Little Robin Friend

robin my supervisor!

Well, my little robin friend is serving as supervisor in the garden right now!  I go out there just for a look or for a rumble around the studio tent and I hear his chirp, see something flitting through the foliage, and there he is!  Before I know what has happened, I find myself digging around in the earth… weeding, moving pots, filling pots with earth…  I tell myself I am doing this because it needs to be done, but the truth is that while this is true, the most immediate reason is this little robin is telling me he wants me to work in the garden so he can have some insects, worms, and whatever else I reveal!

I am now to be found rustling around myself, not in the foliage but in the studio tent.  This year I am keen on rollers it seems and have an assortment.  I started using them last  year in experiments and now I have gathered quite a few.  It’s good to have new tools to experiment with. So there’s some action happening.  There is a lot of tidying up to be done, and I am grateful for the studio tent.  OK, it has its limitations, but I know of many artists whose studio space isn’t much different, even when “indoors”.  The only difference with mine is that it gets rather damp and wet.  I have extended it now.  It consists of two tarpaulin covered market stalls and has now ventured into the side passage and outhouse.  That’s the wet and damp part, because there is a crack in the ceiling. It’s reinforced concrete.  The good news about having a large crack in your ceiling is that the water does drip down through it.   I’m serious.  It’s better for the water to have somewhere to go than to build up above and then damage the concrete further.  Well, that’s how I have chosen to think about it!

In this new darkened area of my studio tent, or now my studio tent with outhouse extension, is that I can experiment with larger substrates and also light projection.  I have been wanting to do this for ages, so at last a new door is opened.  I have purchased some folding tables too, so I have more table space.  It’s great to have more space.  I cannot quite use it fully yet because of the weather, but it’s not as if I am waiting around to do things.  There is always plenty, and more, to do.

Generally in life I am feeling less frustrated by the demands of the domestic using up time when I could be painting.  It’s always a huge conflict, but acceptance helps a lot.  I am beginning to appreciate the benefits of having my focus fragmented into so many pieces, as it forces a kind of relinquishment which I think probably helps in the long run, even is somewhat frustrating short term.  I have always had workaholic tendencies, and  often found myself doing the work of two people (unfortunately not for double pay!) in past jobs, so I am aware of constantly overreaching and over stretching myself.  This is not a problem as long as one is aware of it.  It needs to be managed, addressed, and disciplined!  And life… Needs to be enjoyed!

I remain secretive, as is appropriate, about current work in progress.  For my eyes only! But always willing to look backwards!

 

Signs of the Times Series

 

© Jenny Meehan DACS All Rights ReservedQuick Dip print by Jenny Meehan

© Jenny Meehan DACS All Rights ReservedQuick Dip print by Jenny Meehan. One of the Signs of the Times series

 

There’s a great feeling of rest looking at the smooth flat colours of the signs of the times laminated prints…I’d never bother trying to create that surface in paint which is why I continue to appreciate this series.  And the compositions are still teaching me a lot.

 

© Jenny Meehan DACS All Rights Reserved digital print buy abstract geometric Rush Hour - Jenny Meehan Signs of the Times Series

© Jenny Meehan DACS All Rights Reserved Rush Hour – Jenny Meehan Signs of the Times Series

 

Rush Hour is one of my favourites.  You can buy a version of it here, on Redbubble.com.

https://www.redbubble.com/people/jennyjimjams/works/13790846-rush-hour-calm-in-the-cityscape-design-by-jenny-meehan?p=art-print&rel=carousel

 

I get a small royalty from any sale on Redbubble.com.  Every litttle helps!

 

Enclosed Garden (Hortus conclusus) Digital Print from Jenny Meehan's "Signs of the Times" print series. See more at jamartlondon.com

Enclosed Garden (Hortus conclusus) Digital Print from Jenny Meehan’s “Signs of the Times” print series. See more at jamartlondon.com

 

jamartlondon fine art prints emerging female british artist designer visual art exhibition event jenny meehan art prints exhibition cornerhouse with alan and miriam dean deputy mayor and mayoress of kingston upon thames

“Signs of the Times” hung at the Cornerhouse Community Arts Centre, Surbiton Surrey

 

That was a long time ago!  The good thing about the laminated “Signs of the Times” is they can be hung in bathrooms and kitchens.  I have one which has been hanging in our bathroom for years, and it looks just fine.  No mould or any deterioration.  If you would like to buy one of my own signed versions contact me via my website as I have one or two still around.  I am not planning to print any more, as Redbubble do such a great job of producing good quality prints.

http://www.jamartlondon.com/

 

 

No Cares/Take Courage print from Signs of the Times series by Jenny Meehan

No Cares/Take Courage/Leap of Faith print from Signs of the Times series by Jenny Meehan

This is another favourite of mine…Again, available from Redbubble.com

https://www.redbubble.com/people/jennyjimjams/works/13790986-no-cares-take-courage-leap-of-faith-design-by-jenny-meehan

 

 

 

geometric abstract colour design art jenny meehan jamartlondon british contemporary femaile artist symbolist graphic colourist contemporary abstraction experimental jenny meehan art for sale to buy prints affordable, jenny meehan abstract art print

The night time version of Calm Moment, maybe calm moment in the dark, partner of calm moment in the light!

Here’s an artist’s statement which was submitted with some of the series “Signs of the Times”

Artist Statement – Jenny Meehan

My current body of work, some of which you can see on the enclosed images, is basically a series of experiments with shape and colour. After having worked throughout last year on a series of very lyrical and process led paintings, I realised that I felt the need for more structure in my work. Fuelled by an interest in conveying emotion and thought through elements of abstraction, while at the same time seeking that sense of formal balance which I consider essential to my work, the series of digitally produced laminated prints which I have called “Signs of the Times” relate to my own life and experiences.

The current series will also form the foundation of further paintings in the future, and bring to my painting practice an element of planning. I think that, far from being rigid and inflexible, this will introduce an initial underlying structure which I will be able to use in a very exciting way as I experiment with the relationship between solidity and fluidity in future paintings. Each step in the process of developing my work opens up numerous possibilities, and I cannot be sure exactly of what will happen, which is rather exciting. I do not take a scientific approach to my art, but view it as a process which defies logic, by necessity, and embraces the irrational and spiritual within me.
So these works, though they stand in themselves and I consider them finished, like everything one does are neither an end nor a beginning, but part of an evolving and organic process which I feel pulls me along with it, to some extent. I feel very fortunate to be able to work with visual language and consider it a great privilege to do so. “Signs of the Times” is an interesting experiment in relating thoughts and emotion to visual language in a very direct way.

Jenny Meehan is a Fine and Applied Artist based in South West London/East Surrey, United Kingdom. She works mainly with painting, drawing and digital photography and also writes poetry and an artist’s blog. Jenny also teaches small groups and individual in her studio space. More examples of her practice can be found at http://www.jamartlondon.com .

There are still some “Signs of the Times” in progress, as I work in a piecemeal fashion over periods of several years.  It’s a very enjoyable way of working with shapes and colours!

 

Easter Art Installation at St Paul’s Church of England, Hook

I was very pleased to be able to create this installation in service to the Church and in order to help the prayers and reflections of any who ventured into the building during Holy Week.  I will post some additional images soon when I have worked on them, but this gives you an idea. Other members of the church also created some beautiful places to reflect.  It was well worth the effort.

 

holy week art installation at st pauls church of england hook jenny meehan jamartlondon contemporary christian art in place of worship

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art installation at st pauls church of england hook jenny meehan jamartlondon contemporary christian art in place of worship

holy week art church of england hook jenny meehan

 

Lots of images!

It all seems rather a long time ago now!

Was a bit last posting up the April blog entry!   Open Studios is rapidly approaching and this is a very busy time of year for me!

Not quite done with the contemplative theme though…

 

The Soldier And The Cross

This is an old poem I wrote a few years back.  I didn’t display it as part of the installation in the church but I have re read it, and edited it slightly.

The Soldier And The Cross

For a moment
I thought you a bit of a wimp…
To turn,
And say to me
“What have I done to you?”

I saw…
In your innocence…
A victim mentality
related to my response to suffering…
A powerless moment

of weakness
and subjection.

And ALL in me,
ALL that grasps onto power…
Felt repulsed
and
disgusted by you.

By the sight of you.

Because…
It was true…You had done nothing,
Yet, I hated you,
and your holiness
frightened me.

 

I,
I am the accuser.
I have raged against you
And despised the look of love on your face.
In paranoid fear
I have threatened you with my wrath
And struck the blow
which tears across your face.
I have hardened my heart
against your love
and pushed you
hard, straight down
against the ground.

In acts of violence
I have hated, and hated more.
I have hated you
More than I dare say.

So  how do I stand?
Do I have  a place to stand against you?
And can I stop your
Love
from breaking me?

If I believe,

just for one
moment

that you might choose to forgive?

 

©jenny meehan

 

 

Drop In Drawing and Painting

I have finished the sessions until September.  I am a trained teacher and I like to use my teaching skills to help people with the development of their own visual expression.

 

jenny meehanccol0033

 

I will be running some more sessions from September.  I shouldn’t call them “Drop in” really, as I do need to know in advance if people can come.  So if you are interested in these do contact me, and I can send you more details.   They are suitable for all levels, as the input is very much individual.  The advantage of them is that it is possible for people to just come for a “one off” session, rather than needing to sign up for a whole course.  This gives more experienced artists a chance for some input as they feel the need, and in pace with their own work flow.   It gives beginners a chance to experiment creatively with support and a level of input normally only possible with individual tuition.  I don’t plan a structured session, but the structure is determined by the individual needs of the students attending.  I do normally throw a few ideas about for possible areas to explore and experimentation, which all those attending are invited to spend some time on if they wish, though normally people come with existing work, or work in progress, or an idea of what they would like to do, or are trying to achieve.   Contact me via my website if you are interested.  There is sometimes a bit of a waiting list, as I don’t hold many.  http://www.jamartlondon.com/

Time Passes Painting by Jenny Meehan

I have this painting on the wall at the moment and am getting a lot out of it.  It’s an early abstract painting but I am still learning from it.  I might well take it along to the Kingston Artists’ Open Studios event this year.

