  for ages because I have found that though they are great fun to plan (nice to use my teacher training and experience in this respect!) with a small group of four people (which is all I can accommodate) it makes more sense to offer a kind of individual tuition/workshop style approach and let people go off in their own direction completely!  People also learn a lot from listening and seeing what is going on and talking and sharing some aspects of  what they are doing, (if they wish)  which is encouraged.

Inclusive Church Movement

Quote from the Inclusive Church website:

“Inclusive Church was born on 11th August 2003 at St Mary’s Putney, at a Eucharist attended by over 400 people. The cause of this gathering was the deep unease felt by many within the Church of England regarding the resignation of The Rev’d Dr Jeffrey John as Bishop of Reading.

Working with individuals and partner organisations we seek to raise awareness about the ways that people feel excluded by the church.

An on-line Petition was set up requesting assent to a Declaration of Belief. The response was immense and we soon reached nearly 10,000 signatories. On 15th September 2003 a small group of supporters met to consider this overwhelming response, and concluded that Inclusive Church was here to stay.

Over time this group has met and developed. We are now “…a network of individuals and organisations whose make-up reflects the breadth and scope of the Church of England and beyond. We come from differing traditions and differing locations but we are united in one aim: To celebrate and maintain the traditional inclusivity and diversity of the Anglican Communion”

We work closely with a large number of organisations. The partnership work which has emerged over the past few years is very valuable – we work with, among others, the Association of Black Clergy, Women and the Church, the Group for the Rescinding of the Act of Synod, Lesbian and Gay Christian Movement, Changing Attitude, Affirming Catholicism, the Society of Catholic Priests, Accepting Evangelicals, Courage, Modern Church, Progresssive Christianity Network and Integrity (US).

Inclusive Church is so much more than a single issue organisation. We are committed to working for a church that is welcoming and open to all. We welcome other partnerships. If you would like to work with Inclusive Church please contact us”

http://inclusive-church.org.uk/about-us

I’ve included this because I stumbled on the following article on facebook recently, and it got me thinking about what a blessing being open to change is, and how important it is that those people who start to explore the possibility that God might actually be inclusive in all respects, realise that they are part of a very positive movement, and that there is a lot of help and resources around to draw from, as they consider themselves where they are in relation to all that is happening at the moment.   Here is the post below:

This is a very well written post on the LGBT/Christian debate, which will be a helpful read in exploring thinking around the matter.

https://julierodgers.wordpress.com/2015/07/13/an-update-on-the-gay-debate-evolving-ideas-untidy-stories-and-hopes-for-the-church/#comments

Yoga

I have just started some FREE sessions of Yoga with the Our Parks scheme:  http://www.ourparks.org.uk/.  Well, it’s amazing!  I am enjoying it immensely and finding it very beneficial…already…. I have only been to two sessions!  I have been trying out things at home a bit which has helped me to get into it too.   I have found that, even though I have been working for three years on trauma recovery with my psychotherapist (lots of adverse childhood/early life experiences!) my body more often than not, full of tension, and still feels constantly uptight.  It’s odd, because I know I don’t come across as an uptight person in  any other sense, but my body seems to hold the fight/flight thing in itself rather dearly!

I found with the Yoga practice a lot of releasing of tension, and it was rather liberating.  I think it must be the whole thing of connecting your body with your mind more, because this feeling of distance/disconnection between the two is something which I have been living with for a long time. So much so, that when I walked back from my first Yoga session, I couldn’t quite believe how I felt so integrated.  This is a huge deal for me. It might seem rather too soon for me to feel such positive effects on the one hand, but when I consider things which are particularly resonant for me, ie  I did ballet from the age of 5 to 15, and the whole thing of me focusing on my body and movements brings to me to a place of re-connecting with my body/self which is emotionally profound.  It helped me to see how much over all physical sensation and  body awareness I have lost… The main physical sensation I have let lead me has been my stomach (I expect this has contributed no doubt to the whole over eating thing!), and now I am thinking that if I focus on other areas of my body, I might well end up a little more well balanced, and possibly less overweight?

The second session made me cry a bit (after the session)… not because of pain, I hasten to add, (there was some discomfort at times, but not pain!)  but because of some of the mental blocks I faced, some of the self-judgement and having to accept my body as it is now, rather than hark back to my ballet days.  It is pretty hard to realise that you used to spin around en-pointe and now you cannot even lift one leg up for a tiny amount of time and balance for one second!  Well, good for humility, I guess.  And will crush any spirit of competitiveness, for sure!!!  However, though I may struggle, and feel challenged physically, mentally and emotionally, I will certainly push on through.  Body injuries in various places/over-sized body/post traumatic self and wounded spirit, yes, … Here I come, you are all mine, we will go for it!

When I started psychotherapy in 2012, one of the most helpful things my therapist pointed me towards was that deeper kind of breathing,  something I tend to think of as baby breathing, (not sure why?) but it’s called “diaphragmatic breathing”, oh, thank you Wiki:

Diaphragmatic breathing, abdominal breathing, belly breathing or deep breathing is breathing that is done by contracting the diaphragm, a muscle located horizontally between the chest cavity and stomach cavity. Air enters the lungs and the belly expands during this type of breathing.

This deep breathing is marked by expansion of the abdomen rather than the chest when breathing. It is considered by some to be a healthier way to breathe, and is considered by some a useful form of complementary and alternative treatment.

Diaphragmatic Breathing is also known scientifically as Eupnea, which is a natural and relaxed form of breathing in all mammals. Eupnea occurs in mammals whenever they are in a state of relaxation, ie when there is no clear and present danger in their environment.”

Interesting last line there…with accumulated trauma related stress in your life,  the whole thing of doing anything which is a natural thing to do when there is “no clear and present danger in their environment”  is immensely appealing… that made me smile and laugh when I read that!

Well,   using that kind of breathing over the last few years has been very helpful, essential, I would say, at times of flashback/anxiety/panic attack especially, and also helpful to use in the psychotherapy session when things were overwhelming, and I needed to breath in order to stay present during trauma therapy…It helps you stay grounded.   It was this positive experience with breathing in this way, plus my past ballet training (which did use some yoga stretches, so I felt kind of comfortable with it as a form of physical training…) which made my ears prick up when I found I could try it out!  I am so glad I did.

I plan to devise a kind of Yoga-Ignation Examen combo practice!   I have been using the Ignation Examen for a while.. I must confess normally just two or three times a week, though the aim was every day!  Here’s a quick description, quoted from the ignatianspirituality.com website:

This is a version of the five-step Daily Examen that St. Ignatius practiced.
1. Become aware of God’s presence.
2. Review the day with gratitude.
3. Pay attention to your emotions.
4. Choose one feature of the day and pray from it.
5. Look toward tomorrow.
– See more at: http://www.ignatianspirituality.com/ignatian-prayer/the-examen#sthash.yquODWgJ.dpuf

So you can see it’s  very much an examination of consciousness.

“The Daily Examen is a technique of prayerful reflection on the events of the day in order to detect God’s presence and discern his direction for us. The Examen is an ancient practice in the Church that can help us see God’s hand at work in our whole experience.
The method presented here is adapted from a technique described by Ignatius Loyola in his Spiritual Exercises. St. Ignatius thought that the Examen was a gift that came directly from God, and that God wanted it to be shared as widely as possible. One of the few rules of prayer that Ignatius made for the Jesuit order was the requirement that Jesuits practice the Examen twice daily—at noon and at the end of the day. It’s a habit that Jesuits, and many other Christians, practice to this day.”
– See more at: http://www.ignatianspirituality.com/ignatian-prayer/the-examen#sthash.yquODWgJ.dpuf

The following is a deeper explanation, just an extract quoted from:  George Aschenbrenner, SJ  From Consciousness Examen, part of the Somos Católicos series 

Examen of Consciousness
For many people today life is spontaneity, if anything. If spontaneity is crushed or aborted, then life itself is stillborn. In this view, examen is living life backwards and once removed from the vibrant spontaneity and immediacy of the experience itself. These people today disagree with Socrates’ claim that the unexamined life is not worth living. For these people the Spirit is in the spontaneous and so anything that militates against spontaneity is not of the Spirit.
This view overlooks the fact that welling up in the consciousness and experience of each of us are two spontaneities, one good and for God, another evil and not for God. These two types of spontaneous urges and movements happen to all of us. So often the quick-witted, loose-tongued person who can be so entertaining and the center of attention and who is always characterized as being so spontaneous is not certainly being moved by and giving expression to the good spontaneity. For people eager to love God with their whole being, the challenge is not simply to let the spontaneous happen but rather to be able to sift through these various spontaneous urges and give full existential ratification to those spontaneous feelings that are from and for God. We do this by allowing the truly Spirited-spontaneity to happen in our daily lives. But we must learn the feel of this true Spiritual-spontaneity. Examen has a very central role in this learning.
When examen is related to discernment, it becomes examen of consciousness rather than of conscience. Examen of conscience has narrow moralistic overtones. Its prime concern was with the good or bad actions we had done each day. Whereas in discernment the prime concern is not with the morality of good or bad actions; rather the concern is with the way God is affecting and moving us (often quite spontaneously!) deep in our own affective consciousness. What is happening in our consciousness is prior to and more important than our actions, which can be delineated as juridically good or evil. How we are experiencing the “drawing” of God (John 6:44) in our own existential consciousness and how our sinful nature is quietly tempting us and luring us away from intimacy with God in the subtle dispositions of our consciousness—this is what the daily examen is concerned with prior to a concern for our response in our actions. Hence it is examen of consciousness that we are concerned with here, so that we can cooperate with and let happen that beautiful spontaneity in our hearts that is the touch of God and the urging of the Spirit.
– See more at: http://www.ignatianspirituality.com/ignatian-prayer/the-examen/consciousness-examen#sthash.Ygh4hnyG.dpuf