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

I have started removing some of my canvas paintings from their frames and will sell them unframed now.  It means I can sell them for a bit less, (£180) and I have found that often people either like to select frames themselves or like to display them unframed.  It takes a lot of time for me to make frames, which I have been doing up until now, and it is also very expensive.  As the pace of my painting has increased, I am less inclined to spend time with framing.

Kingston Artists’ Open Studios (OS18) will be taking place on 9/10th and 16/17th June 2018 from 11am to 5pm each day. I will be enjoying the kind hospitality of one of my KAOS artist companions just a short walk from Kingston Town centre, not far from the Kingston Gate of Richmond Park.

It would make a lovely day out to follow a few of the trails in and out of artist’s homes and studio spaces, so do come along!

For more details, please contact me via the contact page on jamartlondon.com. I will put you on my mailing list and send further information as soon as available!

http://www.jamartlondon.com/

Hope to see you! Jenny Meehan

If you would like to give money to help support my creative practice I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
paypal.me/jennymeehan and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. Unfortunately there doesn’t seem to be a way via this system for me to send a “Thank you” to you, so you will need to just simply know that I appreciate it very much indeed!

 

Upper Room Painting by Jenny Meehan

This one isn’t on the wall, but it’s the one I use for the background of my website jamartlondon.com.

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

It’s available for purchase if you are interested.

 

Good News

 

Shortlisted for Kingston Art 2018: My Muybridge' exhibition at Kingston Museum 4 May - 7 July 2018 Wheatfield Way, Kingston upon Thames KT1 2PS

minds eye edward muybridge kingston musuem exhibition jenny meehan

I have had my painting “Mind’s Eye”, image above (sorry, not tarted up image yet!) selected for the exhibition at Kingston Museum this year, details are:

Kingston Art 2018: My Muybridge’ exhibition at Kingston Museum 4 May – 7 July 2018 Wheatfield Way, Kingston upon Thames KT1 2PS

Bit of a departure for me in this one, using images.  Like collage..

 

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 (Jennifer Meehan) is a painter-poet, artist-author  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.  

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

Contact Jenny via her website: 

http://www.jamartlondon.com/#/contact/4569980742

 

 

If you would like to give money to help support my creative practice I can accept it quickly and easily through the Paypal.me process.  Simply put the following in your browser:

paypal.me/jennymeehan

and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. Unfortunately there isn’t a system in this facility for me to send a thank you.  But if you do use it, then understand that I am grateful!

Another way you could support my participation in the visual arts could be by praying for me, if that’s part of your daily life. As mentioned above, I also put some of my visual art work on the “print on demand” website redbubble.com. People buying merchandise with my designs on through redbubble.com results in my gaining a royalty for the use of the image concerned.

Signing up as a follower on this WordPress blog also helps, as does sharing the posts when you receive them.  Anything you can do to help me is much appreciated!  Time and money is limited for me, and it’s a challenge being a mother-artist in terms of promotion and increasing awareness of what I do.  I put my energy into producing my artwork.  For the rest, I need any help I can get!

Jenny Meehan (Jennifer Meehan) BA Hons (Lit.) PGCE  offers art tuition.  Please contact Jenny through the contact form at www.jamartlondon.com for further details.  Availability depends on other commitments.    

 Jenny  works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces some representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings, other artwork forms,  and affordable photo-mechanically produced prints are available to purchase.

This artist’s blog is of interest to artists, art collectors, art lovers and anyone interested in fine art.  Those interested in British 21st century female contemporary artists, women and art, religious art, spirituality and art, and psychoanalysis and art, will probably enjoy dipping into this Jenny Meehan Contemporary Artist’s Journal.

Art collectors are often interested in the processes, techniques, interests and influences of the artists whose work they collect, and sharing my thoughts and perspectives through a blog is an important dimension of my creative practice.

My main focus is directed towards process led abstract painting, and you can view some examples of this on my website jamartlondon.com.  I encapsulate my painting as being romantic,expressionistic, abstract and lyrical.  Art collectors interested in lyrical abstraction, abstract expressionist, and essentially romantic art, are likely to find my paintings an interesting and exciting addition to their art collection. Art collectors can view a list of exhibitions I have taken part in on my websites exhibitions page; http://www.jamartlondon.com/#/exhibitions/4570944550

Art collectors can see selected examples of my original paintings  organised by year on jamartlondon which gives you a brief overview of the development of my painting over the years:

http://www.jamartlondon.com/#/paintings/4570156802

I am a self-representing artist, whose aim is to ensure  I continue to develop my painting practice in an innovative and pioneering way, rather than attempt some kind of commercial success, and whose aim is also that my work is historically relevant, rather then celebrated in that so called and illusive “art world”.  I hope to add to the number of people who value, collect, and develop an interest in my paintings and to thereby sustain and develop my practice over many years. 

Advertisements

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.

 

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.

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 a

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!

 

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.

 

 

 

I’m posting this up in addition to my usual once a month post, as it is Holy Week now and I want this up in time!  I am hoping that those in the area who are interested in creative communications and the Christian faith, and would like to invest some time into drawing closer to themselves and God over the Holy Week, will be encouraged to use St Paul’s Church in Hook during those times when it will be open for prayerful reflection, meditation and contemplation.  (or just one of those would suffice!!!!)

Between 7 and 8pm…  Monday to Thursday the church will be open.

On Good Friday the installation will be taken away, but in the evening there will be a performance of  Requiem by Gabriel Fauré which starts at 7pm.

 

Images from St Paul’s Church, Hook  “Holy Week” Installation

First of all there were lots of different areas in the church building used by many different people, and all wonderfully put together and conceived which will provide lots of opportunity for people to guide their prayer experiences…I am just focusing on my own contribution here as this is the focus of this blog, but I will be posting more images on Facebook which will show others work as well.

This is how I chose to use the Chancel area of St Paul’s Church, Hook.  It’s my own place of corporate worship, so it was very lovely to bring myself into the space and express thoughts and feelings in a visual way.

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul’s Church

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

Love Bade Me Welcome painting displayed as part of art installation at St Paul’s Church of England Church

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

(not very good quality pictures unfortunately… I really need a better camera!… Looks like I need to pop back and adjust the candles too! These were not part of the original idea, but as is often the case, when you are there you use what you can and how you can.)

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

 

On the Altar –  I used a white paper table cloth, a sheet,  and a long piece of white canvas.  I dripped some paint, which I made using acrylic medium and a lot of red iron oxide pigment, along the canvas.  Initially this was in separate spots, but I decided to drip them into each other to create a line, not unbroken, but leading into itself in places.   This led from the centre outwards to a plate and knife and fork at each end.  In the middle I had a single red rose in a single stemmed glass vase.  The rose is open and the petals may start to fall at the end of the week.   I felt these symbols to be very common and not particularly innovative, however, they were there to help engage people with the poem by George Herbert, which I put on display near by.

George Herbert. 1593–1632

286. Love

LOVE bade me welcome; yet my soul drew back,
Guilty of dust and sin.
But quick-eyed Love, observing me grow slack
From my first entrance in,
Drew nearer to me, sweetly questioning
If I lack’d anything.

‘A guest,’ I answer’d, ‘worthy to be here:’
Love said, ‘You shall be he.’
‘I, the unkind, ungrateful? Ah, my dear,
I cannot look on Thee.’
Love took my hand and smiling did reply,
‘Who made the eyes but I?’

‘Truth, Lord; but I have marr’d them: let my shame
Go where it doth deserve.’
‘And know you not,’ says Love, ‘Who bore the blame?’
‘My dear, then I will serve.’
‘You must sit down,’ says Love, ‘and taste my meat.’
So I did sit and eat.

Two chairs on each side of the Altar.   Cushions on them, to be comfortable!   Maybe this could be identified as a “Table for Two” !!!!   Altar rail open, of course, as broken, it is the entrance into the area.

 

I put my painting “Love Bade Me Welcome” behind the altar.  Very pleased that the colours worked well.

love bade me welcome painting jenny meehan

love bade me welcome painting jenny meehan

 

 

The Pews

On just one side of the Pews I had a pot of Chrysanthemums; lovely daisy single petal types.  Then another pot from which all the flowers had been cut off.  Then a couple on stalks lying out of water, a couple more in some water, and a few flowers which had been taken apart.

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

 

 

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

Then I displayed the two poems I wrote when thinking through things. The first to go with the flower on it’s stalk, out of water, and the second for the flowers in the pot.

 

A Poem for Chrysanthemums in Holy Week 2016

Cut
from my roots
I lie and wait. Someone will pick me up
tear me apart.
But what difference will it make, to me?
A stranger from my source
with no future destiny.
Another Poem for Chrysanthemums in Holy Week 2016

Gathered together
Clamouring for space;
Dreaming of re-potting,
Positioning, in a different place.
Some golden, garden, Summer
may be our future lot;
Yet, in the present, happily,
nurtured in our pot.

You may come and take one,
and tear the life apart,
And what is done to one of us
will shake us from the heart
Yet this brings opportunity,
new hope and faith to know.
Because where one is broken
another two may grow.

 

(The ones in water are there simply so I can replenish when need be!)

The meditative activity, if anyone wanted to do it, was taken from Stephen Cottrell’s book “The Things He Carried – A Journey to the Cross: Meditations for Lent and Holy Week” This had several points and suggestions to it, which included a reading from Romans 5. 1-11, and a suggestion for breaking up a flower and after holding it for a while, then trying to reassemble it as best you could. Part of this was feeling “how hopeless it is”  (to try and reassemble it) and also watching “it fade”.

Other Areas

I had the Hymn “What a Friend we have in Jesus”  also displayed in another part of the chancel.   No surprise there…I have been thinking about this Hymn for around the last three years!!!!!!

What a Friend We Have in Jesus | Joseph M. Scriven
1. What a friend we have in Jesus,
All our sins and griefs to bear!
What a privilege to carry
Everything to God in prayer!
Oh, what peace we often forfeit,
Oh, what needless pain we bear,
All because we do not carry
Everything to God in prayer!
2. Have we trials and temptations?
Is there trouble anywhere?
We should never be discouraged—
Take it to the Lord in prayer.
Can we find a friend so faithful,
Who will all our sorrows share?
Jesus knows our every weakness;
Take it to the Lord in prayer.
3. Are we weak and heavy-laden,
Cumbered with a load of care?
Precious Savior, still our refuge—
Take it to the Lord in prayer.
Do thy friends despise, forsake thee?
Take it to the Lord in prayer!
In His arms He’ll take and shield thee,
Thou wilt find a solace there.
4. Blessed Savior, Thou hast promised
Thou wilt all our burdens bear;
May we ever, Lord, be bringing
All to Thee in earnest prayer.
Soon in glory bright, unclouded,
There will be no need for prayer—
Rapture, praise, and endless worship
Will be our sweet portion there.

 

Our vicar Luke kindly offered his Father, Iden Wickings’  sculpture for use as part of the installation.

Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Love Bade Me Welcome inspired Altar Piece by Jenny Meehan Holy Week art installation in St Paul's Church religious art Christian contemporary art in church buildings, jenny meehan christian contemplative artist painter poet, contemporary use of art in places of worship, art for worship prayer, religious symbolism in church, symbolic language of art in christianity,

st pauls church holy week art installation jenny meehan

I responded to this sculpture like this:

“Holding On” A poem by Jenny Meehan in response to the sculpture ” ‘Raising the Totem’ by Iden Wickings

Holding on
Substance of my self
standing, but with force, drawing away.
Welded, in baptismal fires
ordained for me.
The effort of this slope of life
is too much…
The gravity and weight of it
beyond my ability to sustain.
Yet
you, Oh Christ…
Within and around me
hold on.
Holding on.

In a single step,
the weight of your love lifts me.
The strength of a hundred men
in just one,
says
“This will last forever”
then
“My work is done”.

 

And I used one of my paintings which I felt worked well with the sculpture visually.  It’s an untitled painting right now… but was painted alongside the Resurrection One and Resurrection Two paintings.  It’s still eluding me a little… I realise the logical and predictable thing is to call it “Resurrection Three” but I might settle for relating it to it’s use in this context, maybe “Resurrection Three/Holding On”

I enjoyed the process of putting it together, especially stretching my arms out when leaning over the altar to smooth out the table cloth.  This has got to be the most profound part for me.. to serve, to bow, to stretch my arms out, maybe there was there a small echo which resonated with my identification with what Christ has done for me.

It’s all part of the service…

Considerations

This strikes me.   I have read it many times before…

“If the Church gained more confidence in the figurative languages on which it is built, it would feel more able to befriend the artists, writers and poets of today with more open and trustful willingness.  Like birds hovering on the strong currents of the air we breathe, people of art and people of faith are keen to discern something of these currents which pull and shape our lives.  It is an exciting task and one that  might create many friendships and maybe even some agreement.   It does not surprise me, then, that it is our cathedrals that, by their beauty of stone, liturgy and music, are housing some of the most reflectice and lively partnerships between the contemporary arts and faith.  It is also our cathedrals for the same reasons, that are attracting many people’s interest in the possibilities of God.   Human beings need intimation as well as specification.” 

Mark Oakley in his book “The Collage of God”  2001.

 

 

Happy New Year 2016!

As usual, I have rambled on in my usual manner with an excess of both words and images!  Do skim over, just stopping as you require!  I use this blog as a personal journal/memo/notebook, publishing it on the net so that anyone interested in my work can find out more, but I do not finely hone it in the way that writers should…It is an unfolding and disorderly discourse, which tumbles off the computer keys and doesn’t get much editing!  I have to manage my time carefully, and though I love writing it, I cannot play about with it too much!  So off we go:

 

This looks good!

https://www.royalacademy.org.uk/exhibition/abstract-expressionism

How tempting!  The entrance fee often deters me from seeing the exhibitions I want to, but this is one I will visit for sure!  Too interesting not to!

Text from the website:

This ambitious and long overdue exhibition will bring together some of the finest works associated with the movement from around the world.

London has seen retrospectives of the most famous proponents of Abstract Expressionism over the decades, but this is the first time since 1959 that the movement as a whole will be represented in one landmark show. It is an opportunity for us to re-evaluate an artistic phenomenon, and make the case that far from being unified, Abstract Expressionism was in fact far more complex and ever-changing.

In addition to featuring work of the most celebrated artists associated with the movement: Kline, Pollock, Rothko, Newman, Still, de Kooning, Smith, Reinhardt and Gorky, we will also display work by lesser-known – but no less influential – artists to reveal the extraordinary breadth of a movement that gave New York City an artistic identity for the first time.

Cannot wait!  Will have to…

I also just found this, very pleased, as I remember seeing  Ffiona Lewis’ paintings a few years back when popping into the galleries on Cork Street.  Though I took some notes I couldn’t remember where I put them (no surprise there! ) and it was a happy moment to re locate her work!  I rate her painting very highly indeed, and it’s a lovely selection here at the Redfern Gallery.

http://www.redfern-gallery.com/ffiona-lewis_1039

The REDFERN GALLERY
20 Cork Street
London, W1S 3HL Telephone: +44 (0)207 734 1732
Fax: +44 (0)207 494 2908
Email: art@redfern-gallery.com Monday to Friday 11:00am to 5:30pm
Saturday 11:00am to 2:00pm
Closed on Bank Holidays

Oh, these dark days!

Christmas tree lights are still very welcome and much enjoyed!

I am looking through sketch books and note books.  I am not motivated to start any new work right now, but rather still looking backwards. Apart from the watercolours, which are being reviewed, and reflected on!

Some things I have found: An old poem, written at a time I was thinking about beech leaves and made a copper sculpture of one.

Beech Leaf

Pick me up from the pool…

Rescue me from

the depths and heights

of the skies.

Place me in your hand

and treasure me,

Then,

return me,

to my resting place.

 

 

Not one of my best, but interesting to me to review what my interests have been, and notice how consistent certain preoccupations are!

I was struck by the lovely beech leaves on the beech hedging which is near the King’s Centre, Coppard Gardens, Chessington.  Many years of walking that way when the children were younger meant I saw the young tender green shoots turn to soft and downy leaves, and then into their dry, crispy, light brown state;  still held onto the branches even though dead.  I also love leaves floating on water, for the water mirrors the sky, and you have the depths of the water, and the sky held together with an awareness of the boundary between the two marked by the floating object.  I had both in mind.

jenny meehan jamartlondon photography

jenny meehan jamartlondon photography

Here is an old image of the new leaves opening up.  Apologies, cannot find the colour version!

copperleaf sculpture jenny meehan

 

Above is the leaf form I created during a course at West Dean College, which a friend brought.  I haven’t continued with the metal working though I enjoyed it immensely.

New Year’s Resolutions?

I don’t do those… and I feel January is far too early to think about the year ahead…This is still Winter!  Wait until Spring, and then I will start to look forward.  I am still in the curling up on the sofa time!  I am sketching cats, for the forthcoming KAOS “Raining Cats and Dogs” Charity event later on in the year.  KAOS stands for “Kingston Artists’ Open Studios.  I have no idea what I will do for it, and I want to produce about ten pieces of work.  But there is plenty of time.

I have had a bit of a time mending my studio tent.  The winds have been strong, and several times have nearly pulled the tarpaulin completely off!  But hopefully I have worked out the best way to keep it on…It hasn’t taken off yet!

 

Holocaust Memorial Day is coming soon

Below is the link from last years Kingston Event, which included an art competition.  I was awarded third place in the adult category.  It’s nice to look back on.  If you look on the winners images, you can find mine.  The artwork is a poem and painting combined, and was submitted as one work.  As is with the case with a lot of my imagery, I often work a poem into a painting, or vice versa.

http://www.kingston.ac.uk/faith/events/holocaust-memorial-day/

 

Faith and Art: Spirituality and Creativity working together

Religion is a funny word.  It is hard to call myself a religious artist, because of the abstract nature of a lot of my work.  Spiritually orientated art might be a more accurate expression.

See this, which is quoted from: http://www.rowan.edu/open/philosop/clowney/Aesthetics/art_spirit.htm

“Spirituality and the Pioneers of Modern Art

The beginnings of modern art, especially abstract art, have strong spiritual roots. This fact is not always obvious from textbook discussions of the work, which are more likely to focus on the many formal innovations of twentieth century art.