I am hoping that along with the classes, which I am happy to follow as they happen,  I will develop my own pathway of combining Yoga practice with the the pattern of the Examen, (which I have got used to over the last year or so, so comes pretty naturally now), my general prayer practice and meditating on whatever the Holy Spirit brings my way.  It’s all good stuff.   The whole “grounding” emphasis has been completely helpful to me.  (And I will try to look after my feet, because they bear a lot! )

In celebration of this new found enthusiasm… What is needed here is a piece of art!

yoga mindfulness, yoga meditation contemplative spirituality,contemplative christianity,grounding techniques, trauma recovery, complex post traumatic stress body work, examination of consciousness, head in the clouds but feet on the ground art image jenny meehan

head in the clouds but feet on the ground art image jenny meehan

I’m calling this “Head in the Clouds but Feet on the Ground/Contemplation”  (I often give two titles!)

 

Outsider Art? Insider Art?  Outside In Art or Inside Out Art?

I’ve been shimmering over the net, skimming here and there for a bit for a while with respect to the category of “Outsider Art”.  This is very problematic a term, and though it is used a lot, it means so many different things to so many different people and groups.  Now “Outsider Art” is maybe a world of it’s own, but not the “world” of it’s own that it used to be, because that exclusive and private world has now blow out in a host of other bubbles and into the atmosphere of the so-called “Art World”… Which is itself, not a world at all, but a network of activities centred around… yes,  you know, money and connections.

You can see I am having problems from the start, and I haven’t even started yet!  I remember speaking to someone a while back who went to study art at degree level, or it may have even been an MA,  and yet he got a fair amount of resistance to his own work in that setting because he was so self directed and knew what he wanted to do, and did it.   Would he be termed an “Outsider Artist”?  He could maybe be described as an “Inside but Outside artist”???  According to some thinking, the fact that he was in this kind of education setting would disqualify him straight away from calling himself an “Outsider Artist” (if he wanted to) because he had an awareness of the contemporary art “scene” “world” “culture” other artists, and also, had the capacity to think about his art and work in a certain way.  But the education/training or rather lack of, as a criteria for discerning if it is appropriate to term someone’s art or themselves as an “Outsider Artist” falls down flat on it’s face, because there are of course many artists who have received training and education, and who through mental health challenges, traumatic brain injuries, or many other kinds of life experiences, or disabilities, find themselves in a place where they either no longer care, or are not interested, in anything as dubious and unreliable as the so-called “Art World” (whatever that may be or mean), and simply want to get on with their art working.  They may also have received training, education and awareness from many other different sources, the internet, adult education, personal relationships, etc, and they may have gone to college, picked up a load of rubbish in terms of ideas about art, and happily dispensed with it because they realised that it was a waste of time and energy, for them at least.    Does this work produced by sometime “trained” (could be questioned, I guess, if that is the right word!)  but no longer interested in banging their heads against a brick wall with a lot of conceptual stuff, type art and artist count as “Outsider Art”?  Is the difference an educational and or class one?  is the question which quickly follows.

I put myself on the Pallant House Gallery “Outside In” web gallery for a while last year, mostly because of my experiences and journey with mental health difficulties/challenges, my participation in long term psychotherapy (which includes a great deal of interest in the subconscious!) and because I view my art work as part of my trauma recovery experience, (though certainly, this is only one aspect of it, as I view it as plenty of other things too!)  I also put my work there for a little while because I wanted to align myself with those other artists who I could feel very much closer to in terms of values and purpose,   I think, much more so than the alternative so called “Art World” construct, which didn’t fit in with the direction I was looking in, and look in now, at all.  However, I  took myself off the Pallant House Gallery “Outside In” web gallery after a while because I was unsure if  it was really quite “fair” to be there.  I wondered how one could really make a judgement about such things, and I think I probably could be on there, but then I felt that bearing in mind that I am pretty good with words, I do have the kind of power because of that which many artists because of learning disabilities and such like, didn’t have.   So it felt best to leave that space for those who really needed supporting in that way, even though I wanted my work to be there symbolically as it being a place I would rather align myself with in terms of a values and focus.

Now “Outsider Art” is more of an “In Thing”  this also brings much interest to Outsider Art, which kind of brings it into a different place, one which has many educated, intellectually incisive, and, well, able, people, mentally and physically, into it’s realm, both as makers, collectors and dealers.  If “Outsider Artists” are termed that by merit of disadvantages in society and in relation to that ever illusive “Art World” I need to ask: “How do you make judgements about disadvantages anyway?  I could be described as disadvantaged compared to some people,  (more so in terms of my past) but advantaged compared to others   My period of what I will call, deconstruction, has brought me into a new place in thinking about brokenness in general, where I see it as a positive dimension to life, rather than something negative, and would even say that my difficulties in life, though being a disadvantage in some respects are also an advantage in others.

To use relative financial wealth/success or not is also problematic when thinking about “Outsider Art”…I cannot afford to do what I would do with my artwork if I had more finance, and this is a disadvantage, (I can hear the cries from pretty much all the other artist’s I know echoing the same words!!! )   but on the other hand I have a level of security which rolls me firmly off the “Starving Artist” spectrum.   I am a woman and a mother, and a “Stay at Home Mother”, so these might also move me into a disadvantaged position in terms of the way that the “Art World” swings in favour of men (which is does, imo). But I also appreciate fully and know it well, that I am hugely advantaged compared to so many, even if my plans and aspirations tend to hit the wall because of lack of funds.  In the end, the family need feeding and clothes.. (thank goodness for Lidl! and Asda).  I could go to work and get a job which brings some more money into our household, but then I wouldn’t have the time to do the art work I do.  The art work I do I need to do, because this is something of my life blood in life, it keeps me motivated for living and keeps me sane, very often times!  I do what I do because of necessity, as well as a choice, which I must say, I am constantly  grateful for.

I can say that most of the exceedingly brilliant and wonderful artists I know could easily be termed “Outsider Artists” for a huge variety of reasons, yet all might differ in their life experiences and situations to quite a large extent.  And most of them don’t make much money, if any, or certainly no financial profit, from their art working and their art work. Many have various mental health challenges or disabilities…Even if they are not actually their own, they are closely involved with or caring for those who have them, and therefore their lives are entwined with a much larger spectrum of experience, which is, theirs, even though not tangible or obvious to see.  And it is all felt and lived through.  I keep in my mind just one of the things I learnt when I was finding out more about traumatic brain injury and it’s effects on both the person with the injury and those close to them.  Traumatic brain injury is often termed the “hidden disability”  and when I recall my experience of coming to terms with my brother’s, among other things, I am aware of this shared nature of tragedy, and the way our lives impact on others, and vice versa.  There is a lot of hidden injury around.  So we really cannot make judgements and have to accept that categories, of all kinds, are going to be problematic from the outset to the end.

So where might I take my meanderings, with respect to “Outsider Art”?  Maybe I might ask myself where I would place myself?  I would place myself as an “Insider-Outer” artist I think, because I have taken my inner life and let it out…but not just as catharsis, oh no, and not without training, or education.  Not without awareness of the other artist’s both past and present, and not without consideration or analysis…There is certainly plenty of analysis going on in the confines of my psychotherapy sessions.   I am always pleased when something good happens and something gets chosen for an exhibition, because I want my art work to be used, because I am in this funny old world of ours and I am a funny little part of it…I don’t identify myself with the word “outsider”, well, not now, not any more.  Isolation can be acutely felt, and it’s not great at all.  Outside says the wrong things to me…because I am not on the outside at all.  We  are all on the outside of some things, groups and places, but it is what is happening in the inside of our lives which helps us to forge the connections and relationships we need and love to experience.

I found this writing on the net with respect to Outsider Art and  found it helpful to read.

http://www.jameselkins.com/index.php/essays/253-there-is-no-such-thing-as-outsider-art

Naïfs, Faux-naïfs, Faux-faux naïfs, Would-be Faux-naïfs:
There is No Such Thing as Outsider Art
James Elkins
This was originally published in: Inner Worlds Outside, exh. cat., edited by John
Thompson (Dublin: Irish Museum of Modern Art, 2006), 71–79.]

Quote from website:  “The argument here is that “outsider art” and similar concepts (“naive art,” “primitive art,” etc.) are constructions of modernism, and only exist as ideals understood as contrasts to normative practice. It doesn’t mean there aren’t artists outside of the traditions of modernism and postmodernism, or outside of academic art—rather that the value we place on them is itself characteristic of modernism, so that “outsider” or “naive” art is not distinct from the modernist enterprise.”