While these formalistic accounts are valid so far as they go, they omit what may have been the most central motivation of the pioneers of modern art. Kandinsky, Mondrian, Arp, Duchamps, Malevich, Newman, Pollack, Rothko and most of the other giants of early and mid-twentieth century painting shared common spiritual roots. For many of these men and women, art was primarily about spirituality, and was perhaps the most appropriate vehicle for expressing and developing the spirituality that the new century called for. Kandinsky expresses this conviction in his 1912 publication “Concerning the Spiritual in Art”; Mondrian mentions it in many of his writings; and so do many other painters, poets, musicians and dancers. Here is Kandinsky, in a selection from his influential 1912 booklet Concerning the Spiritual in Art:

When religion, science and morality are shaken (the last by the strong hand of Nietzche) and when outer supports threaten to fall, man withdraws his gaze from externals and turns it inwards. Literature, music and art are the most sensitive spheres in which this spiritual revolution makes itself felt. They reflect the dark picture of the present time and show the importance of what was at first only a little point of light noticed by the few. Perhaps they even grow dark in their turn, but they turn away from the soulless life of the present toward those substances and ideas that give free scope to the non-material strivings of the soul. (Concerning the Spiritual in Art, p. 33)

Whether they saw their quest as primarily personal, or whether (like Kandinsky) they saw the artist as a kind of prophet in the vanguard of humankind’s spiritual development, many of the great artists of the twentieth century saw their art in spiritual terms. For many of them also, the spirituality expressed in their work derives from eastern sources. Hindu and Buddhist ideas and practices had a strong influence on these artists, in some cases directly, in many others through the influence of Helena Blavatsky, Rudolph Steiner, and the Theosophical Society. Mondrian was a member of this society, and Kandinsky writes approvingly of it. The goal of these and other artists was to develop an art which expressed a reality beyond the material, a consciousness like that of a meditative state in which ordinary reality is transcended. Knowing this purpose casts a different light on the blank or monochrome canvases, the empty spaces, and the simple geometrical or biomorphic shapes of many abstract works. They might best be seen as meditative aids meant to reveal the transcendent or provoke a transcending consciousness. (In fact some of them strongly resemble asian works produced for exactly that purpose.) The same is true for work like that of Jackson Pollack, strongly influenced by Native American spirituality, whose drip paintings are meditative healing exercises like those of Indian shamans and Navaho sand painters (see The Spiritual in Art: Abstract painting 1890 – 1985, pp. 281 – 293 for these connections).”

The above text is written by  Dr. David Clowney, Ph.d , (Rowan University web pages)

 

“They might best be seen as meditative aids meant to reveal the transcendent or provoke a transcending consciousness.”

I seem to have fallen into creating meditative aids myself!

Yet what I do is, and cannot cease to be, related to my particular faith and perspectives. Even if not explicit.  I thought about introducing a crucifix to a couple of my paintings last year as they progressed, but then found this too stark, too obvious,  and much better when fragmented and broken up.   I arrived at Resurrection One and Resurrection Two via a crucifix at some stage in the painting.  Then my concern with light and colour took over, became more essentially part of the paintings than the symbol of the cross could hold up to… there was a fight going on and as the emotion was breaking out far more as a thrust of new life, energy and power, I just went with that, hence the title.  I felt that as the paintings had both brokenness and beauty, this was just exactly what I wanted them to be.

resurrection two, lyrical abstract painting jenny meehan, religious spirituality christian painting, contemporary christian fine artist, christian painter, british women artists 21st century

british collectable abstract paintings

 

british collectable abstract paintings

british collectable abstract paintings

 

I view all that I do artistically as being part of my response to God’s redemptive work through Christ Jesus.  For me, the energy and will to create is a handy by product of the ongoing spiritual renewal that my experience of the Holy Spirit brings into my life.  I have also found my engagement with my own subconscious through regular psychoanalysis a vital part of the development of my artistic work, as it enables me to draw deeply from my emotions and thoughts, and  reflect contemplatively, thoughtfully and analytically, into the processes and various directions which I encounter, hopefully bringing some discernment and wisdom into the decision making processes, as well as relying on aesthetic judgement.   I spend a fair bit of time looking over what I have done, and it is from this that little stepping stones sometimes appear and lead me forwards.  Not straight away.  But it is always very important to look back.  We are living in the now, but also the past and future are with us.  We cannot see the future, but the past might help root us in the ground sufficiently to enable us to gain some insight.  Looking at past works of art, both mine, and that of other artists, is a vital part of any artist’s practice.

I found this recently: http://www.leftlion.co.uk/articles.cfm/title/canon-richard-davey/id/7613

I rather like this, text quoted from an interview with Canon Richard Davey:

“Yet even as he conducts a tour of his paintings, starting and ending in a living room – ‘the abstract room’ – he stresses that what he is not is an art collector per se. The reason, perhaps, is that he has acquired his paintings over the years out of love for them, and in some cases because they were gifts from the artists, rather than because he regarded them as investments. He estimates that only half of the paintings explicitly reflect a Christian message.

However, when asked to define what he means by ‘spiritual painting’, there is a long pause followed by a much longer attempt at an explanation that touches on art and science, the mystery of matter at the atomic level and what this suggests about the cosmic interconnectedness between humans, and between the human and the divine.

“These texts and these works of art will slowly dissolve, just as we are dissolving as we shed skin and so on. What I’m interested in are artists who have a sensation or an attunement to that sense. And I find it interesting and sad. I suppose that‘s why people ask me to write about it. The artists don’t have to be ‘religious’ artists but that doesn’t mean that their faith isn’t important.”  (my bold)

The above is quoted from an interview with Canon Richard Davey, from http://www.leftlion.co.uk/articles.cfm/title/canon-richard-davey/id/7613   I cannot locate the author from the page unfortunately.

Here, once again, endless images.. to help me remember the lovely journey of painting!  I may have posted these by mistake before, apologies for that, if so, I cannot keep track even of this more organised, yet piecemeal, stream of narrative!

As I often write, do skim over!  I tend to use this blog as a diary/notebook as much as anything else, so rambling and too many images of paintings in progress is the norm!

below, wellspring two 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

above, Pilgrimage, in progress.  I submitted the final work to the John Moores Painting prize,  I am not sure when I will hear about if it has passed the first stage of the selection process.  http://www.liverpoolmuseums.org.uk/walker/johnmoores/

Here is some information about the John Moores Painting Prize from the website:

Background
Who or what is John Moores?
John Moores (1896-1993) was the founder of Littlewoods, a Liverpool-based company. A man of fierce local pride and a keen amateur painter, he was concerned at London’s increasing domination of the national arts scene. He established the John Moores Painting Prize in 1957 as a competition open to anyone and sponsored the exhibition’s prizes. He received a Knighthood in 1980, becoming Sir John Moores.

Today, the John Moores Liverpool Exhibition Trust works in partnership with National Museums and Galleries on Merseyside (operating as National Museums Liverpool (NML)) to organise and present the John Moores Painting Prize at the Walker Art Gallery every two years.

What is the John Moores Painting Prize?
The prize is an open competition for artists working with paint, which, since 1957, has culminated in an exhibition at the Walker Art Gallery in Liverpool. The exhibition is open to all artists aged 18 years or over, living or professionally based in the UK. It showcases the best new painting produced in Britain today and attracts a broad spectrum of artists. Named after its founding sponsor, the first John Moores exhibition was a great success and led to it becoming a biennial event. By the early sixties, the exhibition was regarded as the UK’s leading showcase for avant-garde painting. Many of the prize-winning works were purchased by John Moores and presented to the Walker Art Gallery for its permanent collection.

Since John Moores 23 in 2004, the first prize is no longer such a purchase prize. Instead, the painting that wins the first prize may be purchased by the Walker, meaning that the artist receives not only their prize money but the value of the painting in addition.

The John Moores Painting Prize is selected by an invited jury which changes for every competition, and the whole selection process is anonymous – the jurors are not told who the paintings are by.

 

I have never entered it before, as due to finances I need to pick just a couple of competitions to enter each year, especially if you need to pay to submit the work, regardless of if it gets selected or not.  But the John Moores Painting Prize is one competition I have thought about entering several times, so this time around I finally paid my money and sent the image off.  I like the fact that the whole selection process is anonymous… there is some peace of mind in the fact that the work is judged purely as it comes to meet one in the face, rather than influenced by other factors.

More painting in progress images;

 

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

 

above, those images from “rock strike”  Not sure is this one is quite finished, so will hold off the final image for now.  I enjoyed experimenting with a bit of collage;  wall paper, mod-roc, scrim, and tiny glass beads mostly.  It all feels rather a mess, and that  I have let things fall apart.  However, I recognise this as an important part of creativity, and indeed, of life.   Things get messy. Who knows what will come of it?

 

 

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

 

this one above is still waiting, I am not sure how to go with it right now…

 

 

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

 

above, “view”… this stayed like this for a long time before proceeding!  Just contemplating it at the moment.

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

 

above, “into the ocean deep”  That one was in progress for at least six months.  I don’t rush these paintings along at all!

Sometimes I wonder, amused, at what has happened with my painting.  Reading things like this;

Jules Olitski (1922–2007) 

“Painting is made from the inside out. I think of painting as possessed by a structure—i.e., shape and size, support and edge—but a structure born of the flow of color feeling. Color in color is felt at any and every place of the pictorial organization; in its immediacy—its particularity. Color must be felt throughout.”—Jules Olitski

and realising a ridiculous (but lovely) love of paint which rules itself and pulls me along with it,  is not very unusual, but something which inspires thousands of painters across the ages, whatever their style.

 

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

above, “catastrope”…. still thinking about this one..

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

above, one of the “resurrection” series, the full image of which I showed you earlier.   These were a long haul, quite a struggle at times, only coming together right at the very end.

Pillar and Moon

http://www.tate.org.uk/art/artworks/nash-pillar-and-moon-n05392

Quote from the tate site:

Display caption

Paul Nash was deeply affected by his experiences as a soldier and an artist during the First World War. This picture was based around ‘the mystical association of two objects which inhabit different elements and have no apparent relation in life… The pale stone sphere on top of a ruined pillar faces its counterpart the moon, cold and pale and solid as stone.’Though not explicitly about mourning, the deep, unpopulated space and ghostly lighting gives the scene a melancholy air. Rather than depict a real landscape, Nash said that his intention had been ‘to call up memories and stir emotions in the spectator’.
July 2007

Follow the link to see the image.

My “Pillar and Moon” below.

"pillar and moon" paul nash painting imaginative interpretation,jenny meehan jamartlondon.com lyrical and geometric abstraction modern contemporary british female painter,process led painting uk,

 

Found this while doing some sorting, it’s 70cm by 50cm… has some lovely texture in it.  While in Paul Nash’s “Pillar and Moon”  I can share in the calling up memories and stirring emotions… very much an aim which has emerged in my painting, (though unexpectedly I have gone further into abstraction than I expected to),  in my “Pillar and Moon” the relationship between the two is less distant… “‘the mystical association of two objects which inhabit different elements and have no apparent relation in life… The pale stone sphere on top of a ruined pillar faces its counterpart the moon, cold and pale and solid as stone.’… He pulls them together in their almost parallel position at the top of his painting, so you know what he is doing there, but I have pulled mine into even closer relationship and because my painting is  more abstract, their material composition differences,  and the ground/sky relationship are lessened.  My moon is below the pillar even, and earthed with a brown which reaches towards the pillar, surrounded in blue, more resounding of sky than earth.

Pillar and Moon, by Jenny Meehan is available for purchase, please contact me for further details.

Use the contact form on my website:   www.jamartlondon.com

 

 

A Book of Silence….

I read this book several years ago, and it influenced me, so here is sharing a little more about it!

Quotes from http://www.saramaitland.com/Silence.html

” For about the last 10 years Sara Maitland has been trying to understand more about silence: what it might mean in 21st century; what effects it has on people; how it has been used and understood in the past; why we are so frightened of it; and why she has come to love it so much.
Her new book is an account of that adventure, a sort of mixture of personal journey and cultural history, both deeply personal and intellectually exciting. In the course of researching and writing the book Maitland spent silent time in silent places – on Skye in the Hebrides; in the Sinai Desert; in forests and mountains; in a flotation tank; in monasteries and libraries. She was trying to match her personal experiences to those of other people – from fairy stories to single-handed sailors, from hermits and romantic poets to prisoners and castaways, from reading and writing to mountaineering and polar exploration, from mythology to psychoanalysis.

“A serious, important and deeply engaging book, describing with equal honesty the risks and the resources of silence. In describing her own exploration of these, Sara Maitland prompts some very uncomfortable questions about the fear, the shallowness and the lack of attentive listening that so effectively keep us prisoners” Archbishop Rowan Williams

“Sara Maitland’s search for silence and solitude turns into an intriguing spiritual quest which takes the reader deep into her inner thoughts and fears. ‘A Book for Silence’ records a brave and adventurous psychological journey that will speak to all who have doubts about our increasingly over-materialistic society.” Stuart Sim, author of Manifesto for Silence

“I am grateful to Sara Maitland for this joyful book, filled with humour. It is a beautifully written, the fruit of prolonged experience of different sorts of silence, as well as wide reading and real scholarship. It uncovered within me a half-forgotten hunger for silence which surely most of feel in this noisy world.” Timothy Radcliffe, OP

Very struck by the quote below;  I think because I have found articulating my own experiences in life, through visual and written communication, very important and empowering.  I have seen silence as negative, and it has been, very often, very negative.  But I like the expression “presence of something which is not sound” and this struck me.  So, quoted from her book:

Perhaps it is a real, separate, actual thing an ontological category of its own: not a lack of language but other than, different from language; not an absence of sound but the presence of something which is not sound.

Nonetheless the idea that silence is an absence or lack is the commonly help position in contemporary life and especially – this is why it was painful – among the radical intellectual milieu in which I had for so long lived and flourished.

Toward the end of the 1990s my friend Janet Batsleer, with whom I was discussing all this at great length, sent me a (deliberately) provocative letter:

Silence is the place of death, of nothingness.  In fact there is no silence without speech.  There is no silence without the act of silencing, some one having been shut up, put bang to rights, gagged, told to hold their tongue, had their tongue cut out, had the cat get their tongue, lost their voice.  silence is oppression and speech, language, spoken or written, is freedom.”

and another quote from the letter she quotes..

That silence is a place of non-being, a place of control, from which all our yearning is to escape.  All the social movements of oppressed people in the second part of the twentieth century have claimed “coming to language” and “coming to voice” as necessary to their politics.. In the beginning was the Word.. Silence is oppression.  It is “the word” that is the beginning of freedom.  All silence is waiting to be broken”

…..

I like both silence and sound:  both are vital.  Reading this book certainly made me think about the pauses, rests, and other no-noise part of our existence!   However, when I took my retreat at the beginning of last year, I chose not to make it a silent one.  For me, this wouldn’t have sat well, I don’t feel.  Many people have tried it and like it, but speaking matters to me too much to forego it altogether!

I am an expressive person!  I am a communicator!  I simply enjoy being with people too much to deprive myself of communicating with them! And while I find attractive, the “the presence of something which is not sound.” and often enjoy silence (well, as near to it as possible, bearing in mind where I live),  I guess, as a painter, I am still listening and hearing, responding and communicating in the act of painting and the outworking of a painting comes to me very much as a kind of listening and a kind of speaking, even without words. There is a kind of presence which can be felt when looking at a painting, and a kind of listening, maybe a kind of echo or resonating type experience. Spiritual soundings, maybe?  Not audible, but through the eye comes some awareness?

Words, as ever, fail! But I think expression, sometimes termed “sound” can be silent, but also sounding.  Paintings can resonate with one’s spirit, and there is a silent sound which is heard, even if nothing enters the ears.  And it is not a matter of body and materiality being separate from the spiritual, psychological and emotional (soul) aspects of life and experience.   It is not a matter of silence or sound, or any kind of “either”  “or”  matter.    In fact, I feel as a painter, that  the physicality of the whole experience of creating a painting and enabling something to materialize is one of the most incarnational and wonderful things about it.  A unifying, incarnational and sacramental matter!  Outward signs of inner experiences and realisations of wonderful grace, maybe?  This is my take, anyway. When a painting goes well, and comes together, it is like a gift.  I just stand there feeling grateful, relieved, and slightly in  wonder.  Surprised, feeling tired from the work, but feeling that it’s not just my work, but a rather nice present from a Creator God who is far beyond anything I could ever imagine or create. Yet one who likes to share the joy of creation with me!  I moan sometimes about aspects of being an artist, but someone reminded me recently that it is a wonderful gift and worth being grateful about. And I do know what they mean. It’s not simply a matter of ability or skill (important though that is to develop)but it’s an experience of immersion in the creative, of being in the flow, of being opened up and thrown into the unknown, and loving it. That’s faith, isn’t it?

Watercolour Experiments 

Having made some watercolour paints last year, I have been keen to experiment with these.  I think I mentioned that in more detail in my last post.   I am jumping into the deep, and learning lots about this paint, and it helps me that I made the paints myself.  It is not hard, and I had the pigments.  It feels great to have been with the paints right from the beginning, and I can be generous in my experiments, as the water colour paints are more economical and far less expensive than if I had purchased them.  I have been blessed with a lot of pigment…pure and lovely, … so much to play with!   I am getting to know them well.  I am working with inorganic pigments which I obtained initially for use with silicate mineral paint (I was going to use with potassium silicate as the binder)  but which are now bound with some gum arabic solution I made up.  I have plenty more for use with other binders if I want to, but working on paper is interesting indeed, and though I cannot tell what the outcome will be, the process is very interesting!  I will post some up later on in the year, when I have worked sufficiently with them.  I showed you the two I entered for the Royal Watercolour Competition, but I have around twenty more I am working on.

Spiritual Direction/Guidance

I continue my mental touselling, (a word which does exist, even though the spell checker tells me that I have spelt it incorrectly!) over the term “spiritual director”.  As most of the population have never heard of a spiritual director, the term says all the wrong things and so I am continuing to experiment with ideas for how to better describe the role of a spiritual director in a short, quick and easily understandable way!   Here is something I rather like from the Mount Street Jesuit Centre website:

“Would you like the chance to meet an experienced prayer guide to share your thoughts and reflections about your own journey in life within a sacred and secure space where you will be listened to and accompanied on your path?

Typically, people meet with a spiritual director every 6-8 weeks for about an hour. There are no requirements other than an open heart. So, if attending any of our events leaves you wishing you had someone to talk things through with, this could be for you. There is a large local network of spiritual guides and we can put you in contact.”

That is pretty much the best and clearest description I have come across.  I like the expression “prayer guide” and the description of the space also.   I like the term “spiritual guide” too, which is much better than “director” as a word.   I often say to people who ask me what a “spiritual director is” is that it is a kind of mentoring, spiritual counselling, and listening type role, which aims to help people in their relationship with the divine and the spiritual dimension of their life experience/ God, in the way that they understand God,  and how this is working in their life.  I say that it is something open to all, whatever faith tradition, or none.  It seems to be, maybe not surprisingly, that most people who come to seek spiritual direction do have some background in one church or religious group setting or another, and have a faith tradition, however, this is not always the case.  What is beyond us is often an awful lot, (actually, always!) and I think  there are times in our lives when we want to ask ourselves what we believe, and why, and just make space to examine our consciousness and hopefully increase our awareness of where we are going, and why.   I come from a Christian perspective, and it obviously influences my approach and how I work as a spiritual director.  However, I am hoping that when I do complete my training with SPIDIR I won’t just be seeing people who happen to have similar affiliations to me.

In the SPIDIR course recently we had a brilliant session from Tim Stead on Mindfulness.  Tim is very thoroughly trained in Mindfulness and in delivering Mindfulness workshops and it certainly showed.   It was very helpful for me, as I had been seeking clarification on a few points.  It really was one of the best sessions so far.  Very inspiring.  Mindfulness, I think, is something ever more necessary in our current time, and essential to develop and cultivate.  Details of courses on Mindfulness run by Tim Stead can be found here:  http://www.hthq.org.uk/mindfulness.html

And also here:  http://bemindful.co.uk/learn-mindfulness/

 

New Redbubble art work…

I have just posted up some more artwork on Redbubble, do take a look!  My son likes Star Trek and I wanted to play around with ideas of speed and space.  I am pleased with the result, and he will get a T Shirt as one of his birthday presents!

 

http://www.redbubble.com/people/jennyjimjams/works/20306316-not-long-until-i-reach-warp-speed-star-trek-parody-logo-design-with-transparent-background?grid_pos=132&p=t-shirt

 

For general look at my Redbubble portfolio go here:

http://www.redbubble.com/people/jennyjimjams?ref=account-nav-dropdown

…………………………………………………………………………………………..