James Elkins is E.C. Chadbourne Professor in the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago.

Such a helpful read!

 

Details from recent process led painting experiments!

Well, here we are.  PAINTING!  I have popped some text on the top of these thinking this might be helpful to anyone interested in my painting who stumbles upon my work and wants to know quickly where to see more!  As these images are fragments/close ups/details, they serve a great function for me in helping me remember various painting options and ideas when I sell (hopefully) the final painting.  Also, because these highly abstracted paintings go through several stages, and sometimes morph rather unexpectedly along the way, it helps me to remember some of the lost paintings which are often  part of the work, but can not be seen again in quite the same way in the final piece.  They are very much there and present, and exerting an influence, however, sometimes covered, I still need to remember what was happening underneath if possible, particularly if I was trying out something new, (which didn’t work/did work).

I am rather fond of the idea of “lost paintings”…The sense that what is in the past/gone/dead/buried, is lost but still present.

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

Painting and Physicality…

Come to think about it, it is the physicality, and the way I focus on the materials I use in painting that helps me feel  connected with myself … I haven’t thought about it much but it IS very therapeutic!  I have around 20 paintings “on the go” at the moment, but they are not all moving forwards at the same time, and I am having a short break right now.  Not sure what’s happening with them, but some are falling into the water and flow category…solid/liquid, block, flow, water, waterfalling/waterfalls, some centring just on expression of some fundamental feeling/emotion, lots of pushing out experimentally in terms of trying out new things.  There’s a few shelters/tents/refuges/tower type imagery emerging.  It’s wonderful weather for drying paint!

Having a great time in the “Studio Tent” … Might start calling it the “Tent of Meeting”… This is influenced by me preparing a talk to give at St Paul’s Church of England, Hook, in a couple of weeks on Psalm 84… (Lovely Psalm!)… In researching the talk, I discovered that the phrase “tent of meeting”  is used in the Old Testament as the name of a place where God would meet with His people. ” Usually, the “tent of meeting” was used as another name for the Tabernacle of Moses. However, before the tabernacle was constructed, God met with Moses in a temporary tent of meeting: “Now Moses used to take a tent and pitch it outside the camp some distance away, calling it the ‘tent of meeting.’ Anyone inquiring of the Lord would go to the tent of meeting outside the camp. . . . As Moses went into the tent, the pillar of cloud would come down and stay at the entrance, while the Lord spoke with Moses” (Exodus 33:7, 9).” (quoted from http://www.gotquestions.org/)

Wow, well there isn’t a pillar of cloud at the entrance of my Studio Tent of Meeting, however, I do feel the Holy Spirit a lot inside it… and it is heaven to simply have that space, and to paint, pray, and meditate in there.  It is a place of a lot of blessing and happiness! It’s a kind of oratory!

Here’s Psalm 84:

Psalm 84  Good News Translation (GNT)

Longing for God’s House[a]
84 How I love your Temple, Lord Almighty!
2 How I want to be there!
I long to be in the Lord’s Temple.
With my whole being I sing for joy
to the living God.
3 Even the sparrows have built a nest,
and the swallows have their own home;
they keep their young near your altars,
Lord Almighty, my king and my God.
4 How happy are those who live in your Temple,
always singing praise to you.
5 How happy are those whose strength comes from you,
who are eager to make the pilgrimage to Mount Zion.
6 As they pass through the dry valley of Baca,
it becomes a place of springs;
the autumn rain fills it with pools.
7 They grow stronger as they go;
they will see the God of gods on Zion.
8 Hear my prayer, Lord God Almighty.
Listen, O God of Jacob!
9 Bless our king, O God,
the king you have chosen.
10 One day spent in your Temple
is better than a thousand anywhere else;
I would rather stand at the gate of the house of my God
than live in the homes of the wicked.
11 The Lord is our protector and glorious king,
blessing us with kindness and honor.
He does not refuse any good thing
to those who do what is right.
12 Lord Almighty, how happy are those who trust in you!
Footnotes:

Psalm 84:1 HEBREW TITLE: A psalm by the clan of Korah.

 

Well…. That is it for now… Till next month! 

Ah, just couldn’t resist this photo I stumbled on when doing a bit of computer sorting!  Me and the children, a few years back!  I’m totally passionate about art, but never forget, people are more important than art will ever be!

 

jenny meehan jamartlondon photography

jenny meehan jamartlondon photography

 

 

 

Jenny Meehan. All Rights Reserved, DACS

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. 

 

 

 

 

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