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. 

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.
Any persons discovered to be reproducing, copying or using images by Jenny Meehan without prior consent, authorisation or permission will be put on notice that Jenny Meehan is the copyright owner and asked to immediately cease and desist the infringing activity. If a satisfactory response and / or compliance is not forthcoming promptly, the matter will be pursued. For clarification of the laws of copyright, please contact the Design and Artists Copyright Society (DACS). http://www.dacs.org.uk

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!)

 

 

Art Fund Raising for Straight Talking…

 

Gala Night Tuesday 8th December 7-9pm.  All Welcome!

Exhibition runs from then until 3rd January 2016.

 

http://www.straighttalking.org/

I’m donating another one of the “My Patch/Cat Print” digital prints.

my patch/cat print digital print jenny meehan jamartlondon copyright jenny meehan DACS all rights reserved

my patch/cat print digital print jenny meehan jamartlondon copyright jenny meehan DACS all rights reserved

 

‘Straight Talking Peer Education employs teenage parents to run courses in secondary schools about the realities of early parenthood. This achieves a reduction in teenage pregnancy rates and allows teenage parents to access employment.’ For further details please see their website  www.straighttalking.org   Hilary Pannack, the CEO,  will come on the Gala night with some of the peer educators and talk about their work.
http://www.thecornerhouse.org/

The cornerHOUSE runs in an old Church Hall at the junction of Douglas Road and Ravenscar Road. The postal address is:

116 Douglas Road
Surbiton
Surrey
KT6 7SB

It is best to use public transport to get to the cornerHOUSE. Buses 281, 406 and 418 stop regularly at the end of Douglas Road (ask for the police station), bus K1 stops near the end of Ravenscar Road (ask for Tolworth Hospital) and bus 71 stops in the Hook Road (ask for Thornhill Road).

Please note that if you use your own car there is no dedicated parking at the cornerHOUSE and it is usually difficult to park nearby. The cornerHOUSE is in a residential area so please allow enough time to find a safe and sensible parking space which may be some distance away. Please park with consideration for our neighbours and avoid obstructing their access ways.

 

Court Farm Cafe

I also have several digital prints up at the Court Farm Cafe,  Court Farm Garden Centre, Tolworth for a couple of months.  These are reasonably priced at just £35 and £40 so would make great Christmas presents.  Having a bit of a sort out at home, as I need more space, so effectively selling these off at a rather reduced amount!

 

jenny meehan artwork court farm cafe at chessington court farm garden centre tolworth surrey

jenny meehan artwork court farm cafe at  court farm garden centre tolworth surrey

 

jenny meehan artwork court farm cafe at chessington court farm garden centre tolworth surrey

jenny meehan artwork court farm cafe at court farm garden centre tolworth surrey

 

http://www.courtfarm.uk.com/  Old Kingston Road, Worcester Park, Surrey… It’s not far from Tolworth Rail Station.

Old Kingston Road, Worcester Park, Surrey, KT4 7QH020 8012 8626  admin@gardencare.uk.com

Hopefully it will be nice and busy, with folks getting their Christmas Trees, etc.  I could do with selling some things to help with the expenses of Christmas!

Singing in the Rain

Lyrical abstract painting… This is the final…

Singing in the Rain abstract expressionist colourist lyrical painting by jenny meehan jamartlondon

Singing in the Rain abstract expressionist colourist lyrical painting by jenny meehan jamartlondon

Singing in the Rain Images taken when 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

Yeah,  I like taking pictures of my paintings!

You might notice that it hasn’t changed that much, if at all!  The reason for this is that when I talk about a painting being “In Progress”  I consider the time I spend in contemplation/reflection/meditation (whatever your preferred word!) part of the process of the painting…Time spent waiting for paint to dry with acrylics is too, too short, and so I spend a lot of time looking at the paintings when they are dry.  I sometimes think that something is not finished when it ends up telling me that it is.  I sometimes find the opposite, and something calls out for attention several months later.  After about six months I can be more certain.  This painting lurked around and I thought it wasn’t finished, but it was.  The taking of close up images is helpful to me as it helps to freshen up my eyes and seeing of what is going on.  It sometimes helps me appreciate what a painting has to give me as it stands, which can be helpful, as it is very easy to rush forwards in a painting pushing it on to new things, when you haven’t actually seen what is there properly.

 

Resurrection Two –  Painting in Progress

Unlike the other, these image show a bit more visible development!

Resurrection Two Painting:

 

resurrection two, lyrical abstract painting jenny meehan, religious spirituality christian painting, contemporary christian fine artist, christian painter, british women artists 21st century

british collectable abstract paintings

I have colour corrected the image above so it is more like the original.  Images below haven’t had that treatment, and are therefore rather blue!

 

 

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

 

Yoga Inhale and Yoga Exhale paintings.

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

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

I am particularly pleased with the Yoga ones; very exciting to be able to use all the years of experimenting with acrylic paints, pigments and various mediums.   The right way up is as follows:

chakra colours painting, chakra colours art, chakra movement opening, yoga inhale yoga breathing inspired abstract painting by jenny meehan

yoga inhale yoga breathing inspired abstract painting by jenny meehan

 

yoga chakra colours opening painting art, chakra art, chakra dance, yoga exhale yoga breathing inspired abstract painting by jenny meehan

yoga exhale yoga breathing inspired abstract painting by jenny meehan

 

I posted these only a short while ago, I know, but I am VERY pleased with them!

 

November Thoughts

We should all be hibernating!

I’ve been to an excellent one day course at the Mount Street Jesuit Centre on “Spirituality and Chronic Illness”.  It was very good and will add to my training in the art of spiritual direction no doubt.   Here are the details taken from the Mount Street Jesuit Centre website.

 

Chronic illnesses – conditions which are long term and for which there is no obvious cure, affect almost half the population. Including arthritis, COPD, depression, ME, fibromyalgia and many others, these conditions often leave us tongue-tied and frustrated, struggling to find a language of faith in which to respond.

This workshop seeks to create a space for exploration of the ways in which we can encounter God in the midst of long-term physical and emotional pain. We will explore the spiritual impact of chronic illness, ways of listening to the reality of the experience, and ask how we can engage with God in the midst of pain.

This interactive day is aimed at those with chronic illness, those who live alongside them, and those involved in spiritual direction and pastoral care of people impacted by these conditions.

About Edel McClean

Edel McClean is a trainer, facilitator and spiritual director. She currently works as a learning and development officer with the Methodist Church in the North West. She was previously a team member at Loyola Hall for almost seven years. She has a commitment to Ignatian spirituality, to demystifying prayer and to empowering people to embody change within the Church. She has been living with chronic illness for 15 years.”

It was a fun, lively and interesting day, which helped us to examine the way that we communicate and also to recognise some of the theological beliefs that we sometimes hold which, often distorted and mis-applied, can make offering deep, understanding and compassionate relations with those who experience chronic pain/illness less possible. There’s a lot more I could say about it, but rather pressed for time at this point!  I met some lovely people… I always enjoy my times at Mount Street Jesuit Centre!

Go to the following, for information on Saturday Workshops coming up next year.

http://www.msjc.org.uk/events/categories/saturday-workshop/

Back to the hibernating…

I’m not currently painting, but organising and tidying.  Thinking ahead to next year, yes, already, as I mentally prepare for some future directions.  A lot of time spent reviewing the year’s work, and the directions that seemed to be indicating.

 

General Information on Jenny Meehan:

Artist’s Statement (sketchy overview, rather!)

Art, in my experience, is about exploration. I view mine as a natural and evolving process which is primarily to do with the emotions and spirit, though I do enjoy playing with concepts too. My Christian faith, relationships, and artistic contemplation and production are the main driving forces in my life.

Trees and plants, metal objects, the human figure, and many different types of man- made constructions, are subject matter I favour. I like to explore different styles of expression using a range of media; primarily paint, but also photography, poetry, and some sculpture. The brokenness of human experience fascinates me, but also the potential for growth and renewal. My work has a positive outlook, as I think that it is often through suffering, touched by God’s grace, that the beauty of the human soul is revealed. The idea of strength combined with vulnerability is particularly attractive to me.

My art is a sacramental practice, and the mystery of faith and its reality, which stretches beyond our human rational capacities, is something which interests me. I also see my work as an articulation of fragmentary experience; it’s how I make sense of the world.  Since 2010 I have put most of my creative energies into developing my skills with paint, which I love. Intensely.

 

See my website, jamartlondon.com, for more!    www.jamartlondon.com

 

 

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…!

……………………………………………………………………………………….

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 ever, a LOOOONG title:

Spiritual Direction/Guidance…What is it? – Franz Marc – Past and Present Paintings – A Letter in Mind – The Art of Journey – Chakra Dance type Paintings – Artists and Open Exhibition Submission Fees/Payments

As ever, skim as you will, like water boatmen on the surface of the water!

Well…

I am enjoying the spiders busy making their webs…How clever they are!

Due to a nasty osteoarthritis flare up (I now understand what it was!) I have been rather disabled physically, and in a lot of pain.  Now I can walk again, though not for a long time, I hope to get around to visit some more galleries in London once more, though the toilet is pretty much the only place I have been visiting recently!!!!

I never would have expected so much pain, both day and night, was possible.  A good incentive to loose weight.

This has confined me to a period of hobbling around the house, however, I have done many useful tasks on the computer and also spent time reviewing some of the paintings from earlier on in the year.  Painting activities will now involve a lot of contemplation and not much mark making.  Some of my process led paintings take a year to complete.  They must not be rushed and I would rather keep something unresolved and come back to it rather than push it forward if it feels like it is going downhill.  Sometimes things have to crash before they come to life, however, it feels so much more rewarding for a painting to just float along, and take the time, space and thought that it needs.

Here are some recently resolved paintings:

 

 

And this has come together well:

 

drop in the ocean painting jenny meehan romantic lyrical abstraction expressionist abstract fine painting drop in the ocean painting jenny meehan

british collectable abstract paintings

 

That’s going to be called “Jesus Calms the Storm/A Drop in the Ocean”.  I like more than one title.  I often have two things floating around in my head when I reflect back on paintings recently completed.  Why restrict the title to one thing?

That will do for now…but more coming soon!   Colour is welcome in Winter, and I have enjoyed the dance of colour and light I have taken part in this year!

 

Spiritual Direction/Guidance

When I googled recently “spiritual guide” the main thing which appeared was either to do with having some kind of spirit guide or having a guru/shaman type person… Neither of these reflect my use of the term Spiritual Direction or Spiritual Guidance, as I use the term in within the context of the Christian tradition, which seems to be something that people in the Catholic church are more familiar with, though in the Anglican tradition the role of a Spiritual Director/Mentor is also quite well established.  Though I have had a committed faith in Christ for years, I only came across the term “Spiritual Director” in the last few years…  And now I find I am training in this area.  The idea behind the “Director” part isn’t that you are told where to go/what to do, by the way, it is rather that your spiritual guide/mentor seeks with you to find out how the Holy Spirit is working and directing you in your life…It is rather a case of finding out which way the wind blows or the water flows with you!  It is a service ideally completely dependent on the Holy Spirit, the aim of it being to encourage insight, wisdom and help someone in gaining their own sense of direction.

Many people would like to grow in the way that they relate to God, and something like a Spiritual Direction session once every few months could be very helpful.  Having recognised how much my own faith has been encouraged through one-to-one input, the opportunity for contemplation, reflection, and discussion, about things which compose this life of mine, I feel quite keen to be of some use to others in this way.  I am still training right now, and enjoying the process very much.

Here is a good description!

“What is a spiritual director?
A spiritual director is someone who offers a safe space where he/she can help us explore and reflect on our relationship with God, however fragile that may seem.
Over a period of time we share our faith story with this trusted person, in confidence. We bring the things that mean the most to us, including our hopes, dreams and struggles.
Each one of us meets God in our own everyday experience, sometimes we just need a little guidance and help to recognise it, and celebrate it.
Who becomes a spiritual director?
Ordinary people who have journeyed through the ups and downs of life, and who feel called to this ministry.
They are from all walks of life. Most spiritual directors have extensive training and experience, and are excellent listeners.
They offer time, attention, acceptance and encouragement.
So where did the idea of spiritual guidance come from?
Since the time of the early Desert Fathers in the 3rd Century, spiritual guidance has been part of the tradition of the church.
A growing number of people are rediscovering how helpful it can be in today’s busy, confusing world to have someone to walk alongside them on their journey of faith.
“Where two or three have gathered in my name, there I am in the midst of them”. (Matthew 18: 20)
So is spiritual direcdtion/guidance for the super-spiritual only?
No. It is for anyone who is interested in drawing closer to God. God seeks us where we are.
How can spiritual guidance help me?
As a relationship of trust with this spiritual companion builds over a period of time, there will be opportunities to explore and develop ways of praying, meditation and reflection that may be helpful.
Through a more developed self-knowledge, we can become more aware of God’s grace and movement in our daily lives. A good guide can bring a different perspective to issues, both pat and preent, that we may have been grappling with for some time.
As we speak more honestly and openly about ourselves and our struggles, we can grow more open to God. This greater transparency can lead to a growing sense of God’s presence in all things, and a more grateful heart.
There is help and support in making dificult choices, which can be helpful in the decision-making process.”

The above text was taken from: http://www.holyangelsash.org/noticeboard/diocesan-events/

 

Franz Marc

 

Oh yes,  Another artist’s work which has inspired me along the way…

Franz Marc (February 8, 1880 – March 4, 1916) was a German painter and printmaker, one of the key figures of the GermanExpressionist movement. He was a founding member of Der Blaue Reiter (The Blue Rider), a journal whose name later became synonymous with the circle of artists collaborating in it.”

 

 

franz marc creation woodcut

franz marc creation woodcut

Working with design in black and white is very, very difficult.  I was amazed how challenging it was when I attempted it a few years back.  To keep the balance in the work is hard, but this woodcut is a super example of someone accomplished in the balancing act of artistic creation!

 

 

 

 

Images from the Wiki page..

The one above makes me think of  Max Beckmann, another favourite of mine.  I have some woodcutting tools and keep meaning to try it, but this may be a later endeavour I think, due to other demands on time and the need to continue to push the painting forward as a priority.

 

The Storyteller

I’m posting this older work of mine because it involves recognisable objects and I find it useful to reflect on how I decided to render them.  An awareness and thought on the matter is still relevant to my current work, even though non-objective, because paintings is a way of thinking…an approach, a venture into an unknown future, even if the future is only five minutes away, what makes one do this, and not that, is worth consideration.  I often look back and the choices I made in the past inform the present work, even if it looks totally different.

psychotherapy and art, psychoanalysis art painting, carl jung artwork, carl jung the storyteller oil painting jenny meehan

the storyteller oil painting jenny meehan

I was thinking about Carl Jung and his work with the imagination, and the belief that the  foundations of personality are archaic, primitive, innate, unconscious, and universal.  He believed that every human being or human personality has a story to tell. and that derangement comes when individuals are denied the chance to tell their story or the story is rejected.  This painting was painted from the  imagination, rather than from observation.

 

bosham landscape view painting jenny meehan

bosham landscape view painting jenny meehan

 

This painting however was painted from observation.  I painted it with rather wet feet…and kept sinking into the ground when painting as the land was rather boggy and wet!  Bosham is in West Sussex, UK.  This painting was purchased by a collector very quickly indeed, which was pleasing!  It came out well…I was experimenting with my style, and as said, this work informs even the work of the present.   I remember being fascinated by the stillness of the water, which was disturbed at one point by a lady taking a small boat out onto it.  She had a dog with her who also splashed around.   It was a lovely hot sunny day and the paint is thinly applied onto primed hardboard, which worked well.   I wonder if I have this experience in mind when I worked on the series of Boat house paintings…Though I don’t know the location of the building I painted…I didn’t take enough note of the exact geographic location!

Recent Exhibitions

Other Exhibitions coming up in 2015:

A Letter in Mind – The Art of Journey, Gallery@oxo
Oxo Tower Wharf
Bargehouse Street
South Bank
London SE1 9PH

From 8th October until 18th October. This is a charity exhibition with artworks being sold for £80 each. The National Brain Appeal will benefit from your purchase! Entry is free.

 

Here’s the blurb from the website:

A huge thank you to everyone who submitted an artwork for this year’s exhibition – which runs from 8 to 18 October at gallery@OXO in London.

The Art of a Journey invited artists to respond visually to a journey that they have experienced: whether emotional, psychological, real or imagined – using a simple envelope as their starting point. The concept of a journey is specifically relevant to artists as it mirrors the production and culmination of an artwork.
Our aim is to raise awareness of neurological conditions through artistic questioning as patients at The National Hospital embark on their own personal journeys.
Submissions have come from established and emerging names in the worlds of art and design, architecture, illustration, graphic design, film and the dramatic arts; the envelopes have been built in, drawn on, painted, written on, cooked, wired, collaged, sewn and had artworks sealed inside them! This year’s international entries have come in from all over the world including Ireland, Belgium, Spain, USA and even Venezuela!
We are delighted to announce a selection of our artists: Grayson Perry and Billy Childish, Gill Rocca and Natasha Kidd, Harry Pye – artist and magazine editor, Horace Panter – artist and bassist for The Specials – actors Joanna David, Phyllida Law and Kevin Eldon and comedian Jo Brand, illustrators Polly Dunbar, Chris Haughton and Tim Hopgood, BP Portrait Award winner, artistic director of the Royal Drawing School Catherine Goodman and contemporary British architects Professor Will Alsop and Amina Taha (to name but a few)! Alongside our supporters, students, designers, drawing clubs and the general public have also shared their extra-ordinary talent in aid of The National Brain Appeal.
All of the artworks are now being processed and photographed and will be available to view from September in our online gallery.”

Link to the gallery is here:

http://www.nationalbrainappeal.org/letter-in-mind-gallery-shop/

Can you guess which one is mine?  Last year’s sold, so I am hoping this year is the same, as it will help the charity!

 

Also, in November:

Challenging Behaviour Foundation Exhibition, Sun Pier House, Sun Pier, Medway Street, Chatham, Kent, ME4 4HF
3 November 2015 – 29 November 2015

And ones which have just been: 

Brighton Sussex University Hospitals Trust National Transplant Week 2015 (7th-13th September) public art exhibition in Brighton UK at the Brighton Jubilee Library Jubilee St, Brighton, East Sussex BN1 1GE. Items 13 and 14 were my donations… Bidding is open!

Jenny Meehan’s donation can be found on page 10 of the following publication:

http://issuu.com/anatomyforlife/docs/afl_artist_statements_2015/12?e=9456284/15283286

To bid, go to the Ebay store, here’s the facebook link:
https://www.facebook.com/AnatomyForLife/app_149115948441659

‘The Story So Far’, organised by Acton Arts Forum, at W3 Gallery, 185 Acton High Street, W3 9DJ . From 1 July to 14th July 2015.

http://www.w3gallery.org.uk/index.php/what-s-on

I hope this gallery continues… I think it was closing and the exhibition I was in was the last one!  This is tragic if it is the case.  Artists need affordable ways to show their work.  All the above were free to exhibit…  I simply cannot afford to pay £25 here and there for a chance… I mean a chance to show my work.  Submission fees don’t mean that artists definitely get their work shown…You pay anyway, just to submit…  This is the terrible truth, and it is quite frankly wrong.  Most of the general public are not aware of this fact.

FREE for the public AND  FREE for the Artist!

Artists are being used to help organisations make money.  Artists should only pay if their work is shown in open call competitions, and  if so, the fee should be minimal.  I mean, minimal, under £10.  (a true admin fee, could be justified!)  The whole system is at fault really.  It favours those who have disposable income to spend on their art working aspirations.  I choose one or two paid submission opportunities each year, at the most, and when submitting I wave bye bye to the money knowing it will never return to me.  I simply hope that I sell a painting at some point in the year which might pay for it.   I also dislike the way that commission is taken for this kind of exhibition…it is quite uncalled for,  and shouldn’t really be applied. It means that the buyer has to pay more, because the artist has to make the price higher knowing that 30 or 40% will be taken off if it does sell.  And the higher price means it will be less likely to sell!   It is a different matter if an artist has a contract with a gallery, in that case, the gallery is actually working for the artist in order to promote them and the artist gets benefits from this.    Thankfully there are alternatives…but not as many as would be great to have.  Other buildings and venues can be used to show art, and that is pretty much the way to go I think.   I sometimes have a rant about this.  It helps a bit.  Bear in mind I have a lot of un exhibited work here in my home and studio, and that is not because I don’t want to show it.  The internet helps, at least it can be seen.  However, it’s much better to see artwork in the flesh.

Every now and again I have this very same rant.  And I will continue to do so, as it lets of a tiny bit of steam!  There are some cafes, bars, pubs, hotels, churches, and community buildings  etc who will have work hung for free and more of this needs to happen.  Giving the organisation 20% of work if it is sold seems to work out well for all concerned.  However, some organisations, seeing this as an opportunity to make money, have taken to emulating the open call/competition status quo, and ask artists to pay to exhibit, even though they are not a gallery in the true sense of the word.  That stinks.   Let’s be clear about this… They get lovely free artwork hung for all to enjoy… ie decoration, in the finest sense, if one wants to be utilitarian about it.  The artists get to show their work, yes… But generally that is all they get from it… the odd sale might occasionally happen, but they do the work….     Organisations will find that artists are generally very helpful and co-operative with respect to consultation about hanging equipment, and together the practicalities can be worked out for mutual benefit.

I have had several exhibitions in community spaces, ie theatre and community arts centres, and they have worked to the benefit of both parties, with no charge being made to exhibit.  Only sold two pieces, over a total of five exhibitions, mind you!   I personally am not in a position where I can pay to hold an exhibition,  and the vast majority of artists are in the same position as me…particularly in the current climate.  Even when we get together, it can still cost a couple of hundred to show work.. That’s just crazy!  Sweep out of you mind the few successful and prominent artists who catch the media’s eye and may create an image of money being no object, and of no concern to the “true artist”, and instead replace this with the reality of lots of lovely art work and lovely artists who cannot simply show what they do to as many people as they would like to.  If we want to educate the community about art and artists, then there needs to be a greater range of art and artists available to enjoy.  FREE for the public AND  FREE for the Artist!   At the current time,  I am donating more of my work than doing anything else…I am pleased to do this to some extent, because sometimes  I would rather donate a piece of work than pay a submission fee to show my work…though I have in the past viewed the submission fee as a kind of donation if it is for an organisation which I wish to support.  However, artists do need money in exchange for their work if they are to buy materials and pay for travel costs, and suchlike.   Do people think we just like showing it, because we want to show it off?  No, we do not.  We want to sell it because we don’t want a house full of our own work, we want other people to own it and enjoy it, and we would like money for our work, as this is an investment in us and what we do.  It says  “This Matters”.    And rant is not over… but I will pause in it for now!!!!

I feel the need to post my “Yoga Inhale” and “Yoga Exhale” as I take a deep breath… So here they are!!!

chakra colours painting, chakra colours art, chakra movement opening, yoga inhale yoga breathing inspired abstract painting by jenny meehan

yoga inhale yoga breathing inspired abstract painting by jenny meehan

 

yoga chakra colours opening painting art, chakra art, chakra dance, yoga exhale yoga breathing inspired abstract painting by jenny meehan

yoga exhale yoga breathing inspired abstract painting by jenny meehan

Looking at these, I thought of dancing chakras!  (in Indian thought) each of seven centres of spiritual power in the human body.   Though not a familiar tradition of thought for me,   I am sure there are various understandings and believes about chakras which I wouldn’t share in, but energy and life do run through us, and might well be thought of/understood  as different colours.   As an artist, those colours wouldn’t be limited to rainbow colours… there are too many colours/variations of the same colour,  for things to be that simple.  I dislike labelling one colour as this and one colour as that…It just goes against the grain when you work with colours/light perceptions with paint.  Working with colour and seeing how acute the tiniest adjustment can be, and also how colours affect one another, it’s very hard to reduce things to a series of seven colours.  However,  I am ignorant in the matter, not having spent any time looking into it, so apologise for my limited understanding! I think the colour aspect is just one tiny bit.    I also don’t have any sustained interest in chakra theories  themselves, as I am more interested in painting… Though I do LIKE the idea of my coloured blobs and areas being representative of things going on in the human being.  For me, the colours are related to feeling and emotion.  I wouldn’t want to start naming things though.  It is the whole effect of the completed painting which is the expression.  It’s not about analysing different parts.   It might be that I am painting a kind of chakra dance in the sense that I am concerned with balancing out the painting in an aesthetic formal sense and using the areas of colours as the matter with which I work with.

There is a huge amount of different beliefs and thoughts regarding chakras of which I know nothing of, and I am investing my time and self into manipulating paint…this is my “healing art”, I guess, and this, and any other healing I get, I see as coming straight from the grace of God, through the work of Christ Jesus. The truest source of my being, and the light of life! When I am doing yoga and we focus on different parts, I embrace the sense of it, think of the colour if referred to,  and resolve to open up all parts of myself to the Holy Spirit.  For I am known in Christ, through and through, and all the mysteries of God are revealed in God incarnate, that is Christ, and Christ in me.

But some Christians have terribly fear induced and extreme ideas about anything which is a bit of a mystery to them, and chakras and any thoughts around that area are thought of as demonic in some Christian circles.  I have the belief that there is a lot of wisdom around, and that the Holy Spirit can guide us with discernment as to what will be beneficial to us and what will not be.  People are all different, and what is OK for some won’t be OK for others.   We feel comfortable with different things, and uncomfortable with others, and have our own sense of integrity as to what is good and true.  (I am not talking about behaviours/morality here, rather beliefs).   I believe that all truth belongs to God… and it is he who reveals his knowledge and insights, and gives them to people… all people can receive insights which come from the Spirit of God, whatever their beliefs or non-beliefs. What is problematic is things like manipulation, people controlling other people,  cults or cultish-ness (not a word!)and deception and lies.  These are the real dangers in life…and happen across the board, in all religious and belief systems.  Holding different beliefs and thinking different things about stuff, having different understandings and theories about things, isn’t a problem at all.  It is the fruit of our lives and the way we behave, how we relate to ourselves and to others, which tend to be more revealing.

A working definition for chakra might be that they are thought to be “centres of energy, located on the mid-line of the body. There are seven of them, and they govern our psychological properties.”  Both transmitters and receivers of energy, the idea is that in order to be healthy the chakras and meridians will be balanced.  Sometimes blockages and instabilities cause problems.  For me, thinking about how paintings work, and how unresolved areas need balancing out for the painting to have the beauty and harmony of a well balanced composition, I can relate to this idea quite well.  We do run on energy, and there are pathways for blood, nerves, lymph, so there could easily be pathways for energy too.  We are infused with God’s divine energy, “In him we live and move and have our being”.  You get my drift!  It’s possible that chakras are spiritual energy centres…and I know from when I have received healing prayer in the past, that it is possible to feel the flow of God’s energy moving around in the body!  A long time ago I was prayed for and felt a strong current of energy moving up and down both my legs…There was no imagination in that at all.  (in the John Wimber era!)  Recently someone prayed for my knee, and I felt something very definite going on then too, though in that case it was pain I felt, however, afterwards there was improvement.  God can release energy into our bodies, and that energy would flow around in paths, I should think.

What IS important to me as a committed Christian,  is that I wouldn’t ever limit God into being a mass of energy, or something impersonal, ie just a force.  A vital part of my own perspective and faith is that God is a personable, personal, compassionate and loving God, with an interest in relating to us, his lovely creations, in a very intimate and personal way.  I’m not into many of the associated beliefs and thinking which come with chakras, (as far as I know, and I don’t know a lot! ) and the Saviour of the world isn’t an energy field,  but neither do I think one should reject everything just because it is unfamiliar, and not part of one’s tradition.  We all have a lot to learn.

 

Peacock Image

This image was taken at Kew Gardens a few years back.  It is digitally manipulated, but not as much as one would think…

As a painter, my interests lie very much in light, colour, and such matters, so the feathers of a peacock are very inspiring.  Here’s some info from Wiki:

“As with many birds, vibrant iridescent plumage colours are not primarily pigments, but structural coloration. Optical interference Bragg reflections based on regular, periodic nanostructures of the barbules (fiber-like components) of the feathers produce the peacock’s colours. Slight changes to the spacing of these barbules result in different colours. Brown feathers are a mixture of red and blue: one colour is created by the periodic structure and the other is created by a Fabry–Pérot interference peak from reflections from the outer and inner boundaries. Such structural coloration causes the iridescence of the peacock’s hues since interference effects depend on light angle rather than actual pigments.[2]

peacock feathers, colour image of peacock, colour image graphic peacock, peacock plumage digital image by Jenny Meehan

peacock plumage digital image by Jenny Meehan

 

http://www.redbubble.com/people/jennyjimjams/works/16696815-peacock-showing-plumage-full-colour-digital-image-from-jenny-meehan

 

I’ve just put that up on Redbubble, if you fancy seeing it on something you own, or as a picture on the wall!

 

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. 

 

 

 

 

%d bloggers like this: