Butterfly Net 2 – Francis Davison – Carl Jung, Mary Oliver, Chris Chapman, Carol Lee Flinders, Bernadette Farrel, Thomas Merton – Scraper, Save Our Souls, The Mummy and the Pyramid Poem Prayers – Dream of the Rood

Support Jenny Meehan

I write in this Artist’s Journal once every two months, and have been doing so for over 15 years. It’s a good way for you to get insight into the thinking (research, influences, spirituality, philosophy, personal perspectives etc) behind my visual art and poetry.

For myself, it functions as a tool for note taking, discerning spiritual and creative directions, and even analysis, but this means its not solely written with you, the reader, in mind. For this reason,  I suggest a quick pre-read skim over the post as they are usually quite lengthy! 

For a general introduction, website style overview of my creative work, rather than meanderings visit this page:

Introduction – Jenny Meehan aka jennyjimjams

 

 

Butterfly net 2 by Jenny Meehan

 

Butterfly net 2
2024

I wanted to express the sense of fragility that comes from not knowing how things will be day to day with health, and “Butterfly Net” seemed the right way to do it because, in the process of making it; tearing paper strips; I experienced the very pain that makes a”bad day” a bad day.

This is version 2 of Butterfly Net, in which I incorporate digitally generated and perceived textural
elements. I find it interesting to play with perception generally… I guess this is part of being an artist!

I used to experience the differences between working with digital imagery and physical materials as being much greater than I do now. I even had a bit of an aversion to combining them together in the way I have done in this artwork, believing it somehow lessened authenticity somehow.

However, now I find I’m quite interested in the interplay between the process of creating things both physically and virtually, and then choosing to put the two processes together; this work celebrates the existence of both mediums.

I think this is important for me to express because, due to the restrictions I experience sometimes physically due to osteoarthritis, my appreciation and use of digital media has increased. This brings with it a reminder of the freedom I can enjoy because it it. So the net which holds the butterfly back is partially permeated. This is very positive!

For example, being able to create on a mobile device while lying on my back doing yoga and exercising incorporates bodily movement with imaginative, creative processes; I benefit from the combination of physical and digital working concurrently!

I don’t always need to do this… I am often still able to work with physical materials, even on quite a large scale, but for the periods of time when I cannot, it is a great liberation and joy to not have my creative impetus restricted or held back in any way!

In the first “Butterfly Net” I expressed a sense of fragility  by photographing the collage without sticking any paper  down. A breeze or even a breath could rearrange the pieces of paper. I chose to create a very simplistic, loose image of a butterfly which I made by cutting and tearing paper, with wide vertical bars which imprison the butterfly, on top of it.

Without being told the paper is unstuck, a viewer wouldn’t appreciate the fragility because the graphic image itself is as far away from a butterfly as possible; it’s heavy and quite bold in black and white only. It’s primitive and childlike. A loose, rather ambiguous and camouflaged depiction of a butterfly! With the net over it, many people don’t even recognise it as being a butterfly!  Generally, with figurative art the aim is that people will recognise what is depicted. Yet, as is the case with much invisible disability, the features which characterise a condition are not clear or easily recognisable to an outside viewer. 

When creating the first version, I realised that, though I associate arthritis with something which affects people in their latter years, there are many people affected by different types of bone pain, including children, so the childlike nature of my depiction met my desire to encompass this idea. Arthritis isn’t something just experienced by older people.

As said, it’s also a condition which isn’t obvious. There is something of it being a condition which is less visible, often even invisible, to other people. This requires communication on my part of physical limitations when I experience them; I don’t like revealing my own fragility or vulnerability at all! I prefer to emphasis my strength and independence!

In “Butterfly Net 2” the increased integration and merging of media reflects a general increase in self integration I’ve experienced in recent years. Self-integration is critical to identity. It’s the process of connecting experiences to the self and often occurs as individuals narrate events. In a fundamental sense, this is how the creation of both my visual art and writing often function.

Time has passed and I’m more comfortable with the fragile, more vulnerable dimensions of myself. The image now looks even further away from a butterfly! 

This reminds me, that as part of humankind in general, we don’t see each others fragility very easily at all, and it is often hard to express openly. So to treat eachother with kindness is a good general principle for life when it comes to disabilities of all kinds. We often just see hanging strips of broken material; torn parts, fragmentation. In both ourselves and others. But don’t forget the butterfly, just because you cannot see it, doesn’t mean it isn’t there!

I’m currently continuing my experiments with loose, un-fixed papers. I’ve made a lot of painted papers to play with and as I work with them I’m reminded of the need to hold all things in life lightly, even though it’s so tempting to want to feel totally in control of things and have everything rigidly stuck into place! It’s important to open ourselves up to life with acceptance of what is beyond our understanding and what is beyond any control we may feel the need to have. Why do we do this?  I think one factor may be that we do this in order to compensate for an inner sense of security we sometimes (even often!) lack. 

At the same time as relinquishing our need to control, it is vital to take full responsibility for ourselves  and to exert appropriate self control in the way we manage ourselves in accordance with our values and beliefs. It seems too easy at times to mix up these two movements; to try and control what we can’t and then to abandon control of what we can! 

 

Snail Photograph by Jenny Meehan taken at West Dean Gardens in Sussex ©jenny meehan

­Francis Davison

It’s completely impossible to write about artists who have influenced me, because the very nature of experience is so homogeneous. However, when I make it to galleries, it’s natural that I’ll give more time to different creative expressions I come across, and what I see can serve as a little doorway into a passageway of focus. So I look, think, meditate and learn something – I receive a little gift from my investment. The collages of Francis Davison are works I’ve encountered several times, and are a good example of this.

Quote from “An Introduction to Francis Davison” by Andrew Lambeth 2017 in The Redfern Gallery Catalogue ©The Redfern Gallery 2017.

“His reclusive nature had the effect of keeping the work largely unseen, and it was not until one or two astute critics began to champion Davison’s collages that he was persuaded to exhibit in the last years of his life.

By far the most significant exhibition of his work at this time was the solo show at the Hayward Gallery in 1983. But the Hayward was a huge strain on Davison – not only the construction of the frames (which he made himself on the kitchen floor), but the effect of going public, even though he longed for recognition. He was such a private man that he felt more than usually vulnerable at showing the distillation of his life’s work and inviting a response. Although the young Damien Hirst later admitted that the exhibition ‘blew him away’, the public in general seems to have been rather baffled.

A few of the more discerning critics recognised the quality of the collages, and some artists responded positively, but the exhibition changed little, and Davison died in 1984 largely unknown and unrecognised. He is still one of the best-kept secrets of the British art world”.

Not such a secret now, but I guess its relative. And the “British Art World.” ???? No comment from me on that exclusive and illusionary sphere. I often meet artists who have come across his work, and I wasn’t looking, and bumped into his work. So things have changed. So that’s good.

I was invited to the private view of the Francis Davison exhibition (14th November to 9th December 2017) at The Redfern Gallery. I’m still not quite sure why, because I had not put myself in the mailing list. It may have been because I’d written in my art journal a few years earlier of my enjoyment of his collages when they were exhibited at Austin/Desmond Fine Art in their exhibition “Francis Davison: Collages 1976 – 1983”.

Here’s what I wrote way back then in 2012!

“A few weeks back I visited the Francis Davison: Collages 1976 – 1983 exhibition at Austin/Desmond Fine Art.

Some of the small studies had something to teach me, and I found myself wishing that my experiments sold at a couple of thousand pounds, but as I am not Francis Davison, it might be worth settling for a little less in the way of financial benefit. The larger work on show revealed the fruit of many hours experimentation, and it was a rich experience to view the work. “Orange Arc and Spot in Turquoise & Brown” “Egypt” “Blass Mass, Blue Angle, White Background” “Disintergrating Black, Green, Blue Fields” “Sand Ground with Black,Red,White and Green”. Say it how it is. Titles to the point. It was very good. I am glad I made the effort to see this exhibition.

What most struck me was how much like paint the way Francis Davison uses some of the paper. I was convinced that some of the paper was paint, until I took a closer look. This is interesting to me because I have thought about using collage in my own paintings and I have been put off mostly because of not mixing the paint with unpainted paper, but what I saw done here was inspiring. Not a drop of paint in sight, but very, very painterly collage. And the contrast between the dissolved type edges with those of jagged cut paper, which spoke sharper than sharp, was delightful.

My words don’t articulate visual things well, but all I can say is if you give this kind of work the time it deserves, then it will teach you a lot. As I looked at the work I looked for the decision-making process, I looked for the junctures and the points at which I might agree or disagree with decisions made. This navigational process of working my way through any visual expression has become much more obvious to me recently, so much so that the lack of overt subject matter worries me less and less.

To see an exhibition like this at this particular time, when I am experimenting in a very free manner has proved very fruitful. I find that I need to remind myself of restraint with colour and never forget the importance of edges, as well as the effect of different sized masses and some of the interesting relationships which can be so easily overlooked.”

How funny and useful it is to have this Art Journal of mine as a tool for a reflective creative practice! It’s interesting to read now as I have moved into using collage a lot. I’m still inspired by the work of many artists I’ve come across, yet its true that Francis Davison’s collages have embedded themselves in my thinking in a very rich and rewarding way. The extent of their inspiration is as much as the effect that Ivon Hitchens’ paintings revolutionised my approach to oil painting and opened my eyes up to the power of brushwork, colour and space. My work has evolved over the years in many ways, and of this I’m grateful. There is never a need to be uninspired! Even in the quiet reflective spaces shadows move suggestively!

In my December 2017 art journal post I mentioned The Redfern Gallery Francis Davison Exhibition:

“Francis Davison at The Redfern Gallery
What a great show this was!

I took many visual meanderings across the surfaces of the many collages on show.

As I plan to bring my own work onto a larger format, I found the size of the work on show very pleasing. It is large enough to be easy to enter into, but not so large as to be impractical. Though wall space nowadays is a problem for many people, unless you have plenty of walls, what do you do with this superb, intimate yet impressive work? Both bold and delicate, strong and fragile. I like this. But I lack the wall and floor I need to work at this scale at the present time.

Just one empty wall. Just one empty floor. And I will be happy.”

And

More on Francis Davison…

” Looking around The Redfern Gallery at Francis Davison’s collages at the Private View was not enough for me, and besides, people, lovely as they are, get in the way! So I re-visited and took in a little bit more deeply what was happening there for me. Seeing the work generated all kinds of new ideas in my mind, really, so many I needed to take notes. The art now for me will be restraint…To hold back yet give all, at the very same time.

https://www.redfern-gallery.com/artists/47-francis-davison/

Photos of sections of Francis Davison Collages from 2017

Art Journal note images of Francis Davison Collages at Redfern Gallery in 2017

Section of Francis Davison Collage Art Journal note images of Francis Davison Collages at Redfern Gallery in 2017 Sections of Francis Davison Collages behind glass at Redfern Gallery in 2017 images taken by Jenny Meehan aka jennyjimjams notes for art journal

Francis Davison inspiration!

Reflections on art images are normally to be avoided!

These photos act as note taking for what interests me

When you spend time looking you will always be rewarded

I think Francis Davison used gum arabic to glue his papers together

Ideas around framing and protection, containment, reflections, surfaces, and more!

Steps, as in stepping stones, paths through along ground and space… The list goes on!

Hangings, and gaps… Shadows as key elements. The glass is useful in these photos but robs something too.

I’m reflecting back on these because I’m effectively “chewing the cud” and it’s nourishing.  I am a person who finds focus a challenge, and I don’t mind admitting it. My mind will rush ahead very often in whichever way it wants, and I’m getting better at pulling it back and telling it to sit down. It is hard though. Limitations are very valuable things in life. To pull back and chew over grass we have eaten before, rather than rushing forwards into new pastures seems to work well for me. I’m not quite sure how it happens but I always seem to be moving forwards even when I pull backwards.

Carl Jung, ETH Lecture 1st Dec 1939

A bit of Jung never goes amiss!

“I must call your attention to a further passage in the New Testament. In the second chapter of Acts we read of the coming of the Comforter, of the Paraclete (the Holy Ghost),promised to the disciples by Christ:

“And suddenly there came a sound from heaven as of a rushing mighty wind, and it filled all the house where they were sitting. And there appeared unto them cloven tongues like as of fire, and it sat upon each of them. And they were all filled with the Holy Ghost and began to speak with other tongues, as the Spirit gave them utterance.”

The tongues of fire did not fall among them but on each. Each individual could say the Paraclete has entered me, I am the dwelling, another aspect of God. That is simply the logical fact, but it was never allowed to come true on account of the institution for, if God can speak through the individual, it opens the door to arrant heresy. This was proved practically during the Reformation, the so-called “Schwarm Geister” crumbled the walls of the Church.

We must, therefore, be human and not judge the Church too hardly, for it was really impossible for her to tackle this problem. The problem is an eternal truth but it only becomes acute when the Church is no longer able to control the situation and its walls spring apart. Then we are forced to remember such texts. They are no empty words but basic truths, and we have no foothold in the shifting ground of contemporary problems without them.

We fall captive to the herd animal if we cannot reach the individual divinity in ourselves. If we think this means the ego, we are rightly condemned as individualists and egotists, but to remember our primeval divinity, that is a totally different thing.”

Carl Jung, ETH Lecture 1st Dec 1939

Mary Oliver

Here’s a few lovely lines from one of her poems:

” Do you bow your head when you pray or do you look

up into that blue space?
Take your choice, prayers fly from all directions.
And don’t worry about what language you use,
God no doubt understands them all.”

Yes!

Thomas Keating

“The greatest teacher is silence. To come out of interior silence and to practice its radiance, its love, its concern for others, its submission to God’s will, its trust in God even in tragic situations is the fruit of living from your inmost center, from the contemplative space within. The signs of coming from this space are a peace that is rarely upset by events, other people and our reactions to them, and a calm that is a stabilizing force in whatever environment you may be in. God gives us everything we need to be happy in the present moment, no matter what the evidence to the contrary may be. A good spiritual director helps us to sustain that trust.”

Father Thomas Keating, Summer 1997, Part II lecture notes

Joss Bay in Kent ©jenny meehan aka jennyjimjams

Joss Bay in Kent ©jenny meehan aka jennyjimjams

Chris Chapman

“Life itself is where the word of God is sown, and we can make space to receive the word in attentiveness”
from “Praying with Parables” Spirituality training handout, not sure of date as it was several years ago!

Joss Bay in Kent ©jenny meehan aka jennyjimjams

Ramsgate

Joss Bay

Joss Bay in Kent

View from Pegwell Bay Nature Reserve

Camera Phone Cameras

Image of Neil my husband holding a camera phone.

Its stunning how much technology has transformed the creative arts in so msny ways. While I’ve spent a great deal of time in the past with technicalities regarding photography and printing, for everyday purposes and for my current digital art working, I’m enjoying the ease of use, absences of technological considerations, and the need to work on my laptop, and instead do sooo much on my phone! I don’t make large prints anymore anyway. Having said that, it’s jolly useful to understand the limitations and features of camera phones.

Early Rothko

These are fascinating, and I did not realise he had done any representational work, which is very silly indeed, as I’m sure most abstract artists start with representation/figuration before they fall into the abstract abyss. Which is rather fun, of course!

Kingston Artists Open Studios 2024

This year Kingston Artists Open Studios will be held over three weekends, though I’ll be exhibiting over two weekends only; the 11th and 12th of May and the 18th and 19th May. 

It’s always a fun and enjoyable time, and so come along if you are free, in the area, and enjoy some art.

Here’s a few images from years gone before:

kingston artists open studios 2019 jenny meehan artist designer

Pattern Books on display at the 2022 Kingston Artists Open Studios including the Keim Galaxies Book by Jenny Meehan

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

 

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

 

kingston artists open studios jenny meehan

 

Scraper Poem by Jenny Meehan

https://youtu.be/MqoHgTq71hI?feature=shared

I wrote the first version of this poem, “Scraper” in 2008. It’s still pretty similar to what it was with only a few minor adjustments. I edited it in 2023.

The inspiration for it is personal experience of male violence, so in that sense I know that many women (and men) will be able to relate to it.

From my Dad hitting me in the face to stop me crying as a child, to the crime of rape by someone else in my late teens, plus other experiences of verbal and physical aggression in between, I know on a personal level how male violence affects women and I know I’m not alone in this.

Later on in life my brother was also violently assaulted, resulting in a head injury. This event, and it’s later consequences, proved to be just one thing to many to bear, resulting in considerable distress which started coming to a head around 2008. So this poem was part of a realisation of trauma, and though it’s a very sad poem, I am grateful for it, because it was part of a process of recognising where I was, and one factor in me seeking the professional support I needed.

That “one fistful of fired up rage” is a metaphor for violence that’s impacted me and other members of my family. Anger is an important emotion and is not, in itself, aggressive. Aggressive behaviour is not the same thing as anger. The main difference between anger and rage is that the anger is an emotion while rage is the violent, uncontrollable anger, often accompanied by violent physical actions.

Violence and abuse, intentional and unintentional, take many forms and can be emotional, spiritual, and psychological – not just physical.

Empathy, (the capacity to resonate with and reflect upon the feelings and mental states of others) was in short supply for myself and other members of my family of origin. There was, for a variety of reasons, including schizophrenic, alcohol use disorder, and ptsd, a level of deprivation which caused damage all round. I now recognise my parents were only able to function in the ways they knew how to. That doesn’t make certain things alright, but it does enable me now to hold them in my heart with a certain amount of compassion, which is healing in itself. As a child you can’t see things from this perspective.

I’ve given you some personal context for the poem, however, my aim in expressing myself through poetry and art is not to particularise, but rather to stretch out expansively, in a recognition of shared pain, and shared love too. There are so many people who can relate to aspects of my experience, and vice versa. There is great strength and peace in recognising commonality.

We need compassion. So much!

Also, I pray too for empathetic understanding of myself and others, and a sacred recognition of each individual person I meet, day by day. We are all wounded. We can all heal.

Enduring Grace

Carol Lee Flinders writes, in her book Enduring Grace:

“The healing balm that Julian (Saint Julian of Norwich) offers in her teaching on the motherhood of God is that we need not grieve that our relationships here on earth are less than perfect. Life on earth is, after all, inherently flawed. Nonetheless, the rich promise that the maternal relationship holds out can finally be realized, because the mother we long for, and the mother we long to be, is within each of us,”[xii] for God is within us.”

Carol Lee Flinders, Enduring Grace: Living Portraits of Seven Women Mystics (HarperCollins, 1993), 97 – 98.

This is such a healing reminder!  I can’t stress enough how vitally life giving an awareness of the divine feminine is to me, and I certainly see this coming out through my creative expressions now, more so than ever before.

Its interesting, as always, to look back and reflect on my personal development journey and how it’s manifested itself through artistic expression. It’s immensely reassuring to me to see the many meandering pathways which formed, almost like the formation of small rivulets initially, which have organically grown and developed over the years. And looking backwards, paradoxically, does encourage and inspire looking forwards. It helps motivate me! This is part of the joy of contemplation I think.

Save Our Souls/Distress Signal

save our souls ©2011 jenny meehan. I had in mind Ophelia in Hamlet. British painting by artist ©Jenny Meehan

A big theme in a lot of my visual art is dissociation.  Its been a constant theme, among others, and particularly relates autobiographically to women’s experience of male violence /sexual violence. This painting, while it certainly contains hope, and maybe this gives it a message of “enduring grace” even through suffering, is also quite dark in emotional expression. It was painted during a period in my life of “moderate depression”, though the depression felt, at times, like it would “take me under”. It certainly had troughs of despond and a strong experience of hopelessness as well as periods when I felt more supported internally and externally.

A concept in my mind when painting it was the character of Ophelia, from the Shakespeare play Hamlet, who loses her mind… And then her body, in her case through suicide. The painting is called “Save Our Souls” because it’s a a cry for help, not just for myself (it was a personal tool for me in my own journey) but all women whose sense of self and sanity have been violated, and find themselves on the edge of either feeling they exist, or, too close to the real boundary of life and death for comfort.

It does very much contain hope, expressed through light across the surface of the woman’s physical body, even in its fragile, ambiguous materiality. But the whole paintings relationship with hope is fragile and delicate. It’s deliberately unresolved and paradoxical. It pulls both ways, into darkness and into light.

I did follow up the painting with a poem, as I often do. Indeed, it’s a key part of my creative practice to partner my visual art with my writing.  I view my visual art as a form of poetry, because of its relationship to my writing. When I exhibit visual art, I prefer to exhibit both poem and painting (or drawing, sculpture, whatever! ) together because they are integral to eachother.

Here’s the poem ‘Ophelia Poem’ which accompanied the painting ‘Save our Souls’

“It was
an unfinished poem
who took
her hands and led her
to the river spring.
Who invited her,
held her,
cried with her.
Who even laid her body out,
as she willed it,
to face her grief.

In her vulnerability

she was
too fragile to speak, even –

yet, intent
to trust the universe,
her painting pressed into a tiny pearl,

the love which first formed her

So she treasured it.

And there was light.”

Thomas Merton Prayer

when earth meets sky painting by jenny meehan

My Lord God, I have no idea where I am going. I do not see the road ahead of me. I cannot know for certain where it will end. Nor do I really know myself, and the fact that I think I am following your will does not mean that I am actually doing so.

But I believe that the desire to please you does in fact please you, and I hope that I have that desire in all that I am doing. I hope that I never do anything apart from that desire. And I know that if I do this you will lead me by the right road though I may know nothing about it.

Therefore I will trust you always. Though I may seem to be lost and in the shadow of death I will not fear, for you are ever with me and you will never leave me to face my peril alone.
THOMAS MERTON

This is a lovely prayer… I have it stuck to my kitchen cupboard.

Winter

Well, Winter does actually feel far behind us now, but it’s not too late to share this beautiful engraving of a painting by Wilhelm Kray (German, 1828–1889 titled “Winter”. I prefer the engraving to the original painting. Emotionally it comes across to me more. It shows the transformation of Winter to Spring. I’m guessing that the figure in the background shows Winter dying. I found this  “Originally known as the Spring Equinox, the word Easter parallels the German word Ostern which is derived from Eostre or Ostara, the Anglo-Saxon Goddess of Spring. In German stories, Ostara is believed to have been responsible for bringing about Spring each year.” So maybe this is Ostara? She does have a star on her head!

I also wondered if the figure may be fruitfully read as Saint Brigid too? I found some information on her…

” Both Christians and pagans celebrate St. Brigid’s Day on Feb. 1. People still celebrate her day by weaving twigs into a square “Brigid’s Cross,” an ancient solar symbol traditionally made to welcome spring. Feb. 1-2 is also known as Imbolc, a Spring festival when the goddess Brigid returns as the bride of spring in a role like the Greek Persephone. Imbolc has been adapted not only into St. Brigid’s Day on Feb 1st, but also as Candlemas on Feb 2nd.”

Wilhelm Kray (German, 1828–1889 titled “Winter”

It’s such a beautiful image, quite nurturing and tender. I guess I’m a bit late in my interest as we are now in April, and the time of year I’m looking at here appears to fit more comfortably into February!  In an effort to align myself more with the calendar I’ve brought this very exciting book “The Celtic Wheel of the Year” by Tess Ward. I’m going to attempt to read and pray it monthly.  I haven’t stuck to a seasonal prayer pattern like this before but my creative practice fell into a seasonal pattern very naturally so I think it will be good to shape some of my devotions and meditation too in a form which moves with the year.

­

Here’s a little interpretation from me on Saint Brigid, thinking on Spring and Resurrection combined. The figurative image isn’t my own, but a section of a cutting of a photograph I kept from one of my art books. It’s of Christ and Mary his mother when Christ was taken down off the cross after being crucified.

God Beyond All Dreams – Bernadette Farrell

1. God, beyond our dreams, you have stirred in us a memory, you have placed your powerful spirit in the hearts of humankind.

Refrain: All around us, we have known you; all creation lives to hold you, In our living and our dying we are bringing you to birth.

2. God, beyond all names, you have made us in your image, we are like you, we reflect you, we are woman, we are man.

3. God, beyond all words, all creation tells your story, you have shaken with our laughter, you have trembled with our tears.

4. God, beyond all time, you are labouring within us; we are moving, we are changing, in your spirit ever new.

5. God of tender care, you have cradled us in goodness, you have mothered us in wholeness, you have loved us into birth.

On the subject of dreams… Just beautiful. My Good Friday Meditation this year. 

Dream of the Rood

(trans. by Roy Liuzza)

Another beautiful meditation for Easter 

BY UNKNOWN
TRANSLATED BY ROY M. LIUZZA
Listen! I will speak of the sweetest dream,
what came to me in the middle of the night,
when speech-bearers slept in their rest.
It seemed that I saw a most wondrous tree
raised on high, wound round with light,
the brightest of beams. All that beacon was
covered in gold; gems stood
fair at the earth’s corners, and there were five
up on the cross-beam. All the angels of the Lord looked on;
fair through all eternity; that was no felon’s gallows,
but holy spirits beheld him there,
men over the earth and all this glorious creation.

Wondrous was the victory-tree, and I was stained by sins,
wounded with guilt; I saw the tree of glory
honored in garments, shining with joys,
bedecked with gold; gems had
covered worthily the Creator’s tree.
And yet beneath that gold I began to see
an ancient wretched struggle, when it first began
to bleed on the right side. I was all beset with sorrows,
fearful for that fair vision; I saw that eager beacon
change garments and colors––now it was drenched,
stained with blood, now bedecked with treasure.
And yet, lying there a long while,
I beheld in sorrow the Savior’s tree
until I heard it utter a sound;
that best of woods began to speak words:
“It was so long ago––I remember it still––
that I was felled from the forest’s edge,
ripped up from my roots. Strong enemies seized me there,
made me their spectacle, made me bear their criminals;
they bore me on their shoulders and then set me on a hill,
enemies enough fixed me fast. Then I saw the Lord of mankind
hasten eagerly, when he wanted to ascend upon me.
I did not dare to break or bow down
against the Lord’s word, when I saw
the ends of the earth tremble. Easily I might
have felled all those enemies, and yet I stood fast.
Then the young hero made ready—that was God almighty—
strong and resolute; he ascended on the high gallows,
brave in the sight of many, when he wanted to ransom mankind.
I trembled when he embraced me, but I dared not bow to the ground,
or fall to the earth’s corners––I had to stand fast.
I was reared as a cross: I raised up the mighty King,
the Lord of heaven; I dared not lie down.
They drove dark nails through me; the scars are still visible,
open wounds of hate; I dared not harm any of them.
They mocked us both together; I was all drenched with blood
flowing from that man’s side after he had sent forth his spirit.

“Much have I endured on that hill
of hostile fates: I saw the God of hosts
cruelly stretched out. Darkness had covered
with its clouds the Ruler’s corpse,
that shining radiance. Shadows spread
grey under the clouds; all creation wept,
mourned the King’s fall: Christ on the cross.
And yet from afar men came hastening
to that noble one; I watched it all.
I was all beset with sorrow, yet I sank into their hands,
humbly, eagerly. There they took almighty God,
lifted him from his heavy torment; the warriors then left me
standing drenched in blood, all shot through with arrows.
They laid him down, bone-weary, and stood by his body’s head;
they watched the Lord of heaven there, who rested a while,
weary from his mighty battle. They began to build a tomb for him
in the sight of his slayer; they carved it from bright stone,
and set within the Lord of victories. They began to sing a dirge for him,
wretched at evening, when they wished to travel hence,
weary, from the glorious Lord––he rested there with little company.
And as we stood there, weeping, a long while
fixed in our station, the song ascended
from those warriors. The corpse grew cold,
the fair life-house. Then they began to fell us
all to the earth––a terrible fate!
They dug for us a deep pit, yet the Lord’s thanes,
friends found me there…
adorned me with gold and silver.
“Now you can hear, my dear hero,
that I have endured the work of evil-doers,
harsh sorrows. Now the time has come
that far and wide they will honor me,
men over the earth and all this glorious creation,
and pray to this sign. On me the Son of God
suffered for a time; and so, glorious now
I rise up under the heavens, and am able to heal
each of those who is in awe of me.
Once I was made into the worst of torments,
most hateful to all people, before I opened
the true way of life for speech-bearers.
Lo! the King of glory, Guardian of heaven’s kingdom
honored me over all the trees of the forest,
just as he has also, almighty God, honored
his mother, Mary herself,
above all womankind for the sake of all men.

“Now I bid you, my beloved hero,
that you reveal this vision to men,
tell them in words that it is the tree of glory
on which almighty God suffered
for mankind’s many sins
and Adam’s ancient deeds.
Death He tasted there, yet the Lord rose again
with his great might to help mankind.
He ascended into heaven. He will come again
to this middle-earth to seek mankind
on doomsday, almighty God,
the Lord himself and his angels with him,
and He will judge—He has the power of judgment—
each one of them as they have earned
beforehand here in this loaned life.
No one there may be unafraid
at the words which the Ruler will speak:
He will ask before the multitude where the man might be
who for the Lord’s name would taste
bitter death, as He did earlier on that tree.
But they will tremble then, and little think
what they might even begin to say to Christ.
But no one there need be very afraid
who has borne in his breast the best of beacons;
but through the cross we shall seek the kingdom,
every soul from this earthly way,
whoever thinks to rest with the Ruler.”

Then I prayed to the tree with a happy heart,
eagerly, there where I was alone
with little company. My spirit longed to start
on the journey forth; it has felt
so much of longing. It is now my life’s hope
that I might seek the tree of victory
alone, more often than all men
and honor it well. I wish for that
with all my heart, and my hope of protection is
fixed on the cross. I have few wealthy friends
on earth; but they all have gone forth,
fled from worldly joys and sought the King of glory;
they live now in heaven with the High Father,
and dwell in glory, and each day I look forward
to the time when the cross of the Lord,
on which I have looked while here on this earth,
will fetch me from this loaned life,
and bring me where there is great bliss,
joy in heaven, where the Lord’s host
is seated at the feast, with ceaseless bliss;
and then set me where I may afterwards
dwell in glory, have a share of joy
fully with the saints. May the Lord be my friend,
He who here on earth once suffered
on the hanging-tree for human sin;
He ransomed us and gave us life,
a heavenly home. Hope was renewed
with cheer and bliss for those who were burning there.
The Son was successful in that journey,
mighty and victorious, when he came with a multitude,
a great host of souls, into God’s kingdom,
the one Ruler almighty, the angels rejoicing
and all the saints already in heaven
dwelling in glory, when almighty God,
their Ruler, returned to his rightful home.

Roy Liuzza, “Dream of the Rood” from Old English Poetry: An Anthology. Copyright © 2014 by Roy Liuzza. Quoted from https://www.poetryfoundation.org/poems/159129/dream-of-the-rood-translation

Kingston Artists Open Studios 2024

CATALOGUE 2024

Kingston Artists Open Studios Catalogue 

Yes! It’s here!  Take a look at the Kingston Artists Open Studios Catalogue 2024 and see what’s in store! 

Redbubble Artist Jenny Meehan 

I’m doing a bit of tidying up on this blog and gradually working my way through the pages to bring them up to date.  Here’s the blog page which gives you an introduction to my Redbubble artist profile ‘jennyjimjams.redbubble’. Redbubble is a print on demand marketplace and I have over a thousand designs on it. 

Redbubble Artist Jenny Meehan AKA jennyjimjams

The Mummy and the Pyramid Video

I’ve reworked this a bit. I like this one better than the first version created about a year ago.

Here is the additional image I used. It’s one of a series.

Weeping willow Mummy by Jenny Meehan aka jennyjimjams

 

 

John Lewis Foundations – Motherhood of God – Life Drawing – Carter Heyward – Progressive Christianity – Richard Rohr – Cezanne

Painting, Painting Painting!

 

Art Journal Post August 2023 by Jenny Meehan aka jennyjimjams 

Well, it is July (ooops! Late again! It’s now August!) and this is  the time of the year when I do a lot of painting/ collage! I don’t have anything finished to show you right now but here are some images of what I have been doing.  I am fortunate to have a garden, which I love, and in that beautiful space many of my paintings start to come to a life of a sort!

Abstract Painting in progress by Jenny Meehan aka jennyjimjams

 

Abstract Painting in progress by Jenny Meehan aka jennyjimjams

 

Abstract Painting in progress by Jenny Meehan aka jennyjimjams

These are all in progress, yet nearing their final stage and suggesting feelings and ideas very faithfully to me. It’s a great stage to be at… 

Rather than stick edges down so they are always close to the surface I leave some with spaces… This development came from my work with mosaics and is a good example  how varying media can be very productive. I find the shadow areas interesting in mosaic and having got the interest I can’t forget it! 

Life Drawing Class at Hillcroft College Surbiton 

Here’s a few examples of work I’ve been doing in a super life drawing.  It’s been really good fun! 

Life drawing Continous Line drawing by Jenny Meehan 4 minutes

I think this one merits a title as it asserted itself so naturally, so I reckon that “4CL Connection” is good as I have been thinking and reading a lot recently about having a stronger sense of connection, both within oneself and also with others. 

Life Drawing with Two Mediums, seven minute pose. And what to call this one with its empty head? I think that “Mind in Body” may be right for this. I’ve been thinking about this aspect of Yoga and the way we can bring our awareness to our different parts, and as the pose looks quite reflective and rested, I think this title is apt.

These two below were short poses, can’t remember the time exactly but less than five minutes 

Quick life drawing by Jenny Meehan

 

Quick life drawing by Jenny Meehan

I’m enjoying sharpening my eyes with observation, so I’ll be looking to continue life drawing in the Autumn. To have the human body as a motif in my work seems good for this time when I’m feeling so much more grounded and connected to my own. My long term focus on emotions… On locating them and expression of emotion gets even more interesting when linked and connected to the body so this seems a good direction to travel in. 

John Lewis Partnership Foundations 

Bit of a flip back in time now to an early work, “John Lewis Partnership Foundations 1987”.  I like to look back now and again and this work was the first piece of art I sold!  It was sold to John Lewis & Partners in 2007.  I printed the digital image onto canvas which suited it well. It was a very encouraging moment to sell it and even more so in that it went to where I wanted it to go!  Here’s my blurb on it, from that time: 

A large inkjet print on block canvas was purchased by the company at the Kingston Contemporary Open Exhibition 2007. 

John Lewis Partnership Foundations 1987 by Jenny Meehan Digital Art Print

“John Lewis Partnership Foundations 1987 by Jenny Meehan
Conceived, created, and printed May 2007

Digital  print on canvas

This artwork was created from a photograph taken by me in 1987 as I walked over Kingston Bridge, and shows the foundations of the John Lewis building in Kingston- Upon-Thames. It celebrates the positive and inspiring vision of partnership which John Spedan Lewis brought into reality within his own work, in his own lifetime, and now beyond that. As I looked at the company website and read through some of his words and learnt about what he had done, I found a real pioneering spirit at work, and it inspired me to create this piece. The involvement of John Lewis with the arts in the borough is also very much something to celebrate, and for this reason I specifically created this piece for the Kingston Contemporary Open Exhibition in 2007. It was selected for the exhibition, and purchased by John Lewis Partnership for display in the Kingston Branch.

In the image you see two people at work – a distance apart, but still with common aim. In many organisations today, the individuals desire to work together, whatever their relative status, is what will eventually result in constructive changes and these of course do not only come from the top but happen at many levels; people with faith and vision will carry on working even if the end result is not in sight!

The image is quite deliberately printed onto canvas – photographs on canvas might be considered “not real art” but the reality is that for an increasingly large number of individuals and companies today this is the way they will experience the visual arts in their own setting and this is no bad thing – value and status are not the same thing!
If an image makes life just a tiny bit brighter, more interesting, and stimulates thought and emotion, creates space for memory or vision, then it is well worth the effort and is art in all its glory!

With all the new building going on in Kingston, I really liked the idea of bringing forward an image from the past and representing it in a modern way; digital photography has completely transformed photography as an art form…it has now so much more in common with painting. But, this change has not destroyed its history, which is why I have manipulated it in a way to accentuate bright “paint” like areas and yet at the same time accentuated the grain present in the original negative. The presence of the past form is still very much felt, and while it is easy to tend to resist new developments, it is possible, with careful consideration, to have a good balance which works as a whole”.

Wow, that was years ago… It was a super boost to my confidence at the time for sure! 

Carter Heyward 

Sometimes you find an author to read who is just a perfect fit for where you are at a particular time, and for me that author is Carter Heyward… Here’s another super quote from the introduction of her book Touching Our Strength:

“The search for liberation, profoundly personal and political, is an intrinsically relational adventure. We search together. It is our active solidarity with one another that generates our discovery of who we are together and hence of who each of us is by particular name and unique yearnings and special talents.

We are not photographs. The reality of our lives is three-dimensional: Whether we experience ourselves this way or not, we are inherently relational. This is the metaphysics of all that is created. From a philosophical perspective, this is our ontological (essential) state – our way of being, the way of being human, created, and creative. We are born in relation, we live in relation, we die in relation. There is, literally, no such human place as simply “inside myself.” Nor is any person, creed, ideology, “outside myself.”

I’m thinking about this quote in particular relation to a poem I wrote a while back… It seems to meet my poem in a fruitful place, for in my poem “God has helped” there is a process of change and liberation which still holds a strong sense of the need for a deeper awareness of relational reality… A sense that isolation of self needs expansion, through faith and an opening out which embraces a greater sense and experience of mutuality.  

Here’s the link to my video poem “God Has Helped.” https://youtu.be/WIZ1MHpLSSQ

I continue to read Carter Heyward’s writings enthusiastically!  Here’s some more to taste! 

“I suspect nothing is more heartbreaking to God herself than the denial of our power to recognize, call forth, and celebrate right relation among ourselves.’ Locked within ourselves, holding secrets and denial, we embody not merely the fear of our relational pos- sibilities; we also embody the rejection of the sacred ground of our being, which is none other than our power to connect.”

Carter Heyward in Chapter 1 of Touching Our Strength – The Erotic as Power and the Love of God”

Her writing really melds very well with previous thinking and reading I’ve made of Martin Buber, so I’m over the moon with this book, to be sure, it’s reallly  such a breath of fresh air! 

Progressive Christianity 

I tend to call myself a Progressive and Liberal Christian as I think it describes me better than any other label, though labels are never quite right, as even within them there are so many variations! I enjoy the life focus that being a Christian gives me, and see this is most essentially a matter of following the way of Christ, which is basically the way of Love.  My faith and beliefs have grown and changed over the years… I am in a very different place to that I was in when I first committed myself to Christ aged 18!  I don’t hold onto ideas and dogma in the way that I used to, and being “right” really doesn’t come into my faith anymore.  I am more concerned with the mystery and mysteries of God, and embracing the love and spirit of God with the understanding that I only see a speck of an image far beyond my rational mind! So I am certainly more of a contemplative and mystic than I used to be!  It is the amazing work of the Holy Spirit to reveal what is good and true in life, and to set anyone, (and I mean, anyone, regardless of the faith they profess or don’t profess), into the liberty of being able to be fully who they are created to be.  

I am probably still quite traditional in many ways too, and though I set out to have a questioning faith and open attitude, I am always challenged by how stuck in my old ways I can be! I find the process of reading and researching very helpful in all areas of my life though, and one of my favourite writers is Richard Rohr. 

See here: https://cac.org/

Reading the various writings and thinking over the content of the above website has been so very helpful to me.  I think I have needed to do a fair amount of what is often called “deconstructing” my religious beliefs.  Thankfully I seem to have managed to evolve in a manner which means I still retain my essential element of being centred in on following Christ, which is a great help to me in my life and helps provide a framework for much of my thinking.  At the same time I also firmly believe in openness and in expanding my thinking and also embracing ideas which I haven’t come across before.  It is often more helpful in life to retain an attitude of openness towards what we don’t know rather than what we do, and also to remember that the Spirit of God really does work in mysterious ways. I have gained a huge amount in being open to the wisdom and ways of other faiths and religious traditions and what I learn from them feeds into my own path in a very enriching way. 

Flower Images from West Dean Gardens

Here’s a little string of flowers…In black and white.  Usually we enjoy flowers in colour but taking the colour away I can appreciate the tonal variations and structure without the immediate attraction of colour.  Light itself is a subject matter in its own right…the objects it bounces off do a great job of making it interesting! 

jenny meehan  photography

 

jenny meehan photography

 

jenny meehan  photography

 

jenny meehan  photography

The Motherhood of God

I need a sense of the Motherhood of God at this time of my life far more than I have previously felt before. I think I have always needed it, but just accepted the metaphor of God as mainly male without recognising that by letting the male metaphor dominate my thinking, I was surpressing something I really need as a woman. Something of affirmation for who I am and how I am which is transformational.

Its not totally new to me. Way back in 2007 I had an opening of mind and thought on many aspects of how I conceived God to be. This process is part of the Christian way I believe, if it’s healthy. A readiness to have changes of heart and mind. Readiness to let go of structures of many kinds which don’t serve the purposes of the liberating Holy Spirit of God.

At that time, I realised God could very reasonably be conceived of as being gay. What I mean by this is that God’s love wasn’t just expressed in deep heterosexual emotional, spiritual and physical connections, but in all types of relations to others in Love. It felt radical and even a bit shocking to me at that time, though now not surprising at all. There’s a whole story behind it, which was a complete blessing to me, but I want to stay on track with exploring my Motherhood/Sisterhood/Feminine Divine focus.

First though…

Why is God so Male? (and is he he?) 

Even the Trinity is traditionally framed as male. However, I do recall some commentary I read in the past on the Holy Spirit being “she” and therefore ascribing a feminine metaphorical nature on that person of the Trinity. Still, even so, the “Father” aspect seems the dominant metaphor. Intentional or not, the Father person of the Trinity seems to come across as being the one with the most authority and therefore importance, even if it’s not technically meant to be that way.

PS.. Basically… The “trinity” model of God is just that.. Its a model and the virtue of it to my mind is that it’s all about relationship. That God is relational and so undefined in a singular sense, but that the dynamic of Love is the life breath of “one” who is, yet is also not limited, to being one.. This is what I find helpful about the concept of Trinity and why I still use it in my own thinking. (There are loads of ideas about how we can think about God using this model. Ultimately God is beyond concepts.)

Back to the idea of a male God…

The maleness which dominates our conceptions of God may be a positive for many people, but for me, (and others) the majority of male impact on my life has been so destructive for so many years that a feminine metaphorical model of Trinity is more healing. It is also more effective in bringing a felt sense of the Love of God into my life. God is experienced more fully and deeply as feminine. There is more intimacy and connection. This is healing in the fullest sense. It doesn’t mean one has to reject the male conceptions… It does redress an imbalance though… Our world really needs a greater awareness of the feminine divine, I believe.

Few other thoughts…

I’m not a Catholic, so forgive me the simplicity on what follows; I’m sure there’s a lot more to it than I’m aware of…!

In the Catholic tradition, Mary in her many expressions, including the “mother of God” particularly, brings the feminine to new prominence, but with some less helpful aspects too… female authority needs realisation in practical forms, expressed in earthly and bodily ways, ie, female priests etc. It is sad, but true, that formal religious structures of many types are indeed, repressive. 

“If we are to live with our feet on the ground, in touch with reality, we must help one another accept the fact that we who are Christian are heirs to a body-despising, woman-fearing, sexually repressive religious tradition. If we are continue as members of the Church we must challenge and transform it at the root. ” Carter Heyward 

Within the Protestant tradition, which I am more familiar with, (evangelical and charismatic churches in the 80’s) some folk  I came across viewed the Catholic conceptions of Mary as even being somewhat evil, and though in some respects and situations women were given more freedom to minister in certain ways, the bottom line was that males were superior in authority. I think nowadays that maybe the horror directed towards Mary was a rejection of the femine divine big time, and actually rooted in sexist misogynistic ideas! This is the general impression I am left with now, at least. There was also a big dislike of accepting the mysterious and unknowable nature of God. Things had to be very black and white. 

I was brought up in the Baptist Church and the one I first worshipped in as a child was led by a woman, the Reverend Sister Edna Black. I’m still tremendously grateful to her as she was a truly wonderful example who I realise still inspires me in my identity both as a woman and a Christian. She was a strong and independent woman of faith who knew Christ and expressed the divine feminine in many ways. I have a lot to thank her for… She was a true source of strength for me in my childhood. 

St. Thérèse of Lisieux wrote of God’s tender, motherly love. searched for the Lord, “wanting to know, O my God, what You would do to the very little one who answered Your call, I continued my search and this is what I discovered: ‘As one whom a mother caresses, so will I comfort you; you shall be carried at the breasts, and upon the knees they shall caress you.’ Ah! never did words more tender and more melodious come to give joy to my soul.”

For those of you reading this blog mainly due to your interest in my visual artworking, my philosophical and theological reflections are an intrinsic part of my artworking. I find the relationships between my thoughts, feelings and spirituality very much inform any creative output and keeping track of developments and changes in my perspectives is a very useful tool for discerning future directions in artworking.  These meandering streams flow into the same river which shapes so many aspects of what it is about life I love so much.

I am very grateful for my mind. I am very grateful for the mysterious and all surpassing work of the Holy Spirit in my life. I am very grateful for a deeper sense of connection with God I’ve developed over the many years of seeking to have an open heart to being changed and transformed in many respects. 

Beautiful Sunshine

I’m very focused on making the most of any good paint drying weather we get. The image above shows some of the collage elements I’ve been playing with today. It’s a small but valuable part of my painting process as if this part is done in a mindful and prayerful way, I get many interesting ideas about themes I may like to explore in future paintings. With nothing to think about but the paint and how it and I am responding, you wouldn’t believe the variety of possibilities which open up materially either… It is the most orgasmic thing ever! 

I had a little play with words too, as I needed to retreat into the shade of the house after a few hours…

In this studio without walls
I play in relations
It’s instinct
Singing with the birds
Breathing
in the air
I like it

Now I’m too hot
So into the house
May be a better place
To be me for a while

I won’t bother with punctuation
In this poem
The birds do that better

They don’t confine space

They don’t need the security
Of closing anything in

Maybe I don’t need it either?

Jenny Meehan 22nd June 2023 

Last but not least…  A random selection of my visual art:

Ten Thousand Years by Jenny Meehan

 

The Space Between Us painting by Jenny Meehan

 

abstract digital print by jenny meehan

 

leap of faith abstract art print by jenny meehan

 

rush hour digital print by jenny meehan

Ok
That’s Enough digital art print by jenny meehan

No problem/moving on art print by jenny meehan

Cezanne Painting 

This is dated c 1867 – 70 and it’s pencil, watercolour and gouache on paper. The title “Woman Diving Into Water” was given to it by Félix Fénéon. I’ve picked it to share today as its a lesser known painting by Cezanne, and I particularly like his approach and use of the selected mediums. It’s not large, at just under 13cm square. It’s a reminder to me that things really don’t need to be big on size to he important and significant. As I’m swimming a lot in the sea, lakes and rivers the subject matter is particularly appealing too! 

Woman Diving into Water by Paul Cezanne

It’s “Byee” from me til next time. 

Here’s a continous line drawing of mine to finish this Journal entry off.

 

 

A Carousel of Posts From Jennymeehan.wordpress.com below!

Butterfly Net 2 – Francis Davison – Carl Jung, Mary Oliver, Chris Chapman, Carol Lee Flinders, Bernadette Farrel, Thomas Merton – Scraper, Save Our Souls, The Mummy and the Pyramid Poem Prayers – Dream of the Rood

by Jenny Meehan Jennyjimjams April 1, 2024

Here Comes My Body – February Imbolc Meditation – Platonic by Marisa G. Franco – The Winter Song – The Mother and The Weaver – Digital Art – The Wire Nest – Women Priests Movement ARCWP

by Jenny Meehan Jennyjimjams February 3, 2024

Venus de Milo – Thelma – “The Night Woman” by Julene Robinson – Spiritual Formation – Women in Revolt at Tate Britain – Dr Roger Walsh Quote

by Jenny Meehan Jennyjimjams December 1, 2023

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March 2023 – Hillcroft College Memories and William Blake Mosaics – Books: “Abstraction in Nature” by Nathan Cabot Hale and ” The Art Spirit” by Robert Henri – “Recovery” and “Speaking Out” Art Exhibition “Bandage Box” “Pink Girl” “Woman and Home” “I Cannot Turn the Page” and “Hide and Peep” – Inclusive Church Annual Lecture – “Sacramental” Video Poem – Alice Neel: Hot Off The Griddle

Hillcroft Women’s College, Surbiton

I was a student at Hillcroft back in 1990-1991 and the CNAA Certificate of Higher Education I was awarded opened the door to a University Education to me…Something which was way out of my reach before and which I never would have been able to take part in if it were not for my time at Hillcroft Women’s College. So with this in mind and heart, I was full of nostalgia when I went back there in February to enrol on a one day Approaches to Counselling Course!

I was chatting with one of the receptionists there and she told me there had been a Centenary Event for Hillcroft in 2020.

More info here:

https://www.rhacc.ac.uk/hillcroft-centenary

Bad timing with the pandemic I guess but still miffed I missed it.

Here are some photos I took as I basked in nostalgia when enrolling for an “Approaches to Counselling” course there.

Surbiton Station, I love this building so had to include it! 

Hillcroft Women’s College (used to be called “The Gables” now Hillcroft College is “Richmond and Hillcroft Adult and Community College”

Main Entrance of Hillcroft Women’s College (used to be called “The Gables” now Hillcroft College is “Richmond and Hillcroft Adult and Community College”

Lovely entrance floor mosaic and stained glass windows at Hillcroft Women’s College (used to be called “The Gables” now Hillcroft College is “Richmond and Hillcroft Adult and Community College”

Dinner Gong at Hillcroft College Surbiton

Empowering Sisterhood banner at Hillcroft College Surbiton

Main Entrance area Hillcroft Women’s College (used to be called “The Gables” now Hillcroft College is “Richmond and Hillcroft Adult and Community College”

Here’s some text on the Hillcroft College building. It was also called “The Gables”.

“One of the original large mansions in Surbiton is the building that now houses Hillcroft College. Originally built for the owners of the Bryant and May match company, it went on to become the site of the first college in the UK established for working women. This was in 1926. Ironically, the earlier connection with Bryant and May recalled the so-called match-girls strike in the late 1880s when women employees went on strike to draw attention to their poor and dangerous working conditions.”

When I was there (1990) it was a residential women’s college, though I didn’t live in. There were places for both residential and non residential students. At that time I could get a full grant… As I had zero money it was a complete God-send and there is no other way I would have been able to become educated at a higher level. I am totally grateful for that.

I was quite sad to hear that there college is no longer a women’s residential college as post Covid they did not open it up to residents. It is also now not a “women’s only” college. I feel this is a shame bearing in light the foundations and principles it was originally established on, however they do still have plenty of “women only” courses.

I found a couple of photographs I took when I was there on 1990…One taken in the garden and another of a performance from a scene of “Waiting for Goddo” which me, Rosie and Alesha performed as part of our CNAA Certificate Assessment. 

I went on to do a degree after attending Hillcroft Women’s College and then went on to train as a Primary School Teacher. I taught in several schools and used my teaching experience in many other situations including teaching/tutoring individuals and small groups Art and Design.

Hillcroft Mosaic

Update… As I made my way to the tea and coffee area when on the Approaches to Counselling Course I attended, I came across some beautiful mosaics laid out in the art area!

Here’s some info from the Hillcroft website about them:

“ABOUT THE Mosaic PROJECT
RHACC is working with the London School of Mosaics, Friends of Surbiton Station, and Surbiton Art Trail to restore and exhibit mosaics, that are inspired by William Blake (Lambeth), to be exhibited in Surbiton Station by this summer.

The mosaics were originally displayed in the arches near Waterloo station, which have now been taken down and delivered to our Hillcroft campus to be restored by our Artist in Residence Jo Lewis from London School of Mosaics. The first lot of mosaics that are being restored are based on Blake’s Songs of Innocence and Experience poems, the restoration work will focus on the cleaning and the curation of these mosaics. You can follow the step-by-step restoration journey by following us on social media.

LAUNCH EVENT
There will be a launch event hosted by David Tootil (Principal of London School of Mosaics) where he will be giving an overview of the William Blake project and mosaics.

This talk is a personal journey through the reasons for creating Blake’s Lambeth project, which installed 70 mosaics around Hercules Rd where William Blake lived 1790-1800. It includes a chronology, gaining funding, collaboration with artists and volunteers, a look at William Blake the artist and poet and opportunities for public realm enhancement.

David founded Southbank Mosaics in 2004 and transformed it into the London School of Mosaic in 2017. He is a self-trained mosaic artist and holds a degree in Modern History. His enthusiasm for mosaic comes from his mission to enliven public space and using mosaic as a collective practice that engages the whole community. David was the Director of the school until October 2021.

Thursday 9th March, 6:30 – 9pm at Hillcroft Campus, Art Room, KT6 6DF.”

William Blake Mosaic at Hillcroft College Surbiton This is my favourite, both the poem and the mosaic!

William Blake Mosaic at Hillcroft College Surbiton

Books

Totally different topic now. Just a bit about books I have found inspiring in many different ways!

First book: Abstraction in Nature by Nathan Cabot Hale

“This book is intended as a guide to help you through the maze of abstract schools to the simple problems of abstraction. Whether you are an art student or an artist learning on your own, this text will help you to grasp the fundamentals of the abstract language of art. It may seem boastful for me to claim that this book will make the problems of abstraction clear. But the answers to these problems are accessible to anyone who takes the time to do a little detective work and to follow the clues that can be found in nature and in the art of the past.

We must try to step aside from the confusion of schools, movements, and current fads, and attempt to see the whole story of art as a meaningful effort of mankind. This confusion is particularly damaging when it happens in the art schools because the pressure of having to “choose sides” narrows the student’s point of view, rather than enlarging it. Being forced to make such a choice prevents the student, from exploring and freely selecting the kind of expression that is closest to his heart, his character, or his talents. In this book, I hope to avoid this kind of narrowness. Although, as a working artist, I may follow a certain path the path that is best for me I hope this book will encourage you to find the one that is best for you. Art is a product of evolution – not often a result of revolution – a product of the meaningful insights accumulated by artists over thousands of years. Fortunately, these insights cannot be easily erased; they continue to endure and they eventually modify and absorb the useful products of revolution “

Text quoted from abstraction on art and nature by Nathan Cabot Hale published 1972,  pub by Watson Guptill then in 1993, Dover Edition 1993.

A fantastic book, and one of my favourites. I found it very inspirational when I first started working with Abstraction… It is usually quite a shift from working on representational pictures and stepping out into the realm of Abstract Art. Reading this book helped me to understand that I wasn’t moving into uncharted waters as much as I felt I was at the time!

I have several other books “on the go” right now. I like to have a mix of Art related, Spirituality, Psychology and Fiction. The second book is “The Art Spirit” by Robert Henri. I only read a tiny bit…but still, it looked good! I discovered it when I went to the Alice Neel exhibition at the Barbican recently. I made sure I took a look at a book which Alice Neel found inspirational and important to herself. The book “The Art Spirit” was available to look at in the reading area of the exhibition…A great bonus! I didn’t read it all as limited time, of course, but I gathered a few interesting quotes to hold onto and reflect on. Here is one;

Quote which caught my interest from ” The Art Spirit” by Robert Henri

“Art is simply a result of expression during right feeling. It’s a result of a grip on the fundamentals of nature, the spirit of life, the constructive force, the secret of growth, a real understanding of the relative importance of things, order, balance. Any material will do. After all, the object is not to make art, but to be in the wonderful state which makes art inevitable.

In every human being there is the artist, and whatever his activity, he has an equal chance with any to express the result of his growth and his con- tact with life. I don’t believe any real artist cares whether what he does is “art” or not. Who, after all, knows what is art? Were not our very intelligent fathers admirers of Bouguereau, and was not Bou- guereau covered with all the honors by which we make our firsts, and were they not ready to commit Cézanne to a madhouse? Now look at them!

I think the real artists are too busy with just being and growing and acting (on canvas or how- ever) like themselves to worry about the end. The end will be what it will be. The object is intense living, fulfillment; the great happiness in creation.”

I paint you video poem

Aah, it’s always the way! After putting up my ‘I Paint You” video poem I then spotted a typo error in the text! I’ve now corrected that; here is the corrected version!

“I Paint You” spoken word poetry video by Jenny Meehan with accompanying painting “The Ruined Woman”

Bandage Box and Pink Girl (past exhibitions)

Recovery exhibition art work by Jenny Meehan at the institute of mental health, art therapy, female artists and psychotherapy, creativity and mental health, trauma recovery and sex and gender based violence, jenny meehan aka jennyjimjams fine artist contemporary art exhibition in uk

A key turning point in my my progress as an artist was when the end of 2013 I took part in in the Institute of Mental Health “Recovery” exhibition at Nottingham University.

Venue: Institute of Mental Health.
The exhibition ran until May 2014.

The theme of the exhibition explored ideas around recovery from mental health problems. The concept of recovery is now widely used in mental health literature and practice. It may refer to both clinical and personal issues related to mental health. However, the concept has been contested, and invites further questions: What does the term mean to people who use mental health services and to those who provide them? Is it helpful? Who is recovering? Is it possible to recover and does everybody want to? Is there another way to describe recovering? The work in this exhibition responded to these questions.

In 2014 I also participated in a project called “Speaking Out; Survivors, Artists, and Public Services Against Gender Violence. This was an academic project based at Leicester University and resulted in a publication called” “Speaking Out” as well as a exhibition and conference.

Both of these projects helped me to realise that, within my work, as well as the pleasure of creating beauty, I also needed to allow my creativity to flow through areas in my life which were difficult emotionally and psychologically.

While taking part in the “Speaking Out” project was very challenging for me (particularly as I was only two years into psychotherapy and still deep in an intensive phase of recovery), it was still good for me.

To begin to articulate publicly aspects of my life which had only been shared between me and my therapist was hard, but the process of putting some of my experience into words proved helpful. I was not in a place where I could actually speak to anyone but my therapist about certain things. However, being able to express myself through visually creative practice and also to be able to begin to answer questions which came from other people, did aid my own understanding and confidence. I realised that these difficult and traumatic parts of life were not taboo, and did not be need to be hidden. Rather they were part of a shared experience to which other people could relate.

So taking part in the exhibition was a kind of escape from isolation and part of an emerging understanding that at all parts of my being were destined to show themselves through my my artistic expression. Instead of being aspects of my reality which had to stay buried, this openness was something which other people could find beneficial and helpful to themselves.

It has certainly been the case that as I gradually began to articulate myself in my therapy sessions this had a significant effect on my creative direction and my artworking. It felt more comfortable and natural to make work which touched on some of those issues which had either been too painful, or were buried too deeply prior to starting psychodynamic therapy.

“Woman and Home” One of three submitted and accepted artworks for this valuable and worthwhile project.

One of three submitted and accepted works for the Embrace Arts University of Leicester “Women recovering from the trauma of violence” project/exhibition by East Surrey/South West London fine and applied artist Jenny Meehan

Jenny Meehan “Hide and Peep” work for Embrace Arts University of Leicester Art Centre) Speaking Out /Women Healing from the Trauma of Violence Art Exhibition accepted artwork submission.

To take a look at my exhibition history follow this link. It is not complete as I am in the process of putting it up on this blog but the most recent exhibition history is already up.

https://jennymeehan.wordpress.com/jenny-meehan-jennyjimjams-exhibitions-page/

Jenny Meehan Art and Poetry Exhibitions Page

Inclusive Church Annual Lecture

Here’s an event I’m looking forward to in June; Inclusive Church Annual General Meeting and Annual Lecture!

The 2023 Inclusive Church AGM and Annual Lecture will take place at St John’s Waterloo and online. The speaker this year will be Canon Rachel Mann, full-time Area Dean for Bury and Rossendale, author, poet and broadcaster. The title of her talk will be ‘Finding Hope in the Fragility of God’.

You can find out more here;

Annual Lecture

The last time I went to a similar kind of event was way back in October 2014! as the organisation “Accepting Evangelicals” put on a very inspirational event. This was really helpful for me at the time as I had been reflecting on the reality of needing to more fully accept and embrace my own bisexual orientation (previously realised in my late twenties, but then repressed due to religious teachings encountered in the charismatic and evangelical churches I’d been part of) and reappraise how that related to my faith and life.

“Accepting Evangelicals” no longer exists.. Its now “One Body One Faith” as described her by Elaine Sommers:

“The Accepting Evangelicals trustees (the charity Revd Benny Hazlehurst founded in 2010), wish to ensure that his legacy continues, and serves as foundation for further development, for the benefit of the whole Church as it includes the LGBTI community of faith.

The trustees have agreed that to move into full cooperation with OneBodyOneFaith will be the best way to ensure that the Benny’s legacy is remembered and continues to bear fruit for the Kingdom of God.

Benny’s infectious enthusiasm and huge heart of compassion encouraged a great many evangelical Christians to find the courage to be open about their growing convictions – that it is possible to be an evangelical Bible-believing Christian and actually support same-sex partnerships and the full integration of LGBTI people into the Church.

Elaine Sommers, on behalf of the Trustees of Accepting Evangelicals, 11th February 2021″

So time really does fly, and things move on and develop. Evolving is healthy and good!

As it happens, I no longer label myself an “Evangelical”, and feel far more comfortable as a member of the Church of England than I did in my past church experiences, (particularly those which were cultish and insular and often, quite frankly hateful towards gay people!)

I wouldn’t even describe myself as “Bible-believing” though I do very much embrace the Bible as an important foundational text for my faith. Its the term “Bible-believing” which conjures up many negative things! The main one of course being taking everything literally, telling everyone who doesn’t agree they are wrong, and refusing to accept that non dualistic thinking may actually improve their experience of life and faith in many exciting ways.

Non Dualistic Thinking

Brilliant quote here in non dualistic thinking, in case you are not familiar with it, quoted from Richard Rohr:

“Cynthia Bourgeault (2013) describes this richer psychological mindset as third force thinking that transcends the rigid mindset of dualities. A third force solution to a problem is “an independent force, coequal with the other two, not a product of the first two as in the classic Hegelian thesis, antithesis, synthesis” (p. 26).

Psychologists have known for a half-century that human cognition is characterized by a need to simplify and categorize stimuli (Fiske & Taylor, 2013). Because our lives include daily encounters with a range of phenomena that defy simple dualistic thinking, it is of crucial importance that we engage in third force approaches that access our deeper intuitions and artistic sensibilities.

Third force solutions to problems are innovative and heroic solutions. In my view, it is crucial that we emphasize third force nondualistic thinking approaches in early education to help promote heroic mindsets in young children.

In contrast to dualistic thinking, nondualistic thinking resists a simple definition. It sees subtleties, exceptions, mystery, and a bigger picture. Nondualistic thinking refers to a broader, dynamic, imaginative, and more mature contemplation of perceived events (Rohr, 2009). A nondualistic approach to understanding reality is open and patient with mystery and ambiguity. Nondualistic thinkers see reality clearly because they do not allow their prior beliefs, expectations, and biases to affect their conscious perception of events and encounters with people.”

Quoted from here: https://blog.richmond.edu/heroes/tag/nondualistic-thinking/#:~:text=Nondualistic%20thinking%20refers%20to%20a,patient%20with%20mystery%20and%20ambiguity.

This kind of thinking, and the process of deconstruction which comes with it, is challenging though. Yes, it is. It puts you into a place of uncertainty and that involves fear. Fear is necessary though. And it does require faith, more faith actually, than staying in our comfort zone. I have found myself growing more in faith and trust in Creator God as I learn to let go of things I once held dear.

Though there were many very positive dimensions to my various church experiences over the Eighties, there were also, sadly, some damaging aspects particularly with regard to a lack of inclusivity and some really horrible attitudes towards LGBTQIA+. There were also some harmful attitudes towards mental health difficulties and a lot of people suffered needlessly as a result. The presence of rigid, inflexible, and non analytical, non questioning, and frankly often cultish behaviours and attitudes did not reflect a truly loving, compassionate and inclusive Creator or the kind of Spirituality which is wholesome and life giving. The presence of these flaws and failings does not negate the positive aspects though, and while I personally grieve over the negative features, particularly as these affected my own self acceptance in significant ways, I can also see that my past spiritual journey had many wholesome aspects to it and has developed in such a way to provide a good foundation and basis for the place I am in now.

Some folk would probably say I cannot be a Christian, or a “Real Christian” (whatever that is!) holding many of the beliefs I now hold. All I can say is I am glad and grateful for the way my life and faith have opened up, and it is a joy to be more inclusive, compassionate, expansive, and to have a greater sense of the mystery of our Creator. Life is more exciting, challenging, and certainly loving, than it used to be, and because of this I am happy to shed much of the old in favour of the new.

A more progressive Christian faith bears much love. I am constantly encountering my own narrow mindedness on many subjects, and that seems healthier to me than shutting out new ideas, thoughts, people, issues, communities and faith traditions, spiritualities, etc etc etc… the list goes on. We don’t need to agree with, hold the same perspectives, or be cliquey. We can listen, be open, and learn from each other, even if we hold completely different views.

Perfect Match Keim Galaxy Abstract Art by Jenny Meehan low res image only low res image only shown. Higher resolution image available.

Reflective State Keim Galaxy Abstract Art by Jenny Meehan low res image only shown. Higher resolution image available.

Hot Palaver Keim Galaxy Abstract Art by Jenny Meehan low res image only shown. Higher resolution image available.

Sacramental Video Poem

https://youtu.be/9pPvhKg3YBs
Is the YouTube link

Sacramental

Waters breaking
all around me;

As when you rose;
Now I:
Like you.

In your flesh and blood
surround me;

Sacred communion!

Life brand new!

Though the darkness
overwhelmed me;
held me cold,
in blackest night;

Holy Spirit,
you surround me:
Through my being
floods your light.

My strength, will,
and purpose;
rising,

Pulled by Love’s
soft, gentle, face.

In my heart; your image;
Jesus:
Revelation
of God’s grace.

(Jenny Meehan copyright 2008)

My faith and beliefs have changed so much over the years, and I’m grateful for the evolution and diverse perspectives which keep my faith a “questioning faith”… One with a sturdy commitment to being Christ-like and forever part of the creativity and grace of our Creator.

To follow Christ, I believe, is to embrace a commitment to life in its fullness… To the mysteries as well as those elements of life which feel more certain. It is to love and accept ourselves and others wholeheartedly and to believe our Creator is with us in our desire for love, empathy and compassion and supplies what we need to support and sustain us as we trust and believe that God indeed is Love incarnate and eternal.

Kingston Artists’ Open Studios 2023

Yes, it’s time to start getting ready for this. Though it is not until May, which is a few months away, I start to sort through my rather extensive collection of past work as well as looking at more recent work I have done and begin to think about what I might bring along to the Kingston Artists’ Open Studios event. This year it will be taking place on the weekends of 13th -14th and the 20th – 21st May. Contact me via the contact form for more detailed information nearer the time.

While I have been shifting my creative art working more in the direction of my poetry, writing and also experiments with mosaic, I am still painting though maybe not so much as I have done in the past at this time of the year. However, when it comes to the months of good weather… very specifically, good paint drying weather…I will be in the garden again throwing paint around, most thoughtfully.

Trips Out and About

|It certainly is handy living in South West London…Near to the countryside, not far from the sea and of course London such a great place for the arts and culture in general! I am making more effort now the pandemic is passed to make the most of living where I do and seeing a good smattering of art exhibitions, theatre and music. I even saw some ballet at Wimbledon Theatre recently, which was great as I was around ten when I last saw live ballet!

I recently saw the Alice Neel exhibition at the Barbican. I like to go to art exhibitions by myself as well as with friends. For this I went alone so I had plenty of time to gaze at paintings for as long as I wanted.

I really like the Barbican as a building. I like the space within it as I’m walking around and the feeling I get as I do. Here’s some text about it:

“The Barbican was developed from designs by architects Chamberlin, Powell and Bon as part of a utopian vision to transform an area of London left devastated by bombing during the Second World War.

‘Barbican’ used to be the name of a street in a bustling commercial area in the ward of Cripplegate. By the end of the 19th century it was the centre of the rag trade and was home to fabric and leather merchants, furriers, glovers and a host of other tradesmen.

However, on 29 December 1940 the City of London came under the fire of the German bombers and the area around Barbican was flattened as fire swiftly spread across the warehouses. By the end of the war, only a few buildings still stood, including the damaged Church of St Giles’ Cripplegate.

After the Second World War, the Corporation of the City of London, the governing body of the City, sought to rebuild the commercial area known as Cripplegate ward which had been almost completely razed to the ground during the Blitz. Recognising the need for comprehensive planning after the war, the Town and Country Planning Act of 1947 enabled local authorities, such as the Corporation, to buy land in order to redevelop large areas.

The Centre took over a decade to build and was opened by The Queen in 1982, who declared it ‘one of the wonders of the modern world’ with the building seen as a landmark in terms of its scale, cohesion and ambition. Its stunning spaces and unique location at the heart of the Barbican Estate have made it an internationally recognised venue, set within an urban landscape acknowledged as one of the most significant architectural achievements of the 20th century.”

The above is quoted from here: https://www.barbican.org.uk/our-story/our-archive/construction

The art gallery space is also very generous, with plenty of room to look at the paintings from many different distances. This is something that I very much appreciate. It was certainly a much nicer and roomier experience than when I went to see the “Making Modernism” exhibition at the Royal Academy of Arts recently. I have also realised I much prefer a deeper insight into the artist’s personality, their life experiences, and the historical period they worked in when I go to an art exhibition. I find it much more rewarding to focus in on one artist and their work. I am a great lover of History and Literature and I find it essential to develop a sense of the context of different artistic creations rather than just view them in isolation, or with very little background knowledge. At the Alice Neel Exhibition there was extensive biographical information available as I was able to spend some time in the area with books to look at…I really loved that! There was also the inclusion of several films as part of the exhibition which really adds to the experience as well a offering a very welcome opportunity to sit down!

Alice Neel exhibition at barbican London, art in London, London visual art shows

Such an inspiring self portrait… A woman’s body as it is, painted with boldness and intensity. This is the kind of representation of women I like… Its clearly a good kind of self portrait in that it’s not idealised but has an appeal in its honesty. For someone like me who at 58 isn’t as old as Alice Neel but whose body looks pretty similar, it’s heartening to be reminded that our female bodies are beautiful as they are. It’s too easy to be unkind. We are bombarded with so many stereotypical male gaze images of the female nude. This painting is one I will remember.

This was my favourite landscape. It had a kind of mystical, other worldly air to it as well as the very ordinary comings and goings of the people within it. The bright orange sign presents a question…a possible storyline. Why is it there? Is someone homeless, in need of somewhere to stay? What has happened? Then the peculiar cloud of smoke…Almost visionary…Some aspiration or dream maybe? The title is “Longshoremen Returning from Work” 1936

This was my favourite portrait of another person. This is one of Alice Neel’s portraits of Georgie Arce; it’s title is Georgie Arce No 2, 1955. It was very moving…The face is arresting and deep in emotion…A feeling of sadness but also resignation… You look at his eyes and the tilt of his head. You feel the need to be “hard” and tough in the face of life and the tension in his arms is palpable. The knife he holds may in theory I guess be an object of a type of strength, and there may even be a hint of pride in its possession, but there is a lot of vulnerability in the painting too.

Here is some interesting text on Georgie Arce:

“The Neighborhood Boy
Speaking about Georgie Arce, Alice Neel said he was very smart, although he couldn’t read. They met when he asked to come and play with her dog. Over five years, Neel sketched and painted a series of works of this neighborhood boy and they remained friends for almost 30 years. However the ending to this story is heart-breaking. Let down by a chaotic, over-stretched and under-funded system, Georgie couldn’t extricate himself from the multiple deprivations of poverty within a racist society and he ended up in prison for murder.”

The quote above is from https://www.dailyartmagazine.com/alice-neel-georgie-arce/

Here is a portion of the text from the Alice Neel Exhibition wall

“Some sitters, like the young Georgie Arce, whom Neel met when she was out walking her boxer dog King, she would paint on multiple occasions, allowing dif- ferent moods to emerge on the canvas. In a period of racial segregation, Neel flipped the power dynamics of portraiture (which had almost exclusively featured privileged white sitters), painting subjects like Arce with great character and compassion. As she explain- ed: ‘One of the primary motives of my work was to reveal the inequalities and pressures as shown in the psychology of the people I painted.'”

I do like text on walls for some odd reason. I have a habit of taking photographs of it! Here was my favourite. I found it a joy to visit this exhibition. I think because I work with non representational images most of the time I get a special pleasure from looking at art which is quite different to my own. I have liked the paintings of Alice Neel for a long time. Indeed, she was one of the first painters I found myself interested in when I first got into painting around 2005. I like powerful emotional impact.

My next trip to the Barbican will be to see the play “Drive Your Plow Over the Bones of the Dead”

Drive Your Plow Over the Bones of the Dead
Complicité/Simon McBurney
Wed 15 Mar—Sat 1 Apr 2023,Barbican Theatre

The theatre show runs at the barbican and is described on their website:

“World-renowned company Complicité return to our stage with a brand-new production based on Nobel prize-winning writer Olga Tokarczuk’s darkly comic novel, directed by Simon McBurney.

In the depths of winter in a small community on a remote Polish mountainside, men from the local hunting club are dying in mysterious circumstances and Janina – an eccentric older local woman, environmentalist and devoted astrologer – has her suspicions. She has been watching the animals with whom the community shares their isolated, rural home, and she believes they are acting strangely…

A thought-provoking, wry and otherworldly murder mystery, this is a tale about the cosmos, poetry, and the limitations and possibilities of activism.

Simon McBurney directs a new work for theatre based on Nobel Prize winning author Olga Tokarczuk’s acclaimed novel, which was shortlisted for the 2019 International Booker Prize. Olivier Award-winning actress Kathryn Hunter will play protagonist Janina Duszejko in this ensemble cast.”

Can’t wait!

Design and Artists Copyright Society DACS

Do you need a licence to use one of my images?

Yes!

I’m a member of the Design and Artists Copyright Society, (DACS) and my digital images are licensable via DACS.

Please contact me in the first instance with your enquiry. I’m flexible about fees, which are based on the industry standard, but negotiable. NOTE :All fees cited by the Design and Artists Copyright Society are proposed; not set in stone; and depending on circumstances, budgets, the nature of your project etc I can be flexible.

To get an idea of the industry standard fees for an image licence take a look at the Design and Artists Copyright Society Information page:

https://www.dacs.org.uk/licensing-works

You are of course able to simply fill out an image licence request via the Design and Artists Copyright Society form here too if preferred:

https://www.dacs.org.uk/licensing-works

The Design and Artists Copyright Society is an informative website and a good introduction to the process of licensing an art image for anyone seeking an image to use who is not familiar with the process, what information is needed, etc.

I am also happy to help you personally though as well, and have an extremely large archive of digital art images so do feel free to contact me directly and give me an idea of your project, intended use, and requirements.

Remember..

DACS will automatically propose a licensing fee in line with the industry standard.  However, please note, this is a negotiable fee. I am happy to be flexible about the initial fee proposed, and it’s not a problem if the initially proposed fee is outside your budget. 

It works like this…

Administration of the licensing process is facilitated through the Design and Artists Copyright Society (DACS), who liaise between us with respect to the exact fee agreed. Depending on circumstances and the nature of your project, I can usually offer fee reductions for a certain percentage of licensing arrangements.

If you decide you want to use their online form, then you need to attach the low resolution image of my artwork which you have found on the internet, they will know which image you seek permission for.

As I’ve said, you can also contact me informally,  in the first instance if you wish to, of course.  Any formal  arrangements will need to be made through the Designer and Artists’ Copyright Society, but I can often offer the opportunity to alter images, for example, putting in different aspect ratios or colourways, so it’s really helpful to communicate with designers and clients first with respect to the actual image required.

So, feel free to contact me. I will also be able to let you know the maximum size the digital image is available at. If you then wish to licence the artwork image, you would then contact the Design and Artist Copyright Society to arrange the licencing agreement according to your requirements. Once paid and agreed, I then supply the high resolution image directly to you.

Psychedelia Keim Galaxy Abstract Art by Jenny Meehan low res image only shown. Higher resolution image available.

Genesis Keim Galaxy Abstract Art by Jenny Meehan low res image only shown. Higher resolution image available.

Perfect Mix Keim Galaxy Abstract Art by Jenny Meehan low res image only shown. Higher resolution image available.

January 2023 – Ivon Hitchens – “Psyche, Body, Spirit…Unbound” Mosaic – “The Mummy and the Pyramid” Video Poem by Jenny Meehan – Hooray for Guinness 0.0% Alcohol Free Draught Stout! – Shortcomings by Dr James Finley – “I Paint You” Poem by Jenny Meehan – “Slowly: a plainsong from an older woman to a younger woman” Poem by Judy Grahn

 

Ivon Hitchens

Winter time is the best time ever for looking at books for me, and one of my favourites is my book on Ivon Hitchens.  The work of Ivon Hitchens was introduced to me way back in 2010 by John T Freeman on a course at West Dean College. It made a big impression on me, mainly because it put the idea of poetry and painting together in my mind.  I prefer his earlier paintings, and I especially like the Terwick Mill paintings, one of which I show you below.  

 

Terwick Mill no. 14, Waterfall 1945 oil on canvas, (40.5 x 74 cm)

The period around Christmas is when I tend to do a lot of reading and get rather over excited about ordering books to read!  Thankfully there are a lot of free books available via the local library and various apps!  Audio books are even better, as boring things like cleaning and sorting out can be carried out at the same time!  I’m dipping into “Fat is a Feminist Issue” by Susie Orbach at the moment.  It’s interesting for me to increase awareness of how I tend to stuff down my emotions if I get the chance.  She has lots of very interesting things to say about women and our relationship with food. 

One little morsel to cherish ” The roots of compulsive eating in women stem from women’s position in society – she feeds everyone else, but her needs are personally illegitimate.  Food, therefore, can become a way to try to give to herself. “

Quoted from “Fat is a Feminist Issue” by Susie Orbach

If I eat books, I think I will be Okay! 

I have been true to habit of flitting from book to book, but it seems to work for me.  I blame scrolling on the internet.  I have got so used to it I tend to do it with all the kinds of reading I do.  That’s one really big advantage of listening to audio books.  I keep on track for longer! 

 

Psyche, Body, Spirit…Unbound

Here is my recent mosaic…

Psyche, Body, Spirit…Unbound Mosaic by Jenny Meehan

I still need to remove a few bits of grout but I’m posting up here while fresh in my mind.

Mosaic is not my main medium, for I am more of a painter-poet, but I need to paint in my garden mostly, as I don’t have a dedicated studio space.  I do have a studio tent I constructed and that is good for many things, but it is still rather too cold and wet right now.  In the Summer I can paint in the garden so space is not a problem then.  

It’s kind of odd, this mosaic, in a quite interesting way.  I like it when I make things which confuse me initially.  Maybe that is the source of the peculiar expression!  An online dictionary tells me that: 

“A frown (also known as a scowl) is a facial expression in which the eyebrows are brought together, and the forehead is wrinkled, usually indicating displeasure, sadness or worry, or less often confusion or concentration.”

I was keen to create something with a surreal feel and also which contained a human face.  A human face made of blocks of stone was bound to be interesting, I suppose. I like to ask friends how my work speaks to them because I always learn a lot from doing so. One friend very insightfully picked up on the sense of a journey, the presence of water, and that the face was an onlooker to the scene. Also that one leg was under the water and the other on top of the water. I can’t remember all her words, but they added a lot of depth to my own responses. 

The mosaic, I realised, (as I was making it!), was part of my poem (which I wrote within the same time period)  “The Mummy and the Pyramid.  I started the mosaic ages ago in September and I didn’t have much of an idea of its meanings for me in any clear sense. Broadly, it was centred around self-realisation and self-actualisation. We know things at different levels.  This is why contemplation and dwelling on things without rushing ahead is so valuable.  This is probably why I have a passion for art and poetry. They do ground me! They help me to not avoid my emotions but rather to encounter them. So a good process. 

I do love the way that when you are creating artistically,  (if you  allow yourself to be carried along in a stream of consciousness – not quite knowing what an earth you are doing, but allowing oneself to engage with it anyway) there’s such a mysterious yet rich area for thoughts and feelings to emerge and to listen to.  I found the lengthy  process of mosaic making helpful. It is so much longer than that of a painting; well, in its actual execution at least.  My paintings do often have a dormant period where ideas are still in gestation! And a lot of thinking goes on then. But as I said,  I did find there is something particularly grounding in mosaic making.   Being forced to stay with something singular for so long is not my usual style.  For my often flighty mind and ever changing focus, this is no bad discipline to develop.  

So with the extended time spent working on one thing when I usually work on at least three, plus each session of mosaic making being at regular intervals (just as therapy is!) I think this gave me a lot of time for reflection and contemplation as the mosaic unfolded.  In this manner, the poem came from the mosaic and the mosaic came from the poem.  As the ideas for motifs to use in the mosaic came to mind in their own good time, and I floundered about with respect to a title, I then utilised the mosaic imagery into the poem, which in turn, kindly gave the mosaic it’s title! It was a good combo!

I am sure that, mostly, with mosaic making it is best to know what you are doing and have a set idea clear in your mind at the outset, but I am not used to working that way.  Unless I have been painting for others  (commissioned to produce something),  I prefer to wander around in the dark in a piecemeal fashion,  and so I am keeping that approach.  This is very possible with small mosaics at least, though not so possible with large ones!    It is the case however that composition is everything (well, not everything…but if the underlying structure isn’t there, (however random that may seem) the visual art struggles to stand on its own two feet in my mind.  There is nothing like a nice sturdy composition!

Alongside this, though, there is also a great excitement and liberty in a complete loss of structure – in fluidity and flexibility – in possibilities which cannot be seen or predicted. In mystery. It is the interplay between structure and disarray – the tension – which creates a paradox. Paradoxes tend to be rich with depth and discovery, if we can bear to hold ourselves in the space between too apparent opposites. 

I have, true to form, meandered! 

You can hear the poem which interacts with the mosaic here, as I have put it up on my YouTube channel: 

 

The poem also relates a little bit to an earlier poem (God has Helped/January 2022) in the respect that the earlier one had a resurrection theme to it.  As here in this part:

“The memory box

This unsealed tomb

strung in curses of defiant

protection?

Evil, elemental 

spirits

bound a bandaged

menace

refusing carriage to the other world?”

from “God Has Helped” by Jenny Meehan ©2022

You can listen to the whole poem here on my YouTube Channel as I created a video poem version at the end of last year https://youtu.be/WIZ1MHpLSSQ

 I was dwelling on  “God has Helped” and asking myself questions about it when I wrote “The Mummy and the Pyramid”.   The Egyptian theme has been in my mind for a while because I spent a lot of time cutting out many Egyptian stencil motifs to use in my artwork at the beginning of the pandemic in 2020.   I have always liked the paintings and motifs I have come across when looking at images of Egyptian wall paintings.  Art Deco also draws inspiration from the art and architecture of ancient Egypt, and it’s my favourite decorative style of art! 

A little bit of context needs to be kept in mind, for it was during the 1920’s when the Art Deco style emerged, and so its not hard to see how Egypt held a particular allure for artists and designers.  The discovery of the tomb of the boy pharaoh Tutankhamun in November 1922 sparked a massive amount of popular interest.  Generic Egyptian imagery began to be seen all over the place.   

The flat, geometric, highly patterned, yet also narrative, visual combinations found in Egyptian wall paintings, plus the context of being inside a tomb, was such a pull when thinking about aspects of myself which have been repressed and/or suppressed, but which continually surface. To my mind, there is so much of any person which is like a mummy… Bound, yet ready for release and new life –  if we grant it the grace and acceptance to allow it to live.  I was thinking about sexuality, but this can be true for any aspect of the self I think.  

For me to work on a pictorial piece of art, rather than my more frequent  abstract paintings,  has  been a refreshing change. I think having the mosaic understood as part of something else, in this case a poem, feels very good to me as it has some context. A lack of specific context with a pictorial piece of art is a necessary yet uncomfortable situation I feel.. So there is comfort in its placement in my poem!  

There is reference in the poem to “mortar and stone pieces”  and while I was thinking primarily of a wall, I quite liked the hint towards the process of making a mosaic which I do think was in my mind when I wrote it.  As I was reflecting on my mosaic and asking myself what on earth it could be saying to me I identified its three main symbolic elements as being body, mind and spirit, and this is how it came to then enter into the poem so fittingly. 

I am quite relieved that the mosaic has a place in the poem because there is no place for it in the house it seems!  I will find a good place for it soon I hope. It is hard when there is not much space! Guess I need to do a bit of a New Year sort out!

PS: I have an even older poem, which I wrote in the early years of my psychoanalytic psychotherapy, around 2012  “A Poem to my Therapist” which uses an Egyptian theme, so I am going to dig that one up as soon as I can find it and make a video poem of that too. 

 

Guinness 0.0% Alcohol Free Draught Stout

..

I can say this is easily my very best birthday present… alcohol free #guinness! 🙂

 

As someone who doesn’t drink alcohol (not since 2010!) I can say my very best Christmas (or was it Birthday? –  as so close together I always get muddled!) present was this alcohol free Guinness!  Hooray!  Well, who would have guessed ten years ago this would have been possible!  I’ve been meaning to try it out for ages and I won’t look back now!

Before my alcohol use became more accurately described as “alcohol use disorder” I used to drink just beer and stout. (until my thirties!)  I only later started drinking wine.  This means that it is wine which is the drink I associate with over drinking, so I’m finding the alcohol free Guinness not presenting any issues for me in terms of being a pull towards alcohol. Not everyone who chooses sobriety can take the alcohol free beer option but for me it’s a total win win!

It makes so much difference to have plenty of choice when you don’t consume alcohol.  I have tried a few other alcohol free beers and lagers too.  My favourite so far is the Lidl one.  Lidl “Perlenbacher 0.0” is not too sweet and really inexpensive too! 

Wine 

Well, as I’m on the subject of drinking, (which seems to be a topic on many people’s minds, based on the frequency of it coming up in sauna conversations at my local leisure centre!) I might as well move onto wine. 

I do take communion wine in church as it is part of The Eucharist.  In fact, I have found that because it is consumed in this context, it is more meaningful to me.  The reason for this, is that this is the only place I take some wine. The term “Eucharist” originates from the Greek word eucharistia, meaning thanksgiving. And when I take the wine in that context it resonates very deeply for me in it’s associations with the blood of Christ.  It is a simple symbolic ritual for me which helps me to recognise the reality of Christ’s life blood in me.

This very positive recognition of faithful love is a blessing to me.   Instead of me drinking wine in a destructive way – consuming a substance in order to anaesthetise my pain, which is what I used to do – I drink the wine to honour Christ’s love and sacrifice.  In this symbolic ritual I partake in Christ’s life giving love in a metaphorical sense.  That it is metaphorical does not devalue it to my way of thinking, (though there are many different approaches to the matter and disagreements about this!). 

It’s  a small part of a much bigger picture.  Partaking in the life of Christ is an experience which goes far beyond the altar and into every realm of life and experience if we let it do so. I rather like Richard Rohr’s words:

“Eucharist is presence encountering presence — mutuality, vulnerability.”

( from “Eucharist as Touchstone” )

With this thought in mind, and very much inspired by a recorded poetry reading by Judy Grahn on YouTube, I’ve written this poem!  “I Paint You”.  It is the partner piece for my painting  “The Ruined Woman”  (Which is in turn part of a Trilogy  (Exhibit 1: “The ruined woman” (a painting – poem) Exhibit Two: “Venus de Milo” (sculpture and also  video “Artefact/Artifact” ) and Exhibit Three: “Violence Vigil – Watch and Pray”.(short film)

Here’s a low res image of “The Ruined Woman” 

The Ruined Woman ©jenny meehan partner to “I Paint You” by Jenny Meehan

I Paint You

Turn
turn to
face the future
yes
you
are wine
woman.
There is wine
Your beaker
blood promises
not death
but life
Your beaker is not empty.
Turn, turn –
Face
the future –
Build
Speak
Weave

Know
you are old and young in one.

You are not alone.

No one

taints you
scars you
mars you
stop you
drops you

Empathy is the water
that moves and spreads you

Empathy formed with
a nerve
of steel

Am I not
soft and tender?
My fine form comes
from my centre.

It is a hurricane.

May be
protestations for blood spilt

without evidence. 

Am I not
an error

.No.

Written by © Jenny Meehan 2023

 

Slowly: a plainsong from an older woman to a younger woman Poem by Judy Grahn can be read here among other places:

https://www.poemhunter.com/poem/slowly-a-plainsong-from-an-older-woman-to-a-younger-woman/

(I hope if permission granted to post it here too if possible) 

 

But even better than that, you can listen to it on YouTube now!  Also, the YouTube video is an old recording of Judy Grahn reading her poem herself, which is clearly the best way to receive any poem  (from the lips of the person who writes it) . The recording of Judy Grahn reading her poem is also different to the text I’ve found online as it is much longer. It may be she edited it down later? I do this a lot and I’m sure many other writers do. Indeed, as all artists with our work, we tend to reflect and refine with the passage of time. I do like the spoken word version best though. 

The link to Judy Grahn reading  “Slowly: a plainsong from an older woman to a younger woman” is here:

 

 

It’s simply amazing to listen to… A total inspiration,  and I know I’ll be looking through the Poetry Foundation’s Archives a lot this year.  It is also possible to see the full recording via the Poetry Foundation.  Here is more information here in the text included in the Poetry Foundation website:

 

“The Poetry Center presents Judy Grahn and Diane Wakoski, appearing at the San Francisco Museum of Art, each reading from new work on a program of women poets organized by The Poetry Center and introduced by director Kathleen Fraser. Grahn reads from a long prose work in progress, and from the She, Who poems. The latter at the time is noted as being prepared for publication with the Women’s Press Collective, which was located in the basement of A Woman’s Place Bookstore, on Broadway in Oakland. Wakoski reads three works in manuscript, a poetic essay followed by two longer poems, from her yet to be published book, Virtuoso Music for Two and Four Hands (Doubleday, 1975).

Note: the original event also included a third poet, Grace Harwood, video for whom is unavailable.”

The recording of “Slowly – A Plain Song from an Older Woman to a Younger Woman,”  on YouTube was the last poem Judy Grahn read at the event.  This was a poem she described as “having to do with the two kinds of women that there are: older ones, and younger ones. She made heavy use of “feminine rhymes,” which Webster’s dictionary notes are not listed in the dictionary, as these two-syllable rhymes are “trivial and used only for humor.”

 I took a brief look but couldn’t find it (the dictionary quote)  online however I have no doubt that’s its there. I did find this, as I was interested in the grammar of “Am I not” 

I like very much the use of “Am I not”  in Judy Grahn’s poem, so I used it in my poem too.  It’s rather formal and detached I think.  I see from the dictionary it’s far from “Ain’t I”!  (I can remember using that expression on my youth, but have dropped it and acquired more of a Surrey accent, along with traces of South London!  Ain’t I posh! 😂)  

Another thing I noticed and liked very much is the way question marks are not used with “Am I not”. A certainty underlies the question. It makes it bold and brave. Going against traditional grammar rules is something I could consider, and this includes punctuation. This is why I end with “.no.” 

I have read many poems over the years with non standard grammar and/or punctuation, but recently I tried hard to use it more conventionally.  This is helpful for other people reading, but for me as I move more into speaking out aloud my own work more I think it could be a bit restricting so I need to reconsider how much it matters. I struggled at school with reading, writing, spelling and grammar and though I wasn’t quite in the “lowest” group for such things (though I did feature in the remedial reading group at Infant School I am proud to say!) I was below average. 

You should never underrate a good teacher though.  My English teacher at secondary school was both tough and faith-full. She believed for the best and as when I exited Twickenham Country Girls School, though wasting a lot of it, I could carry an A in English Language and a B in English Literature, which was pretty amazing bearing in mind the circumstances of my life at that time! Being beaten up by the gang of girls I hung out with in the fifth year was bad, but suddenly I had nothing to distract me and I realised I needed to come out of school with something to show for it.   

jenny meehan in West Dean Forge

Thinking on steel takes me right back to many happy times in the forge at West Dean College. I took part in several blacksmithing courses.  As well as working with steel,  I also experimented with other metals,  such as copper and aluminium on a couple of courses led by Mike Savage. 

That quick trip down memory lane reminds me that I really need to work on getting back to that size this year I think.  Though keeping “Fat is a Feminist Issue” in my mind at the same time, of course! 

 

Shortcomings

“Shortcomings, both real and imagined, when deeply seen and accepted, are an important part of the transformative process of learning to let go. If we do not let go of the need to be perfect, our need to be perfect will get in our way. Likewise, if we do not let go of our fear of failing, our fear of failing will get in the way. But as we learn to let go of the need to be perfect and the fear of failure, the intimate, earthy stuff of being a vulnerable, loving human being begins to shine through. In an ongoing process of learning to let go we bear witness to the great truth that the master limps. The mastery of life is intermingled with the ongoing weaknesses and limitations that gives life its rich and many layered texture and meaning.”

Copyright © 2013 Dr. James Finley  

Thanks to Dr. James Finley for permission to quote in this Jenny Meehan Contemporary Artist’s Journal.

“the intimate, earthy stuff of being a vulnerable, loving human being begins to shine through.”

I need to read that again! 

And importantly the “learning to let go”.  This is not something we find easy in life!  We want control.  We want to know.

I attended a “Silence in the City” Retreat Day led by Dr James Finley many years ago  and it gave me plenty of food for thought. It was called   Transforming Trauma:  Exploring the Healing Power of Spirituality (A one day healing retreat) and was described as being 

A one day retreat devoted to exploring the healing power of spirituality. The day’s reflections will focus on seven traumas or wounds to which we are all subject as human beings and then go to explore methods of meditation and other steps we can take to help ourselves and others heal from each of these seven wounds.  The emphasis will be on the lifelong process of learning to be a healing presence in the midst of the world. Time will be given for brief periods of silent group meditation and discussion of the themes presented.  Those in ministry, in the healing professions, trauma survivors and all who are interested in exploring healing power of spirituality in their own life and in today’s world will benefit from this day of prayerful reflection.  

It was VERY good.  I’m rather partial to a retreat day on a regular basis.  I find it very helpful! 

Over the years I have attended many similar type events and also many retreat days in various places, including the Mount Street Jesuit Centre in London.  

Becoming Painting © Jenny Meehan

Photographic Images from my Archive

I have lots of images of metal and wood, but here is a selection of some wood ones.  Both the outside of trees, with the wonderful variation of bark, and the inside, which is revealed in objects such as fence panels and anything else made of wood, is always very visually inspiring to me.  It is the flow of the lines which runs with fluidity, even in and on the solid wood, which captures my eye and leads me to press the shutter, even for the most mundane of objects.  Things of interest and beauty are so easily overlooked, but the camera does help to isolate things in a way which draws the attention to them, which can be helpful.  These images are the snap shots which help me remember the sights which beckoned to me, at different times of my life.

It has to be said that one of the unexpected benefits feeling very downcast and low in spirit, can be that one’s eyes fall naturally to the ground more often than most, and there, if one is willing, it is possible to find a treasure trove of images which might be missed otherwise.  This is not to trivialise the problems, or the pain, but I have realised for myself, that it was in my darkest days (I would place this period as being between 2007 and 2011) that I took most of my “under the waist” level images, many of the ground, and many which focused on fixings, outbuildings and structures of many kinds, and various boundaries, ie, walls, fences, and barriers.

jenny meehan  photography

I found a heart on the outside of the willow tree at Broom Road Recreation Ground, which I visited with my own children.  Broom Road Recreation Ground, Trowlock Way, Teddington, TW119QY, was the park I was taken to as a child ( was brought up in Teddington, Middlesex.)  It looks as if, where the branch was cut off, the heart then formed.

jenny meehan photography

jenny meehan  photography

jenny meehan  photography

The three images above were taken in my local area, Chessington, as I ferried the children to and from school when they were younger.

 

jenny meehan photography

jenny meehan photography

The two images above were taken at West Dean College during one of the short courses I attended there.

 

Design and Artists Copyright Society DACS 

Please note that the visual art on this online journal is the fruit of a lot of labour.  It may not be used without permission. The same goes for any of my own writing, poems, and also, if included on this blog, the work of other artists is indeed their work.  Permission needs to be requested from the relevant artists before use is made of it, even when that use is non-commercial. 

So, having made that clear…

Do you need a licence to use one of my images?

I’m a member of the Design and Artists Copyright Society, (DACS) and my digital images are licensable via DACS.

Please contact me in the first instance with your enquiry. I’m flexible about fees, which are based on the industry standard, but negotiable. NOTE :All fees cited by the Design and Artists Copyright Society are proposed; not set in stone; and depending on circumstances, budgets, the nature of your project etc I can be flexible.

To get an idea of the industry standard fees for an image licence take a look at the Design and Artists Copyright Society Information page:

https://www.dacs.org.uk/licensing-works

The Design and Artists Copyright Society is an informative website and a good introduction to the process of licensing an art image for anyone seeking an image to use who is not familiar with the process, what information is needed, etc.

I am also happy to help you personally though as well, and have an extremely large archive of digital art images so do feel free to contact me directly and give me an idea of your project, intended use, and requirements.

Remember..

DACS will automatically propose a licensing fee in line with the industry standard.  However, please note, this is a negotiable fee. I am happy to be flexible about the initial fee proposed, and it’s not a problem if the initially proposed fee is outside your budget.

It works like this…

Administration of the licensing process is facilitated through the Design and Artists Copyright Society (DACS), who liaise between us with respect to the exact fee agreed. Depending on circumstances and the nature of your project, I can usually offer fee reductions for a certain percentage of licensing arrangements.

If you decide you want to use their online form, then you need to attach the low resolution image of my artwork which you have found on the internet, they will know which image you seek permission for.

As I’ve said, you can also contact me informally,  in the first instance if you wish to, of course.  Any formal  arrangements will need to be made through the Designer and Artists’ Copyright Society, but I can often offer the opportunity to alter images, for example, putting in different aspect ratios or colourways, so it’s really helpful to communicate with designers and clients first with respect to the actual image required.

So, feel free to contact me. I will also be able to let you know the maximum size the digital image is available at. If you then wish to licence the artwork image, you would then contact the Design and Artist Copyright Society to arrange the licencing agreement according to your requirements. Once paid and agreed, I then supply the high resolution image directly to you.

Contact Jenny Meehan UK Artist Designer

I’m trying to remember to insert contact forms regularly in my blog posts!  Do please follow me on WordPress and if you want to be put on my mailing list then let me know!  I only send out a maximum of TWO artist newsletters each year! 

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March 2021 Lock down Contemplations – – Remembering Nasty Women Art UK – Redbubble Promo –

Art Journal March 2021 post by Jenny Meehan

Lockdown Contemplations.

It’s different.  I like time on my own and I am finding the situation with less distractions and dates in the diary very good for art working.  I was struck by the words of Chris Chapman, a wise man who was my spiritual director a few years back, as he introduces a retreat series at St Augustine’s College of Theology:

“And yet the experience of lockdown does hold surprising echoes of a retreat. Our well-worn routines have been left behind. We have ventured – or been pushed – into unknown territory. Our customary diversions no longer apply. As with a retreat we have moved into a place where we are more open to meet who we are and what we fear and what we long for. We are more vulnerable and, with this perhaps, more consciously alive. Among those fundamental questions many of us are facing are ones of identity: ‘Who are you, God, and who am I? Where are you God amidst the changes I am experiencing? What are you inviting me to be or do? Where have we gone wrong in the past? How will we live in the future? We are also – I believe – aware of the need of deeper rooting in God to help us survive – even grow through – this long, long season of uncertainty.”

Yes; Resonating in particular: “we are more open to meet who we are and what we fear and what we long for.”

Direction wise this is very good, and I am finding it bringing more clarity for me with regard to focus, which is very good for me, as I tend to have somewhat of an exploding brain kind of mind I think.  Great for ideas, and great as an artist, but not so great for focus.  He continues:

“A retreat at home is different. We do not leave behind work, family and four familiar walls. In one sense the experience is less intense and focused: there are more calls on our time than listening to God. And yet, a retreat at home is where we are: it reflects our reality. It also helps us welcome God into all the corners of our everyday existence. Here too is holy ground, if only our eyes are open to recognise this.”

This is so true… And I still have  my Christmas banner hanging up! I have decided to keep it there all year.  The area around it seems to have transformed itself into a focus for prayer, with lights and candles.  It’s a bit altar like.  Both myself and my husband haven’t been inside a church building for ages.  Having our home altar is very conducive to prayer.  I think I have been in prayer more than I did when we didn’t have the banner there.

https://www.redbubble.com/people/jennymeehan
https://www.redbubble.com/people/jennyjimjams
Jenny Meehan/jennyjimjams are both Redbubble artist portfolios of British contemporary Artist Designer Jenny Meehan.
Discover Jenny Meehan via my Art Journal Blog https://jennymeehan.wordpress.com/
©Jenny Meehan

If you like this artwork, it can be yours as an art print on many different substrates and products.  See here: 

https://www.redbubble.com/i/art-board-print/Holy-Holy-Holy-Abstract-Angel-Design-by-Jenny-Meehan-by-jennyjimjams/14968646.7Q6GI

Lockdown Restrictions

On the less so lovely side, the restrictions are a pain. Just not used to having my freedoms curtailed I guess.

Yeah, so the next image on show is a padlock.  I am feeling a bit restricted here in the UK Coronavirus Lockdown.  Restrictions.  They are felt.  But needs must.

photographic image of rusted padlock by artist designer jenny meehan ©Jenny Meehan

The activity I am missing most of all is swimming.  I swim at least twice a week normally, and now I have to wait until mid April!  This is the hardest thing for me, and though I enjoy walking and yoga, and exercise generally, there is nothing quite like swimming and being in the water! I am also feeling a bit restricted space wise, as I cannot work in the garden with anything but gardening right now.  I’ve done a bit of painting, of course, but have been focusing on my poetry a fair bit.  Plus reviewing work in progress.  This is time well spent. I have my coronavirus vaccine booked in for the end of March, so that’s a date for the diary!  There are not that many dates for the diary,  so when something does come up it’s always an event!

Black and White

This time of year always brings me to a place creatively where I consider light and darkness, black and white, tones and mark making rather than colour.

What I focus on creatively is very much dictated by the seasons and what’s happening in nature around me I’ve come to realise.

The low light and bare branches of trees… It may be their strong influence. I also always go and see the society of wood engravers exhibition at the bankside for my yearly dose of black and white wood cutting/printing. Just online this time around. Not quite as enjoyable, but I still get to see the wonderful work on instagram which is something at least.

Vision photo art image by artist designer jenny meehan ©Jenny Meehan

©Jenny Meehan

This is a section of one of my #photographic studies titled “vision”. Its one of many images exploring light on surfaces, in this case a copper sculpture I made at West Dean College. (It’s a section, and a low resolution image only.) I spend quite a lot of time with photography, which I use as a looking, thinking and remembering tool.  It’s very good for studying light and shadow. Over the years I have taken many images, often of my own sculptures or objects of interest, and mostly with the objective of simply exploring light on their different surfaces.

Nasty Women Art UK project

Back in 2017 I took part in a fund raising venture geared towards helping my sisters. It involved an art sale, but not all the art was sold. I submitted a small print of my work “Woman and Home”

woman and home print ©jenny meehan

Info on “Woman and Home”. Digital Art (2014)

…Memories from women’s magazines on what my life can be. Apparently.

But it cannot. The words are a prison. In this image the words hang like some kind of rigid screen across the face. The distance and separation between me and what I am told by women’s magazines I can have and I can be, is clear.

Having experienced violence in the past brings an awareness of the disconnect between the outside image of what I might be and the reality of what is/was.

I like to utilise the imagery which has struck me as having come from somewhere deep within my own experience, unexpected. The original photographic image (a self portrait) I used in creating this work was taken around 2008, at a time when the adverse effects of my various past traumas were tightly packed inside me, affecting my life by causing pressure; still very much under the surface.

I chose to use this image again in a digital collage because in re-creating it into a new artwork, I was both testifying to the impact of my own traumatic experiences of violence and it’s effects, while also recognising that the passage of time has brought change and progress: Re creation.

Though the work still has an ambiguous quality to it… Which I like.

Maybe there is a better future there? … The words are there after all… The typeface is chunky, but transparent. It may be permeable. It may be fragile, and I may be strong… Able to define myself from the inside out.

This artwork has a necessary tension within it in my interpretation.

You can see my donated work and others which are still available for sale here:

http://www.nastywomenuk.com/art-works.html

It looks like it was a one off project rather than an ongoing one, but it was very successful, raising over £7,500 in aid of the End Violence Against Women Coalition, a collective between women’s support services, NGOs, researchers and activists to end violence against women and girls in all forms.

A bit about the Nasty Women Art UK project, quoted from the website:

“Nasty Women UK is part of a Global Art Movement founded in New York in January 2017 in reaction to the growing misogyny and rampant intolerance towards marginal social groups that has become ubiquitous in the media as well as in government. The name ‘Nasty Women’ comes from a comment Donald Trump made about Hillary Clinton, interrupting her during a televised debate to mutter the insult into his microphone. The term was instantly reclaimed by thousands of women across social media, and has since become a rallying call for those who stand for gender equality and equity.

Here in the UK, we too have seen countless examples of sexism and bigotry. From the ‘Legs-it’ tabloid headline following Brexit talks between Theresa May and Nicola Sturgeon to bosses forcing female staff to wear high heels to work or the Conservative government partnering up with the anti-abortion, anti-LGBTQ DUP party, hatred and intolerance have been on the rise and civil rights that generations of men and women have campaigned for are being threatened. This is a pivotal time in politics, culture and our country’s history. This is a time to stand up and be counted, to speak out against intolerance in all its forms and to amplify the voices of those that go unheard. This is the time to proclaim that you too are a ‘Nasty Woman’ and create powerful, positive identities.

The first historic Nasty Women event was held in New York, USA on 12-15th Jan 2017. It was started by Roxanne Jackson and Jessamyn Fiore with a facebook post that read:Hello female artists/curators! Lets organize a NASTY WOMEN group show!!! Who’s interested???”

Link to the Nasty Women website:

http://www.nastywomenuk.com/press.html

Quote from Co-director and curator Antonia Kimbell

‘The common and inclusive language of art unites people giving them a platform for self-expression. Our exhibition aims to inspire and provoke whilst providing a platform for discussion on gender equality and equity, as well as being a celebration of the diverse talents and skills of women.’

The Nasty Women Art UK event took place over the weekend of
22-24 September 2017 at
Stour Space, 7 Roach Road, Hackney Wick, E3 2PA

 

All works were on sale, with prices ranging from £5 to £500 – all proceeds went to End Violence Against Women, a collective between women’s support services, NGOs, researchers and activists to end violence against women and girls in all forms.

in 2013, I wrote this poem:

Violence
is the blinding light which brings
darkness
wipes the words from my lips
removes all trace
of speech
yet tells me to be quiet, and so keeps me from
recalling
the sound of myself.

 

Violence
Is the blinding light which brings
Complete darkness
Takes the words from my
Open lips
Removes all trace
Of speech
Yet tells me to be quiet,

But I am recalling the sound of myself, that you may see.

Jenny Meehan 2013

Art Prints to Buy from Redbubble

If you want to buy a print of anything you see here, please contact me via the contact page on my art journal and I can make it available to you via redbubble.

I don’t put all my work up there routinely, but if I get specific requests I can arrange to upload to the site so you can buy it as an unsigned print.

I may also have a very limited number of signed prints myself, (or be able to arrange to print one and sign it personally for you) if you want a custom made and signed by the artist art print. This is a more expensive
option.

I like Redbubble!

Redbubble is an online print on demand marketplace, making excellent quality products of many kinds, including masks, and wall decor.  They are a business entity themselves.  Redbubble is what is called a “print on demand site”.  This means Redbubble take the largest proportion of any sales made on there, because its Redbubble who fulfil the order.  Redbubble sort out the manufacture, packaging, payment, customer service etc.  The buyer buys the product from Redbubble.  However, for an artist like myself who doesn’t want to spend ages producing products and prints, but likes to focus on creating, it’s a really great way of enabling people to access my art in a safe, affordable, and customer friendly way.

I know from conversations I have had with art collectors and art lovers that buying work directly from artists can be a bit of a step of faith. They often have many things which they feel unsure about.  For example, if it’s Okay to ask for a price reduction for a piece of artwork, or how they should go about approaching an artist or making a Studio visit to view an artwork.  It’s very easy to take the process for granted and not realise that it may be intimidating at worst, or just uncomfortable, for many art lovers and collectors.

It’s also very true, I know this myself, that not everyone is bothered about exclusivity.  It is very true that the world is full of amazing, collectable artworks from brilliant artists, of very many kinds, who are immensely productive and produce very collectable artworks. (PS “collectable artworks” are those which RESONATE WITH YOU and add to your LIFE STORY and interests in an EDIFYING way.)  For those who want to collect original art…paintings, drawings, sculptures etc…I have plenty of original artwork to collect.  Just contact me via the contact form, make a studio visit, or visit me at Kingston Artists’ Open Studios (when that resumes!)

I also have “unique prints”.  Let me clarify.  These are often monotypes, or similar kinds of prints which are original in themselves in that I don’t try and create editions with them, in the traditional sense of the word, but instead I treat them as an original artwork in themselves, which would include variations and additions of many kinds.  I like that. It’s more interesting!

I also produce, though not in any great number (indeed, up to now about 5 has been the maximum) signed and numbered photographs.  These, again, are not editions, but rather digital artworks and/or photographic prints which sometimes people commission or at other times I am just making for an exhibition, creative experiment, or myself. These “numbered and signed” prints are few and far between, and so if you are an art lover or collector who wants more than the open edition unsigned art prints available to buy via Redbubble, then this is possibly an avenue to go down.

It is the case that the so called “Art World” is very, very small in the universe of art.  I am glad about this and glad for avenues such as redbubble, which mean that the doors to accessing my work are much bigger, wider, and open, than me keeping a narrow view and artificially restricting my artworks to only those art lovers and art collectors who have the financial means to pay more for their visual art. Why exclude?  When the possible audience to receive your artwork is so wide, and vast?  Why assume that money equals value?  This is an outdated and unpleasant way to see the world.  It’s too restrictive.  It’s mean.  Money is important and Value is important too.  We need them.  Money can express value.  But when it comes to art… Maybe art is freer than this?  Maybe the so called “Art World” can be it’s own worse enemy if it becomes more about opinions regarding art based on desirability? A desirability which is not centred in the individual,  themselves and their life…what may help them have a greater richness and depth in their life… but on some kind of investment purpose?  We must invest in OURSELVES with art. There must be love, over other considerations like how much the object cost.  Meander over.

Back to Redbubble!

Most of the artwork I have selected to put up on my redbubble artists profiles( I have two, jennyjimjams and JennyMeehan) belongs to the strand of my creative practice concerned with geometric abstraction, and in this area of my art working I am interested in flat colour abstract images, often with diffused edges, plus a few other series, for example my “Keim Galaxies” and some collections with a modernist Art Deco vibe. It helps to keep the selection of artwork on such sites fairly uniform… it just looks tidier, but as said, if you see anything else on here which you like just let me know and I can put it on the site for a short time so you are able to order it.

Jenny Meehan: How to buy my art prints online safely, easily, and affordably.

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

This is my main Artist’s page on the print-on-demand site redbubble.

While primarily a fine artist, a big part of my creative ethos is that my work is as inclusive and accessible as possible, hence using a print-on-demand site to share the love !

Social Media

With the Coronavirus Pandemic there have been benefits to me as an artist, even though its sad not to have any actual physical art exhibitions.  It’s made me think more about using social media, and I am now using that far more.  It is wonderful to see other peoples artworks and photographs too.  I have found with judicious use it is a good thing.  It is very tempting to spend more time on twitter, instagram, etc than initially intended though!  Here’s a couple of screen shots from my instagram account.

I have two instagram accounts; jennymeehan_jennymeehan is the one which I tend to prioritize sharing a bit more of a “fine art” strand. (Not that I embrace the artificial distinction between fine and applied art, mind you!  To my thinking, the imagination is just as useful as a cup!)

Tidal flow flat colour soft edged abstract Artwork ©artist jenny meehan shop at jennyjimjams.redbubble.com

abstract flat colour art image title jump start by artist designer jenny meehan ©Jenny Meehan

My Favourite Selfie from Last Year

As I am missing my studio tent… For it is far too cold, still, to work in a tent in the UK for any length of time at least… I have fondly reminisced on last year in the studio tent.  I worked really hard to make it as warm as possible.  To achieve this I used horticultural fleece which is a lovely material and worked very well. You can see it in the background of this image.

Jenny Meehan Artist Designer selfie in studio tent/necessity is the mother of invention ©Jenny Meehan jennymeehan jennyjimjams in jennymeehan.wordpress.com

I quite like giving my selfies a title, and “Necessity is Mother of Invention” is just right for this.  For lack of indoor space, and need of an art studio, was certainly necessity, and the mother of my studio tent.  I work in my studio tent when the weather permits.  The sound of birds, and the sight of snails is very helpful to me! At other times I work in different rooms in the house, on floors, beds, tables, and in the garden.

Its a strange experience seeing more people working from home now. I’ve not been able to fund a studio space for more than a month, but I’m not unhappy about this, though its sometimes inconvenient not to have more room. I’m a great believer in “necessity is the mother of invention” and my work patterns and focus vary as the months of the year go by, due to the restrictions, which has served me well. At this time we need to adapt to the restrictions, believing that good can come out of them. Sometimes the best things come unexpected out of circumstances we wouldn’t expect.

Reusable Masks for Deaf, deaf, and Hard of Hearing People to buy online via Redbubble

 

Masks for deaf people in Coronavirus Pandemic Reusable facemasks Redbubble shop designer jenny meehan jennyjimjams

I continue to add the occasional new design to my rather extensive collection of face masks on redbubble. There are now well over 200 options for people who are deaf, Deaf, Hard of Hearing or anyone else who relies on lipreading or needing to see someone’s face for communication needs.  I am surprised how much I have got into these designs!

Masks for deaf people in Coronavirus Pandemic Reusable facemasks Redbubble shop designer jenny meehan jennyjimjams

I started creating designs for the reusable face masks sold by redbubble (a print on demand website) way back last year, and found my interest just grew and grew.  It is interesting to think about the flat design and how it can change when translated into a product.  I really enjoy the process.  I like sculpture very much indeed, so maybe its the novelty of not just working two dimensionally I enjoy?

 

Masks for deaf people in Coronavirus Pandemic Reusable facemasks Redbubble shop designer jenny meehan jennyjimjams

I have had some good and very helpful feedback.  It makes me very happy to know I can put my art and design into action in such a positive way. I will always be a painter first and foremost.  Yet I think it is very important for any artist to think “out the box” as much as possible, and if that thinking can help another human being at a difficult time then it’s worth “pushing the boat out” to put it into action. (oooooh, I do love an idiom!)

Masks for deaf people in Coronavirus Pandemic Reusable facemasks Redbubble shop designer jenny meehan jennyjimjams

Because this art journal is such a meandering discourse, I have now created a page with more information and focus on my communication prompt masks, stickers, and badges, etc with a bit more about this Coronavirus Pandemic deaf awareness project.  I really need to sort out my “Very Patient Knee Replacement Story” too, I feel.   Just not enough time in the days I find! (Deaf/deaf HardofHearing page coming soon… In progress!)

Masks for deaf people in Coronavirus Pandemic Reusable facemasks Redbubble shop designer jenny meehan jennyjimjams

I’ve designed 200 + options #deaf #Deaf #lipreading #lipreaders #hardofhearing #hearingloss etc facemasks! Can’t quite believe it!  But with digital technology it’s quite straightforward, and I do feel passionately about it.

It’s my coronavirus pandemic creative art project. I needed to have one.  And I wanted it to be useful to other people.

Masks for deaf people in Coronavirus Pandemic Reusable facemasks Redbubble shop designer jenny meehan jennyjimjams

Redbubble manufacture and fulfil the orders, and offer worldwide delivery and excellent quality and service. I buy things from them myself, and I have always been very pleased with the products and service.

Masks for deaf people in Coronavirus Pandemic Reusable facemasks Redbubble shop designer jenny meehan jennyjimjams

As well as my deaf awareness range, printed on masks, badges, stickers and more, and consisting of over 200 different designs, I have many other fashionable and decorative, face covers here on my artist profile at Redbubble, plus beautiful interior decoration designs for home and office.

Deaf Awareness lipreading masks; Coronavirus Pandemic Mass Masking; s Reusable masks and Accessories for deaf people deaf awareness shop at Redbubble designed by Jenny Meehan jennyjimjams.redbubble.com

If you like to double up your facemask the unfitted Redbubble masks, as show above,  work really well over a disposable mask if you only want the deaf awareness communication prompt for specific situations. I’ve stuck to showing the unfitted reusable facecoverings available to buy online at Redbubble, but they do also have a range of fitted masks though they are rather more expensive.

Masks for deaf people in Coronavirus Pandemic Reusable facemasks Redbubble shop designer jenny meehan jennyjimjams

I hope they are helpful and do please give your feedback for this coronavirus pandemic creative project as I’ve been working hard and feel passionate about it being a useful resource.

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

Jenny Meehan/jennyjimjams are both Redbubble artist portfolios belonging to me.

February Abstract Painting

Well, in another push towards order, I have decided to ensure I complete one painting each month.  The way I work means that I have loads of paintings “in progress” which I leave, return to, and contemplate on for some considerable time usually.  Though I am going through the months with these paintings, I am not trying to make them have particular resonance with the changing seasons, though I am sure some elements may seep in.  My painting is very emotion and instinct led, and I like to work freely, unless I am producing something in response to a particular brief or project specification.

British painting Lyrical Abstraction style by artist designer jenny meehan jennyjimjams colour blue white grey original abstract artwork to buy and image licensing ©Jenny Meehan

Well, that’s it for now.  Not very long and meandering this time. Roll on more of Spring, and the end of Lockdown I hope.

Traumatic Brain Injury Relatives Recovery – Time Table Video – Coventry Cathedral “Wonder” Auschwitz-Birkenau; “Lasting Stones” Painting

Art Journal Post January 2020 by Jenny Meehan

jenny meehan painting lyrical abstract floral promised land/break out painting

Needing some glimpses of colour at the moment, because it is a somewhat grey January day today!  Above a painting which sold a few years back.

spring will come digital image jenny meehan ©jenny meehan

And this, because Spring Will Come!  ©jenny meehan

Time Table

 

At the end of last year I was experimenting with making short video clips, just for a change.  My very short piece “Time Table” was selected for screening at an event in Manchester. Info below:

screening shown on 3rd December 2019 at STRETCH – Reel Time event. Held at Mirabel Studios 14 -20 Mirabel Street Manchester M31PJ

My statement:

“As an artist, writer, and home-maker, I manage my time by working in a completely piecemeal, and often spontaneous, way. I integrate my creative practice within my domestic life and utilise the flexibility inherent in this way of life. I used my work space, (AKA kitchen) as the setting for the film “Time Table”. I often produce work on my kitchen table is the object in the room which best represents the interrelationship between my artistic work and the other work I’m involved in.

Both forms of work are mostly unpaid, and it becomes a challenge to maintain a sense of self and a sense of value in our capitalist society which measures value by status and money.

The planner in the film has blank pages but rapid movement, because in both dimensions of my work sphere; the domestic and the artistic; I’m extremely busy. However, I find the reality of my work is non existent in many people’s perceptions; it’s blank; because they do not recognise what I do as being work. In our culture activities which take place in the domestic sphere are often side-lined and artistic creation is at risk as being thought as being a “free time” pursuit. I frequently get asked “What do you do all day?”

In reality, “work” reflects more to purpose and perception, than a context.

Like the table, the water in the film is a crossover subject too; from the water in the kettle (tea for a break time), the repetition and rhythm of a dripping tap (associated with labour and maybe monotony) and the water of a swimming pool (swimming being a “free time” activity for me). The pool is also a place for reflection: interestingly contemplative space for an artist swiftly re-orientates itself into a place of purpose for a reflective art practitioner.”

Jenny Meehan is a London based artist working with painting, writing, digital media and contemplative practices.

I don’t have much to add to the text I submitted. An interesting development was that I was able to finance just one month of studio space last November, and this made an interesting contrast to my usual working routine. I found that having the more clearly defined boundaries between my different roles does make things much easier in some ways, so I think in terms of the tangible nature of time…how it is seen, and recognised, or not seen and invisible, having a physical space matters a great deal for an artist, not only in terms of practical matters but also in terms of being a helpful contribution to a stronger sense of self/self-definition. I have found it makes a huge difference on how other people recognise my time as an artist…hence the activities which I carry out within that time/space… I know they matter, but its much easier for other people, particularly those who are not creatives, to recognise that my work is indeed not a sideline/hobby!

In other ways having a physical dedicated space has been restrictive, which I did not expect. There is a kind of pressure because the time has boundaries, I found that there is this need to fill it in a way which I am normally free of. So not having a dedicated physical space, rather surprisingly, can be a liberty, which I didn’t expect at all. However, as you can see from my work Time Table, there is a big interplay between the blank, empty space in the diary, and the full physical space. I need to leave a lot of piles of domestic clutter around me, because of the need to redirect my energy and time into creating art works! Definitely a balancing act!

The human being in Time Table is actually my daughter, though she is playing me! So credit to Charis Meehan for playing the part so well!

Time Table is now also on You Tube:

Father Richard Rohr

Always thought provoking, I’m grateful for this man’s work. There’s a lot of videos on YouTube from the Centre for Action and Contemplation.

When I think of Capitalism I can’t disconnect the shocking inequality for women which is so much a feature of it. I guess I’ve touched on that a bit in the Timetable video in terms of the effect it can easily have on women’s self esteem. I think women’s unpaid labour being excluded from public awareness does everyone a disservice. And different models of society are no less guilty of making domestic work invisible… I certainly need to do a lot more reading on the subject.

Capitalist  Economy and Gift Economy by Father Richard Rohr

Until the 2020 pandemic, Father Richard Rohr regularly gave homilies at his local parish. Delivered in a conversational style, these 10- to 15-minute sermons are part of the Mass at Holy Family Church in Albuquerque, New Mexico.

Recorded Sunday, September 1, 2019.

The Center for Action and Contemplation’s (CAC) podcast network serves as a gateway to the contemplative path. In partnership with Richard Rohr and our core faculty, our podcast series are designed to provide spiritual wisdom and guidance in support of inner and outer transformation. Help us co-create a world where everyone and everything belongs.

CENTER FOR ACTION AND CONTEMPLATION

The Center for Action and Contemplation (CAC) is an educational nonprofit introducing seekers to the contemplative Christian path of transformation. Founded by Richard Rohr in 1987, our programs and resources are designed to help deepen prayer practice and strengthen compassionate engagement in the world.

Coventry Cathedral

There was a very interesting “Open Call” for the commissioning of new vestments and a banner for Coventry Cathedral before Christmas, but the practicalities of it didn’t seem realistic to me in terms of financial recompense.  I think if I was both a designer and maker of banners and vestments then it wouldn’t be  such an issue, but for someone like me, who is a designer more than a maker (well, of vestments and banners, at least!) the making would need to be contracted out to someone else, with massive financial implications…at least, if it was to be done to a high professional standard, for sure.  The actual banner design has significant value, and the copyright matter wasn’t touched on at all.

I did contact the relevant person and put my view/perspective forward, but haven’t heard anything back. (not surprising!) The value of the actual design, and subsequent images of it, is very important, as is the project management, (time wise) and I had an excellent idea to explore with it, but I simply cannot afford to spend hours on something which is basically speculative.  It’s certainly speculative if I wouldn’t consider carrying out the project due to insufficient funds if I was fortunate enough to be selected, so I have just left it.

It is often quite a problem with design competitions and copyright.  If the copyright of the banner design image had to be assigned, and that was part of the arrangement, then it needs to be clearly stated.  I personally don’t assign copyrights ever, and so to need to do so would also be a reason not to enter such a competition.  It is very important to include copyright information in design briefs. I always retain copyright for my art and design and for it to be used there would need to be a suitable licence in place.  The value of such of licence agreement, needs to be factored in when establishing the value of the artist’s work, and this affects what can be considered a realistic payment in financial terms.

There is also the problem of requests for designs being made and then, though not selected, substantial elements being used with very slight variations. I’m not suggesting this would be the case in this instance, but I have heard of situations where an artist/design call out is made, design work is speculatively produced and shared, rejected, and then layer appears in a slightly adapted version but which shows very substantial similarities to rejected submissions.  The main thing is, copyright matters need to be clear.

Coventry Cathedral

Some comfort to me, bearing in mind the above, was that I was able to offer an animation for showing at Coventry Cathedral on my birthday!  This did make me most happy, and it was fortunate that I had been experimenting with animation a little at the end of last year.  I had something emergent conceptually and the Open Call at Coventry Cathedral for one of their events on New Year’s Eve was very timely, as it gave me the additional impetus to continue working on something which I had started.  Some things are just providential, I have decided.  Timing is often everything.  The Open Call at Coventry Cathedral was perfect timing and I worked obsessively on producing the work which was a duo of a poem and also the animation.

Both the poem in written form and as word and image animation are titled: “Wonder”.   The poem is below.

 

Wonder

 

Both soft and clear

Beautiful and broken

 

Light is transformation

Colouring the soul

Endless pattern

Radiating

 

Ever differing

Yet completely

Whole

 

by Jenny Meehan 2019

 

The version shown for the event was a silent video of word and image. 2.26 duration, in a square aspect ratio.  No punctuation. The version I decided to call the final version is here:

It’s a better pace, as its slower.

Wonder was selected to be shown as part of the Open Projections: Digital Art Exhibition NYE@Coventry Cathedral on 31st December 2019.

Text from the Artist’s Call Out:

“Open Projections is a series of digital and moving image projection exhibitions hosted by Coventry Cathedral. The series is hosted by guest curators and arts organisations. Art on show features digital and photographic work created by local, national and international artists. For the latest edition of Open Projections, on New Year’s Eve, We will be projecting onto the ceiling of Coventry Cathedral, using the design of the roof as a screen for each work. We will be inviting guests to lay on the floor and stare upwards (Don’t worry, bean bags and underfloor heating provided).

The brief is for this edition of Open Projections is ‘Spectacle’A visually striking performance or display, or An event or scene regarded in terms of its visual impact.

We are interested in showing work which explores the idea of spectacle and a visually stimulating display inside the cathedral. We have intentionally made the brief for this exhibition open to interpretation as we want to embrace the Cathedral’s space for New Year’s Eve. “

 

Coventry Cathedral became a major tourist attraction as soon as it was opened in 1962.  It is a very interesting building, and the ruins of the old Coventry Cathedral are also beautiful.

The Blitz of 1940 saw Coventry city centre devastated by enemy bombing and, today, only the shell of the old cathedral still stands.

A new cathedral was built on the site of the ruins and the two stand side by side providing a stark but beautiful reminder of the city’s tragic history and inspiring resilience. The new cathedral would be a sign of faith and hope for the future, and the decision led to the cathedral’s Ministry of Peace and Reconciliation, which has provided spiritual and practical support in areas of conflict throughout the world.

It’s a very inspiring place and I was delighted to have some of my work there, even though briefly.  It’s just the kind of place I like my work to be enjoyed in!

 

Traumatic Brain Injury

I like using my own poetry with my visual work because it suggests what the visual expression is about but does not dictate precisely to the person responding to it: their interpretation is valued by implication because the meaning is not made explicit. Poetry is an abstracted form of communication and often leaves many gaps or blanks in our understanding; these unfilled areas are just as valuable and are as much a part of the expression as what is written. It is like this in life I think: sometimes there are no words to say; a silence can speak volumes; it can allow understanding, and communicate a depth of feeling not possible with words.

I write poetry from time to time, alongside other types of writing.  I wrote a lot of poetry between the years of 2008 and 2010, when I was having real struggles coming to terms with the changes in a close relative which they experienced as a result of a TBI (Traumatic Brain Injury).  Because it was such a difficult time, and emotionally and mentally I was quite literally “all over the place” writing poetry was extremely helpful as it enabled me to attempt (attempt!) to put into words very difficult and conflicting emotions.  At least with poems, the words which couldn’t be written (and couldn’t even have any presence), still existed and were there, invisible and not logically or rationally understood, but emotively just there…in their absence. That’s how it felt. The unsaid didn’t have to be taboo.

That sound’s a bit odd, I think but what I mean is, there was so much for me for which there were no words, and which there could never be any words sufficient to express.  That’s how it felt. The horror and the complete senselessness, the total insanity, that anyone could do what they did to my relative, was simply beyond comprehension. His head injury was the result of a violent assault.  And human minds like things neatly packaged in understanding.  We like to have things contained in knowledge and have things which we can hold onto.  It’s not an easy experience to describe.

I experienced much intense stress myself, with the worst period being from around 2008 to 2011. This was partly as a result of my family member’s brain injury, though other factors played into that period in my life. My experience was, I think, accentuated because I had many early life adverse childhood experiences, and the experience of having the one relationship which previously brought some sense of sanity into my early years of life, torn apart and altered by such an injury, was beyond my own capacity to cope with.

Well, I did carry on with life, thankfully, and there were many helpful practical reasons which made life worth living, even if it seemed overwhelming and I had a lot of fear and pain to contend with. A big part of the positive move forward was to cease attempting to cope with the pain by self-medicating with alcohol and also to start a process of healing from the trauma through psychotherapy.  It really doesn’t help when some senseless violence is the cause of your relatives TBI. It added another layer of  trauma to the situation, because having experienced in earlier life myself various forms of violence, it simply feels like one thing too much.  I think the total conviction that something is too much to bear pretty much sums thing up quite succinctly.

I was fortunate to access psychoanalytic psychotherapy from 2011 onwards, and this was much needed and rather overdue. I’m immensely grateful for the help and support I have received, and continue to receive, from various people around me. I’m still working through a lot. That’s the way life goes; It seems to come in waves! Things sometimes come up which plunge you into a difficult place, but there’s no doubt that having faith in a compassionate Creator Godde, having relationships and connections with others, having creativity and the means to express so much both in words and images; all these things work for good and prove healing and restorative in many ways.  I have found yoga, drumming, and contemplative spirituality, mindfulness, prayer and enjoyment of the natural world all amazingly useful.

Having my life orientated, ultimately, towards Christ, (for my faith tradition is Christian) and trying to walk in the ways Christ taught, is for me the way forward.  The recovery road is endless, because learning and changing are endless and we are never “all sorted”.  It would be unwise not to embrace our brokenness.  However,  even when at times things are hard, that’s OK, for seeking truth and understanding, making healthy connections and aiming to live in love in the best way we can, is liberating (certainly is so far!) and that’s all good.

Sometimes I think I have had a silly amount of trauma in my life, but it’s not a competition, this stress and suffering matter. I recognise that often people don’t want to, or can’t, reveal their own suffering and trauma to others, but in reality it’s there and basically, though it seems very obvious sometimes due to dramatic life events, often it’s not obvious but still runs deep, none the less. We just cannot judge what people go through and don’t go through.  Often it’s mostly unseen.

I’m glad I can touch on some of mine a bit from time to time. I do this because I am able to articulate it and it’s helpful to me to do so sometimes.  I have been surprised at what I have learnt through my experiences of being a relative of a person with a traumatic brain injury. I would never have appreciated previously how much and to what extent one person’s injury can also affect another person.  There is a corporate damage which happens when one person is hurt, and often the relatives and others around a person with a traumatic brain injury need help and support in a way which is easy to under appreciate. Survivor’s guilt is complicated.

I found the charity Headway exceptionally helpful to me.  Getting good, helpful, informed information and getting educated about certain things can help one retain ones own sanity at difficult times, because it can be very isolating and it’s totally common to feel completely alone.

https://www.headway.org.uk/

 

I found the following a very heartening read:

https://www.baat.org/About-BAAT/Blog/124/Life-After-Brain-Injury-The-Role-of-Art-in-Rehabilitation

I think for myself, (though I haven’t previously put the two together), that my increased involvement in visual arts and writing which started to emerge initially from around 2005, may well have begun as a helpful coping mechanism.  I know it was the case a bit later on; It was immensely beneficial for me; the physicality of it, the contact with materials, and the way it helped me to be in the present moment.

My earlier life aspirations of being an artist were something I had left behind years back; I wasn’t in a position to put my energies into the visual arts direction in the first half of my life.  That’s not a bad thing.  I think it was good to have the maturity I had later on.  It’s important to have a sense of direction as a fine artist.  It can’t come from anywhere but yourself.  It means facing yourself, and that’s not an easy thing to do.

Below a bit of blossom.  Hopefully soon I will see some in Chessington and enjoy the colour and scent. Time spent looking at nature is very well spent. I use my photography as a form of meditation, and the photographs are simply evidence of the process. I took plenty of images as I looked at the blossom for a long time!

 

 

jenny MEEHAN photography

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I worked more with some of them later but I haven’t decided how I want to use them as yet.

Knee Replacement Surgery

As you can see from a couple of the pages of this Artist’s Journal/Blog which are titled “The Very Patient Knee Replacement Story by Jenny Meehan” I enjoy writing at length! My knee replacement surgery in 2017 at South West London Orthopaedic Centre, (SWLEOC) ,  was a very significant life event for me.   I had become increasingly disabled, and the experience both before, during and after the knee replacement surgery inspired me to write my story, or at least that chapter of it, for other people to read.  I hoped that it might prove informative and helpful.

My knee was in a very bad state and the recovery was hard work, but well worth it.  I now enjoy walking and being able to live my life.  I’m able to carry on my artistic and creative activities much more easily than I had done for the years running up to the knee replacement surgery.  The enforced rest was very good for me.  It was hard work recovering in many respects, but it also forced me to reflect on many things, and writing about the experience was something I found helpful in the recovery process.  It became a focus for my mind, which is very important, because after a major surgery your whole body and mind and emotions are affected, and it’s vital to have focus on your recovery, yes, but also on things apart from it. It can be a disorientating experience to be flung out of your usual routine into a completely new one.

Well, the knee is still going strong.  I did fall on it rather hard on the way home from yoga one day but it’s still working so no worries.  I am just loving being fully mobile and being able to walk around without any restriction at all. If I ever get to the point of needing a knee replacement revision surgery, I guess things may well be quite different in a few years time.

If you are in need of a knee replacement it is really important to be well prepared for how it can impact your life.  It is a surgery which requires a lot of work from the patient afterwards to really maximise the potential positive effects.  Do take a look at my knee replacement recovery pages if you are interested in gaining a patient’s perspective and experience of knee replacement surgery in the UK.  It is going to be different for everyone, but I found it helpful reading around a bit beforehand, as it helped me to appreciate the importance of the rehabilitation process afterwards, and also to not be completely shocked by the challenges which normally follow a TKR.

I’m just grateful I can walk around. I will never take that for granted again! I’m my knee replacement story is now on the internet so it’s nice to know it might prove useful to people, even if it is in rather a massive textual glob!

 

January 2020 marks the 75th anniversary of the liberation of Auschwitz-Birkenau.

“In commemoration of this major anniversary, London Borough of Richmond Upon Thames, working with the Landmark Arts Centre, will be showcasing artwork, poetry and prose submitted by schools, community groups and individuals from across the borough. This exhibition will be a moving commemoration of the Holocaust and, by featuring work from many different areas of our community, a fitting reflection on the national theme for the 2020 Holocaust Memorial Day: Stand Together.”

 

 

Image above is “Lasting Stones” an acrylic painting by Jenny Meehan ©jenny meehan

The painting is part of my painting-poem piece; the poem being titled “Tiny Bones”

So glad to be part of this exhibition.  Such terrible genocides which have happened, and still happen, have been something I have touched on in my artwork before. The senseless violence and hatred which happens in our world demands awareness and I think it’s very important never to forget how extreme things can get, if allowed and encouraged.

https://www.thejc.com/comment/comment/the-importance-of-remembering-the-holocaust-1.59585

Quoted from above:

“Why is it so important that we remember the Holocaust and how can we make sure future generations never forget?

The Holocaust is a contemporary issue. It cannot, and should not, be an event consigned to history.

Paradoxically, the reasons for this lie in its ancient roots. The Holocaust is not bound by a few years in the mid-20th century; instead, it stretches back, past the parameters of the modern era, into the medieval age and beyond to the inception of antisemitism.

Would the Holocaust have been possible without the Protocols of the Elders of Zion? Without Dreyfus? Without the Spanish Inquisition? Antisemitism, discrimination against Jews of all walks of life, was not a new concept in 1933, but was widespread and prevalent in many countries. It is therefore incorrect to let the Holocaust be consigned to the period of the Third Reich; the Nazi regime manipulated and amplified the latent prejudices of its citizens. It did not create them.

This makes the Holocaust a contemporary issue because it demonstrates the atmosphere in which genocide can take place. How many people pertain to prejudices which are unfounded and illogical, but which are unconsciously adhered to? These beliefs survive both because they are socially acceptable and because they remain unchallenged.

There remains in our society a degree of antisemitism, but furthermore levels of xenophobia, Islamophobia, a fear of the travelling community, of black and Asian communities. Indeed a recent survey has shown these prejudices to be on the rise.

It is therefore important to remember the Holocaust because it is an example of how these trends could evolve into something far more threatening.”

It is vital to remember the Holocaust. Vital.

Here is a good site on genocide today:  https://www.genocidewatch.com/

 

My own mother, a Catholic, was born in Villingen in Germany, but immigrated with her mother to Switzerland just before the Second World War. Unfortunately she is long dead now, so I cannot ask her questions about it, and she was only a few years old, but I understand that Catholics were also in the ranks of the persecuted, which I had not realised until recently.  I will never know why they left Villingen, it may not have been related to any persecution, but somehow, for me, with so little factual knowledge about my own history, due to very little being said when it could be said, the possibility remains. I do know that the rise of Hitler to power caused many people to leave Villingen, so for whatever particular reasons, I can see that it was a wise move on the part of my Granny.

 

Well, that’s it, for this part of my Artist’s Journal.  It has been hard to get around to writing it… Rather late in the month for it to come out.  However I find the process of writing it helpful.

Image above: Road to Recovery ©jenny meehan   Early oil painting by Jenny Meehan

 

Jenny Meehan – General Information

 

My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces.

While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity.  I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!

My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.

All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance. My image licensing fees are set by me, so while using the industry standard as a guide, I have some flexibility.

 

Alongside my mainly lyrical abstract paintings, there is another important strand in my work which includes more of a narrative.  Well, some kind of narrative. Through my writing, and my participation in ongoing psychotherapy, I draw on my subconscious.  It’s this process of self reflection, examination, and other contemplative practices which are rooted in my own faith tradition as a Christian, alongside a good dose of yoga and West African drumming, which have created an exciting way ahead for my work with visual art.  I think it’s the relationship between my writing and visual work, particularly through poetry, which helps determine the direction in my art practice.

 

 

July, Well, August… Volatile organic compounds – Finding Joy” by Carter Heyward – Looking backwards in order to move forwards – How to pray when we don’t want to pray – In the Garden – Langstone Harbour – The Tide Comes In

This is not the right time of year for writing blogs…

The sun is so hot, and so good at drying paint! (More on that later!)

I have a lot of work in progress… As always!

There are masses of flies in the studio tent, but thankfully they do leave when I come in and work in there.

Not much sign of snails in there even, except in a few damp crevices!

And I have now realised that I do get sun burnt even when inside the tent… translucent tarpaulin is not great at keeping UV rays off the skin!

(Update..And now in August…The rain has come! Much easier to work now!)

I am going to keep this months journal entry short, but have to say…

Congratulations NHS!  On your 70th year!  When posting this journal, finally….It’s a long way back.

Thursday 5 July 2018…

And without the NHS I wouldn’t be able to walk or stand as I need to…

It’s freed me to paint and work, and I am grateful every day I wake up with a working knee!

I can carry things, move work around, paint big paintings, and have big dreams.  Before my knee replacement my whole life was starting to run into a funnel, with a very narrow spout!

I’m not going to post lots of images of paintings in progress… I really have far too many and it would become quite pointless.

Because I work in such a piecemeal way, I have to work more on relinquishing the work when it is in progress, rather than tracking it.

I find this more helpful to my self.

It’s an odd way of working.  But I think its about picking up pieces.  And I have so many pieces.  Picked up and put down.  Not normally advised as a good way to work.  For for the abstract painting process it works very well for me.  This also applies to my many notebooks, reading and research.  It’s a constant process of losing and finding things. And unexpected relationships occurring.  With a lot of contemplation in between.

I have toyed with the idea of revealing what I am up to with my work, as it happens, but I need the energy brewing inside with the pressure which comes when something hasn’t been released into the world.  It feels like the minute something is published, it’s partly let go, somehow.  I don’t mind putting the occasional piece of work on here from time to time, but that’s enough.   It feels much better to publish images which I know have stood the test of time.  They have proven themselves able to stand on their own two feet.  Paintings with feet. Now, that’s a thought…

VOC’s  and painting large abstract paintings in the VERY hot sun

I am very much loving the sol-silicate paint I use from Keim Paints.

It’s AMAZING… and as I am working outside in the very hot sun, it is also very healthy!

I do wear gloves if I know I am going to be handling a lot of paint, because it is very alkaline.

It’s drying quick…I use Soldalit.

Very fine brushes are best, I find, but rollers can be useful.

The light bounces off the matt surface beautifully.

It’s a JOY!

keim soldalit sol silicate paint hand mixing up colours for use in fine art abstract paintings by jenny meehan

It takes hours to make many pots of paint ready for a painting session.  Well worth it though!  I love this paint. It’s heaven!

I first started using Keim mineral paints a few years back.

I do use acrylic paints too, but I wouldn’t use large amounts in the sun anymore.

I did do this a couple of years back…

I could smell the fumes coming off the surface of the paint in the hot weather, and thought to myself, “NO, no NO!”  This isn’t good for me.

As I have to paint large scale out of doors, and very hot days ARE quite handy when drying paint matters, having paint to use where I don’t need to worry about what I am inhaling is just GREAT!

I don’t paint if the temperature is more than 30ºC, as per instructions… and find painting in the morning and evening essential at the moment because it is so very hot.

“Important Note – Materials must not be
applied at temperatures below 5ºC nor those
in excess of 30ºC, nor if it is raining, or if there
is an immediate likelihood of rain”

There certainly are no worries about an “immediate likelihood of rain” at the moment.  (PS  written before the rain came!  In the end, there were a good few days above 30% too!)

I do remember having to be very careful when painting my exterior mural all those years back, and needed to hang bubble wrap over the entire surface to protect it from rain!

I am painting on grey board…it is absorbent, and I thought I would need to use some fixative for the first layer, but I forgot to get some.  It is indicated, but as the area is so small (compared to what it would be if painting a large wall) I am managing without it.  I wish I had got some in order to make the paint layers a bit thinner, but with a fine brush and quick spreading I am getting away without it.

The grey board varies in thickness.  It is a little bit flexible, so not quite the rigid surface required but I don’t mind experimenting…It will most likely crack if bent, but I am not planning on bending it.  And I am currently experimenting on some flexible surfaces with the intention of cracking the paint layer.  So in some pieces I play things safer, using what I know of the materials I work with in order to produce a more predictable result.  And in other pieces I am jumping out, breaking the rules of the usual application of the Keim mineral paint, and enjoying the fact that, as I am not using the materials with the requirements of a building application to be met.

I spent a great deal of time mixing up the colours with the selection of Keim mineral paints I have available.  And now I need to move forwards at quite a rapid pace, because they won’t last forever…Their shelf life is stated as being 12 months.  I have found this varies a lot (and for my purposes, can be several more years, as long as stored carefully)  but once I have mixed up the colours, I guess maybe because of air and some evaporation, I need to commit to some steady application!

I love these paints so much…

Yes, all types of paint have their qualities, but it’s so nice to use paint which is healthy and environmentally sound.  VISUALLY it is pure as pure can be.  None of the plastic quality of acrylic paint.

Yes, acrylics can do many things well…I have not thrown mine out.  But I won’t be using mine in the hot sun again for certain.

But working with the Keim Mineral Paints is fantastic.

When I come to wash out the brushes or whatever, I tip the painty water on the garden.  Don’t need to put anything into the water system.  I am not sure if this is good for the garden but the plants seem happy enough… No complaints as yet!

If there are thicker paint layers in containers, it’s just a matter of letting it set and chipping it out.  That goes on the garden too.

I am also experimenting with the Keim Mineral paint in many other ways, which will no doubt seep out as time progresses!

keim soldalit sol silicate paint initial layer of painting fine art abstract paintings by jenny meehan

Above an example of the early stages of one of my paintings.  I am seriously into circles and squares at the moment.  Rests and motion, drums, drum beats, sound, filling space, boundaries, edges, meetings, ….That’s the poem.

Finding Joy” by Carter Heyward

“I said then, and I say now, God is our power in mutual relation, the energy we generate when we truly love one another, the life-force released among us when we practice forgiveness of our enemies. God is the power that creates the universe around us and through us when, together, we struggle for justice for the poor and oppressed and those people and creatures of all species most disregarded by the structures of advanced global capitalism. That mighty relational Spirit for “making justice roll down like waters” is always a root of our joy!”

Quoted from 9/29/13 “Finding Joy” by Carter Heyward

You can listen to the whole talk here:
https://www.pullen.org/sermon-archive-1/92913-finding-joy-by-carter-heyward

Carter Heyward is a feminist theologian, teacher and priest in the Episcopal Church. In 1974, she was one of eleven women whose ordinations eventually paved the way for the recognition of women as priests in the Episcopal Church in 1976.

Volatile organic compounds and why it’s worth being aware of them

For those not familiar with the term VOC, paints used in the home contain ­potentially harmful chemicals such as ­solvents and volatile organic compounds (VOCs),  and when paint dries, these chemicals evaporate into the air where the hapless artist or decorator  inhales their toxic fumes. This is true for both water based (acrylic emulsions) and solvent or oil based paints.  Inhaling paint fumes can exacerbate asthma and ­sinusitis, and because the solvents are absorbed into the lungs, then the blood stream, they can lead to headaches and dizziness.

I have experienced this myself when working with oil paints indoors on a hot day.  I keep my use of oil paints for cooler days, in a well ventilated area, and not on a very large format, where possible. Though I do confess to liking the smell of turps, I also realise that the fresher the air the healthier is my breathing!  It’s worth being aware that when VOCs are inhaled, they can cause eye, nose and throat ­irritation. In large quantities, ­animal ­studies have linked these chemicals to birth defects, cancers and damage to the central nervous system.

Oh er…

So best to breath fresh air!

According to the World Health Organisation, professional painters are most at risk, for they have a 20 per cent increased risk of a range of ­cancers, particularly lung cancer.

That’s a big percentage increase.

So anyone using larger amounts of paint, regularly, on bigger surface areas, needs to consider VOCs and the effect on their health.

There is even a  ­neurological condition brought on by long-term exposure to paint solvents — ‘painter’s dementia’, which I guess isn’t that surprising.  The World Health Organisation has also concerns about the long-term health effects of ‘off ­gassing’.  Off gassing is  the release of vapours over the life of the paint. (ie when it is on your walls).

If you do use a large quantities of paint as an artist, then it’s worth using it as safely as possible.  AND disposing of your paint responsibly.

Keim Mineral paints have given me the freedom I need as an artist to experiment with paint in large quantities, but free from any concerns of impacting the environment, or myself or other people, in a negative way.

If you are using large amounts of oil or acrylic paint, on a regular basis,  then consider using a respirator mask if you want to be keeping your air as fresh as you can, and work in a well ventilated area, taking regular breaks.

Healthy is important.

Now I can walk well with my new knee, I am pleased to say that I incorporated walking into my efforts for a healthy lifestyle.

Still eating a bit too much sugar!

Looking backwards in order to move forwards

the river within jenny meehan ©jenny meehan

I spend a fair amount of time looking backwards at previous art work. I find it essential.  As well as looking forwards, into all the ideas I have.  But the ideas of the future have no roots, and the past is well rooted.  So I need both to work for me well.  Constantly I find myself filled with ideas which could happen in the future.  But I also find myself finding some ground to stand on in work I have done in the past.  I normally don’t realise where I am going at all with my painting unless I regularly look back, and then I see, like an old friend, a painting waving at me and saying… “See…  this mattered to you then and now it matters to you again!”

So when I found this one, (above)  “The River Within” (quite early…around 2010, I think) I realised another strand…

KAOS open studios jenny meehan paintings

This river business, with arc, is quite clearly something which is going to stay with me.  It’s popping up all over the place.  For myself, the significance of water is life. This feeds into my faith and belief as a Christian and follower of Christ, and should most accurately be read as an expression of that in most of my work.  If someone wants to “read” the “meaning” of my painting in that way.  Hopefully little things I write and say don’t detract from the poetry of the work which is my deepest motivation in creating it.  Water as spiritual life, flowing from the Creator of all, and manifest through the sacramental incarnation of Christ in the world.  Quite a mouthful!

However, for those of you from different faith and spiritual traditions or none, I also, as I play with various concepts in my thinking and enjoy researching many dimensions of things I encounter in life, explore many other angles on the symbolic elements I experiment in my work and all of them add something very great to the whole process, and open many interesting avenues, all resonating in a meaningful way. All faith traditions have many areas of overlap and unity, and it’s vital to appreciate these, share them, and respect differences, accepting the other/s, in the way we would wish to be accepted ourselves.  Love is the most important thing in life.  Love God and love others as yourself.  And communicating viewpoints with respect and peace.

Other Christian people may enjoy the way my faith is centred and rooted, and resonates with their own faith experience, and maybe recognise some themes in my painting practice  which stem from my belief system.  But I don’t tend to describe myself as a “Christian Artist”.  This is mainly because I am not attempting to convey a scriptural narrative or assert my work as specifically Christian, ie for Christians or for a Christian context.  Who I am as a person is intimately connected with my work, but the complexity of a human individual goes far beyond their religious tradition and identity within that.  All kinds of things have shaped my life. And while how my faith religious beliefs shape it is of interest to many, there are many other people who don’t find this dimension of my work of any interest to them.  I paint for myself and, for all who are interested in my work, for whatever reason.  For the purposes of search engines, then it’s common sense to use keywords which include Christian, because many Christians do seek out artwork created by others who share the same faith.  But it is my hope that this doesn’t ever prove a barrier to accessing or appreciating what I do. I am sure many other artists from different faith traditions and belief systems feel the same way.  Art is always there with the aim of opening eyes to new ways of seeing and experiencing the world.  New perspectives tend to enrich life, widening and extending the borders of what we had previously embraced.

Ooops, meandering and slightly digressing again!  Water, and many other concepts and ideas around it, have a long term thread through my visual art practice.  My contemplative practice and the research I do all feed into my painting and help steer the direction of it.

How to pray when we don’t want to pray

I found this very useful…See below, the writing in italics. This was published in Formed by the Spirit, The Newsletter of the Southwark
Diocesan Spiritual Formation Group; Opportunities, events, resources and articles on prayer and spirituality Issue 27: February 2016. It is written by Chris Chapman.

How to pray when we don’t want to pray
There are times when we don’t want to pray. We find that we are too busy to stop – but somewhere recognise that our activity is a way of avoiding the pain of silence where we might meet our own raw emotions or unresolved history.
Underneath all, we might not be sure we can trust this God with what matters to us most. We don’t want an answer that isn’t our answer
Or perhaps we are fed up with sitting there in the place of prayer and not getting anywhere. For all our efforts we remain distracted and restless, so far from the place of peace and understanding we desire.

How to begin to pray when we don’t want to pray? Here are some suggestions:

1] Begin from where you are and how you are: So, perhaps your prayer starts ‘I am sitting here unwillingly’ or…’I am not able to trust you’ or …’I am angry with you’…or ’I wonder whether you really care about me’…or ’I am afraid of what you want from me’.

2] Acknowledge that part of you that doesn’t want to pray…look without judgement at this side of your being. Now seek out that part of you that does feel drawn to pray: a sense of invitation that arises somewhere from within, an impulse that comes not as an ‘ought’ but as a longing that perhaps you are not used to listening to. Listen to that desire now.

3] When are you most relaxed: walking, cooking, gardening, knitting, or losing yourself in a book? Imagine yourself sharing this time with God. You are not so much looking at each other face to face as being side by side, comfortably sharing the experience. Perhaps some words flow one way or another, but being alongside might be enough of a beginning.

4] Let go of trying too hard. So, rather than summoning up your concentration, fighting distractions that come, or trying to squeeze wisdom from bible verse that mean little to you…relax. Prayer does begin with intention, and with choosing to place ourselves in a listening, attentive place, but the rest belongs to God. Leave what comes or does not come from your time of prayer with God. Everything is gift.

5] Use you body to help you to pray. Hold you hands closed to make fists. What is held inside there…feelings, experiences, repetitive worries or thoughts? Now open your hands and turn them palm upwards. All those things are still with you but now there is air around them…now you are open to God who cares about you and about what you carry. Keeping your palms open, turn them so they face down. Now you allow what you carry inside to fall away.

6] Be present: When we step into the present moment we also step into the ‘always’ of God. Look up from your work desk and watch the moving clouds. Open your window in the early morning and listen to birdsong. As the sun gathers strength enjoy its warmth on your back. Give thanks for what you receive in that moment.”

All very helpful!

In the garden

I am spending a lot of time in the garden right now.  It is the largest area I have for painting in and so when the weather is good painting weather it is a priority for me to be there.

I enjoy gardening too.

Here are a couple of poems I wrote inspired by the beauty of creation.

January

to merge – climb – burst forth
written forms vibrate each shoot
trees majestic stand

(Jenny Meehan copyright 2009)

Blossom and Bamboo

curved tips arching low
in stillness dips light-flecked wish
white blossom pleads pink

(Jenny Meehan copyright 2009)

Blossom, Bamboo, and Branches all feature in my visual art quite regularly.  Here are a few examples:

oriental blossom by Jenny Meehan © Jenny Meehan.

and a more recent monotype.  I used cut paper, ink and rollers to create the art work below:

bamboo blowing monotype jenny meehan

© Jenny Meehan.

jenny meehan drawing painting uk ©jenny meehan

“Crouched and Facing Bamboo in Light and Shadow”  is an experiment with the shadow of the bamboo in my garden and a drawing of a crouched figure.  It’s still in progress as I am not 100% happy with it, but it has potential.  It’s expressive of struggle, pain, pressing forwards.

Bamboo is VERY useful!

I have a lot in my garden.   It makes very good paint mixing sticks.  It makes useful paintbrush holders.  And it is great for hanging things on.  I love looking at it blowing in the wind.  It’s so strong, and yet bends.  It is spreading year by year.  So I think I need to think up some other uses for it.  I did make some bamboo pens, which worked quite well.

I have a tree in the garden with blossom.  The blossom is beautiful, but delicate, and it does not last very long.  It’s fragile and white. The wind takes it and scatters it like snow. It looks just like snow when its falling.

The London Plane Tree at the front of the house is another source of interest and inspiration .  I’ve moved computers recently and cannot locate the full image digital file, but the purple picture on the top right is “Notation” which is based on an image of the London Plane Tree.  And the blue image on the left is the base image I think.  I took many, so not sure exactly but it looks like it.    I do have extensive archives on hard drives and could locate the image quite quickly but I am so behind on so much I cannot be bothered to do this right now.

Take a look on redbubble.com at the fabric design I created from one of my images of the London Plane outside my house:

https://www.redbubble.com/people/jennyjimjams/works/14956416-london-plane-lacewood-tree-pattern-design-by-jenny-meehan?c=389187-jenny-meehan-surface-pattern-and-clothing-designs

And the Fatsia in the front garden…

https://www.redbubble.com/people/jennyjimjams/works/14960095-fatsia-japonica-abstract-design-by-jenny-meehan?p=art-print&size=x_large

I also have many photographs of blossom, which I focused on one Spring;

jenny meehan  photography ©jenny meehan

jenny meehan  photography ©jenny meehan

jenny meehan  photography ©jenny meehan

I tend to use ice, glass, frost, snowflakes as metaphors for trauma, and the way that blossom, though soft and beautiful,  looks like snow when it is falling, fascinates me.  Falling snow melts, and snowflakes are beautiful, things can viewed as  one thing soft, and alive, or conversely hard, sharp, painful.  Falling implies surrender, even death.  Healing from trauma when it happens is trans formative.  It changes the way things are seen and experienced.

Just a few here shown.  But blossom and bamboo continue to inspire me!

Some information from Wikipedia;

“In Japan, cherry blossoms symbolize clouds due to their nature of blooming en masse, besides being an enduring metaphor for the ephemeral nature of life, an aspect of Japanese cultural tradition that is often associated with Buddhist influence, and which is embodied in the concept of  mono no aware.  The association of the cherry blossom with mono no aware dates back to 18th-century scholar Motoori Norinaga.^[11] The transience of the blossoms, the extreme beauty and quick death, has often been associated with mortality;  for this reason, cherry blossoms are richly symbolic, and have been utilized often in Japanese art, manga, anime, and film, as well as at musical performances for ambient effect”

and

“Mono no aware (もののあはれ^?), literally “the pathos of things”, and also translated as “an empathy toward things”, or “a sensitivity to ephemera”, is a Japanese term for the awareness of impermanence (無常 mujō^?), or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life.”

Mono no aware…  How beautiful…

Redbubble.com

I really need to put some more of my artwork on Redbubble, but never seem to get around to it.

I get a small royalty when someone buys merchandise on the site with my design on it.

http://www.redbubble.com/people/jennyjimjams/works/16697304-new-era-geometric-abstract-rainbow-colours-design-by-jenny-meehan

new era rainbow coloured abstract design by jenny meehan ©jenny meehan

Please note, all my images are copyrighted and should not be used without permission under any circumstances.

If you wish to obtain a license to use a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.

This is quick and easy for both parties and is organised either directly with the artist or through a collective management organisation; DACS, depending on nature of use.

Good Quote:

“Shortcomings, both real and imagined, when deeply seen and accepted, are an important part of the transformative process of learning to let go. If we do not let go of the need to be perfect, our need to be perfect will get in our way. Likewise, if we do not let go of our fear of failing, our fear of failing will get in the way. But as we learn to let go of the need to be perfect and the fear of failure, the intimate, earthy stuff of being a vulnerable, loving human being begins to shine through. In an ongoing process of learning to let go we bear witness to the great truth that the master limps. The mastery of life is intermingled with the ongoing weaknesses and limitions that gives life its rich and many layered texture and meaning.”
Copyright © 2013 Dr. James Finleyhttp://contemplativeway.org/newsletter/contemplativeliving.cfm

Langstone Harbour – The Tide Comes In

This painting is one from the past, but still available to buy if anyone would like it.  It is a rarity in my work, as it was painted outside, as you can see from this image.

langstone harbour painting by jenny meehan

Langstone Harbour lies between Portsmouth Harbour to the west, and Chichester Harbour to the east. It is a tranquil and beautiful place, the heart of a dynamic urban area, and a vital part of an extensive biological system.

The harbour is home for charter fishing boats and commercial fishermen, and hosts two commercial aggregate wharves. Many recreational activities including yachting, canoeing and windsurfing are also well established in its sheltered waters.

Langstone Harbour is recognised internationally for its importance for nature conservation, and is a haven for aquatic wildlife and a myriad of bird species.

The Langstone Harbour Board works to ensure the harbour remains a safe place for work and leisure, as well as an area rich in plant and animal life.   Quoted from the http://www.langstoneharbour.org.uk/

I love water and water appears time after time in my work. As said before!   This painting was a very immersive experience, and as the tide came in, my feet did get wet!  The canvas blew off a couple of times too!  It started off with a very blue sky and then the weather changed for the worse, but I kept some blue in there!

Jenny Meehan, of the mud flats at Langstone Harbour 2009

Well, better late than never, this post, originally for July, will have to suffice for August as well!

I sell my paintings when no longer needed for study and exhibition purposes.  At between £200 and £500 only, they are very good value indeed.  For a high quality original abstract painting, you may need to look quite a long way for something in this price bracket.  I sell my original paintings to enable me to continue to invest my time and effort into the painting endeavour.  Developing my work, materials, research and study all involve time and money.

Spring! Sun! Kingston Open Studios fast approaching -Easter Art Installation at St Paul’s Church of England, Hook – The Soldier and the Cross poem by Jenny Meehan – Signs of the Times geometric abstract prints – Drop in Drawing and Painting, daytime art tuition – Kingston Art 2018: My Muybridge’ exhibition at Kingston Museum “Mind’s Eye” by Jenny Meehan selected

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  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  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

“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.

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

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.

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. Ignore the old website address jamartlondon as its expired!

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

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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

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.

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.

UPDATE: 2022 I no longer teach in my home but I do provide individual art tuition and mentoring online over Skype. Please contact me via the contact form for more information.

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 uk licensable images

I have started removing some of my canvas paintings from their frames and will sell them unframed now.  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!

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

jenny meehan  art work uk licensable images

It’s available for purchase if you are interested.

Good News

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.  

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 online art tuition and artist mentoring.  

 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.

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. 

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. 

How to Support Jenny Meehan

If you like my art working and would like to support me you can! Pop

Paypal.me/jennymeehan

in your browser and follow instructions. There’s no option for me to thank you via the PayPal Me process but do contact me via contact form and let me know if you have gifted me so I can thank you.

You can buy my original paintings… Just contact me via the contact form.

Also available via redbubble, the well known print on demand marketplace, you can buy unsigned prints on many substrates.

Take a look here, any problems locating it feel free to contact me via the contact page on this Art Journal/ Artist Blog

jennyjimjams.redbubble.com

It’s also a good place to get a feel for quite a big strand of my creative artworking. Any problems locating what you want, feel free to contact me via the contact page on this Art Journal/ Artist Blog  jennyjimjams.redbubble.com

I have mostly the abstract, flat colour geometrical art in Redbubble as it makes nice prints. I selected work for that platform in order to help my work become more accessible. There’s also a lot of surface pattern designs. I find creating patterns very therapeutic!

The main style of my original painting is Lyrical Abstraction/Abstract Expressionism. I also enjoy working with black and white photography tending towards pictorialism. I frequently use collage and digital collage.

Kingston Artists Open Studios – Snail in the Studio Painting – Save Our Souls Painting and Poem – Knee Replacement Surgery

“River Journey” abstract lyrical expressionist british paintings jenny meehan

May 2017 Art Journal Post by Jenny Meehan

Kingston Artists’ Open Studios

KAOS OPEN STUDIOS 10th/11th and 17th/18th June 2017
It’s no time at all! So pop this in your diary and make yourself a nice day out. Walk by the river in Kingston, Stroll in the park, walk along the studio trail, pop into a little cafe! Meet KAOS (we are a lovely bunch of creatives) and take a look at what we love investing ourselves into! And if you are someone who does collect art, be it just a few pieces or many, make a good choice and visit the artists direct…You can talk with us and find out more about the work in a way that you wouldn’t be able to do in a different context.
There are  over 90 artists showing work!  I am showing at KAOS 2, along with 8 other artists:
Sandra Beccarelli, Cressida Borrett, Lizzie Brewer, Caroline Calascione, Ikuko Danby, Bali Edwards, Yuka Maeda, and Anna Tikhomirova! See you there!

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

 

Snails in the Studio

Still recovering from my knee replacement surgery, but getting around a bit more now.  The snails may well be moving more quickly than me!

the snail in the studio jenny meehan abstract painting

 

This  painting-collage includes the munch marks of the snails who share my outdoor studio with me.  A market stall steel frame covered in reinforced heavy duty translucent tarpaulin is excellent for the purposes of working in when the weather is not too cold or damp.  I share this wonderful space with my snail friends.  Who also work slowly but very steadily, munching away at my painted cardboard samples of colours and textures and excreting them into multicoloured snail poo and card combinations.  There is none of their waste matter on the collage-painting but some of the card with the munch marks on it.  I find the effect quite attractive.  Sometimes very good things come from the most unexpected places!

I titled the work “Snail in the Studio” after my fellow workers…As interested as I am, in colour, which must satisfy something in them. They devour and work their way through the painted cardboard samples and they do add something to them!  I decided not to fight with them, but just go along with what was happening, so the painting offers them a place in my work!  There are a lot of images of knights fighting snails in old manuscripts, I have discovered. As those familiar with 13th and 14th century illuminated manuscripts can attest, images of armed knights fighting snails are common, especially in marginalia.

Different people have many different theories about what the image of a knight fighting a snail might be symbolising. The Continuum Encyclopedia of Animal Symbolism in Art says:  “The snail was a symbol of sloth and of those who are content with things of the material world at the expense of striving for the spiritual”.  I don’t quite get that one, because the snails in my studio are far from slothful.  They are manic and move very fast indeed.  They are industrious and ravenous beasts! They are certainly concerned with material things though.  Great consumers!  So if consumption is the point, then they may be symbolic of appetite I think.  And the knight to slay the fleshly appetites might be a possible route to go down.

Another idea might be that snails love to eat bark, paper, cardboard,  and similar materials. As far as the monks go, (bearing in mind their books would often be stored in damp places, maybe cellars or similar) I am sure they were very much aware of the risk of damage to their manuscripts/books from snails, and it makes a lot of sense for them to maybe depict this battle against potential destruction of their life work. Snails would be a suitable “enemy” for a bookish monk, bearing in mind their main occupation was producing manuscripts.  Maybe, including the image of the knight fighting the snail, would be a way of asserting that the word and the message of the text, recorded for continuity to be passed through the ages, would overcome any decay or destructive influences.  And also, this would resonate with their own very practical battle of protecting the work from snails eating it!

The “Snails in the Studio” painting includes my little nod, to the snails.  The studio tent is certainly a place of contemplation…As well as paint, I pray and meditate in this set apart space.  I reflect and review, sometimes read, and drink tea as much as possible. It is my holy place, my mini monastery, the place most available to me when I want to focus in on the inner room of my life.  And this is the best place to paint in, because of it being a dedicated space.

The snail — the archetypal slow creature, paradoxically endowed with implacable destructive power —might represent the agonising impossibility of accomplishing all that we hope to, because of the limits of time, and the knight  could teach us that we must nevertheless battle against the snail despite the inevitability of defeat.  I like this idea very much indeed. The reason being I think that in the context of my knee replacement surgery, and the long recovery and rehabilitation process, I am constantly facing the reality of not being able to accomplish all that I hope to, because I cannot rush time… I cannot make it go faster and I cannot speed up the process of recovery.  I am subject to time and it is only time that will reap gradual improvement. My giant metaphorical time-snail is felt to be very big at the moment!  So it’s a slightly different angle on time… but still orientated around the desire to achieve being confounded by the pace/passage of time!

In heraldry, the snail has a fixed meaning of perseverance and deliberation.  Certainly need plenty of that at the moment!

Thinking of snails in relation to 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!

Here’s a happy image of me walking around. With crutches I can now walk for a whole 40 minutes!  That’s more than I could do before the knee replacement!

walking after TKR

Save Our Souls Painting

I’ve created a video with myself reading my work ‘Ophelia Poem’.

Here’s the poem which is partnered with the painting:

Ophelia Poem/Save Our Souls Painting by Jenny Meehan

It was
an unfinished poem
who took
her hands and led her
to the river spring.

Who invited her,
held her,
cried with her.
Who even laid her body out,
as she willed it;
to face her grief.

In her vulnerability
she was
too fragile
to speak, even –

yet, intent
to trust the universe,
her painting pressed
into a tiny pearl,
the love which
first formed her.

So she treasured it.
And there was light.

©Jenny Meehan Poem and Image

 

The partner artwork is an early painting of mine, painted in 2011, ‘Save our Souls’. I can’t stress enough how helpful it is to reflect back in life… Maybe it’s a sign of my age, but I’ve found it adds a lot of richness to the present time , and surprisingly can encourage a person forwards, as they recognise the trace of divine wisdom in their own unfolding story.

In this case, I can see even in 2011 the glimmers of an evolving passion for feminist concerns and mental health, which continued to grow and develop through different exhibitions and projects I was involved in.

Like much of my visual art, this painting is normally exhibited with its partner poem ‘Ophelia’. The space between what is seen and what is heard/read is an area which continues to fascinate me. It’s always a super rich area for emotions and thoughts and the connections between them!

Save our Souls Painting with its partner creative work Ophelia Poem by Jenny Meehan

 

Health Care

I have an ongoing interest in healthcare.  Earlier on in life I worked for ten years as a dental nurse.  It wasn’t planned.  Just a matter of leaving my DATEC Diploma in Art and Design course at Richmond Upon Thames College before the end, disillusioned and despondent.  Needing to leave home quickly.  Needing somewhere to live.  Needing money to be able to live.  So away with the art and into some nursing.  There was a Dental Surgery in Hampton Wick and as it was nearby and familiar (because it was were I had my own dental check ups!) I went along.  Didn’t expect to get the job.  Didn’t like it very much at first, but in the end, got rather enthusiastic.  Trained.

Looking back it was a very suitable job for me.   A good move.  What is more, it enabled me to go to University later as a mature student in my late twenties, as it was just the right kind of job to have while studying at the same time.  No work to take home.  And plenty of work available.  And enjoyable.  I did enjoy dental nursing very much indeed. And the whole role of nursing is such a valuable one.  It makes such a difference to a persons experiences when they feel vulnerable, afraid and anxious.  It is nice to help people in such situations.  To calm and reassure them.

I was very pleased to be part of “The Art of Caring”  http://www.artofcaring.org.uk/ in 2016 and went along to several events celebrating  International Nurses Day which reminded me what an important profession it is.

For 2017 “The Art of Caring”

The Theme

Although your art/photo should respond to the theme of Caring/Care we will be giving special attention to those artworks which respond to the theme of Sustainability. This is because the worldwide theme for International Nurses Day in 2017 is Nursing: A voice to lead – Achieving the Sustainable Development Goals.

Sustainability
The ability to be maintained at a certain rate or level.
Avoidance of the depletion of natural resources in order to maintain an ecological balance

Or your interpretation of the theme…….

The Exhibitions
The Art of Caring is split into two clear exhibitions.
The first is at St George’s Hospital (3rd-12th May 2017) where printed postcards of your artwork are displayed on the walls of the hospital to help celebrate International Nurses Day. This is an inclusive exhibition.
The second is at St Pancras Hospital (July-October 2017) and uses a mixture of original artworks and printed postcards. Works will be selected by Arts Project curators Peter Herbert and Elaine Harper-Gay.

With my knee replacement experiences of needing care and treatment, the value of those working in healthcare was brought afresh to me.  As part of my experience I began to be aware of other forces at work, and realised that my experience of the health service was affected by many different ebbs and flows.  I discovered the Kings Fund, and the discovery was very helpful. https://www.kingsfund.org.uk/publications/six-ways

Quote from the link:

“In The King’s Fund report Thinking about rationing, Rudolf Klein and Jo Maybin describe a useful framework for understanding the different ways in which access to high-quality care can be limited by commissioners and providers, building on earlier work by Roy Parker. Their typology outlines six ways in which patients can be affected by financial pressures and provides a useful means of examining what is happening in local health systems.

1. Deflection
2. Delay
3. Denial
4. Selection
5. Deterrence
6. Dilution

The first five categories relate to restrictions on access to care, the final category (dilution) relates to reductions in the quality of care.”  credit: written on 31 March 2016 Ruth Robertson

NHS financial pressures knee replacement jenny meehan © Jenny Meehan

So you see above my contribution to the theme “Sustainability”.

On the theme of knee replacement surgery,  the recovery and  rehabilitation from my surgery which was on the 8th March is certainly a marathon.  But I’m doing my exercises!  Getting there slowly.  My experience of being cared for in hospital was amazing! It couldn’t have been better! So impressed!   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!

 

Here is the introduction to the full version, as a sample of the reading experience. Writing it was a therapeutic device!

Full Version of “The Very Patient Knee Replacement Story by Jenny Meehan”

Warning!  This is VERY long.  For the abridged version of  “The Very Patient Knee Replacement Story by Jenny Meehan ” follow this link: https://jennymeehan.wordpress.com/abridged-version-of-the-very-patient-knee-replacement-story-by-jenny-meehan/

No Problem/Moving On sign of the times series jenny meehan

Do you like this print?  Buy it, easily and safely, through Redbubble.com:

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

Introduction to “The Very Patient Knee Replacement Story” by Jenny Meehan

Before I start, or should I say finish, bearing in mind that this post at the beginning, is the post at the end of the story, even though it is not the end of the story, because it is also the beginning…

You are clear on that, yes?  !!!

Never mind! It depends which way round you choose to read this!

You will need patience to read this story.  But I am needing so much patience myself, and it’s a good thing to cultivate.  So it might be useful for you to bear with me.    “The Very Patient Knee Replacement Story” will be added to, probably in a couple of months time, as I am still writing it periodically.  So, here is the full version of “The Very Patient Knee Replacement Story” as it stands on 4th April 2017.   If you want a much shorter read on a patients experience of knee replacement surgery and recovery, then I have posted some extracts from my story as part of a post I made for April 2017. And there is the abridged version!

Warning! This present version is VERY long! (Around the length of a PhD!) It has some text in a different colour, so that if you are not interested in exercises or mental meandering, you can be aided in your reading by knowing which areas to skip over with ease. Information I’ve found in the expanse of the internet will often be in sea green. Text related to physiotherapy and exercises will be in orange, and mental meanderings will be in blue. You can then jump right over those in your reading if you wish.  Even if you do that, it’s still a good two hour read! But I couldn’t bear to cut the text out, and didn’t think it right to, even if not of interest to the majority,  because if you are considering a knee replacement, I can tell you now, you will need to make yourself interested in exercises and mental meandering, because it is likely you will be doing a fair amount of both! And you will need patience.

If you do prefer a shorter version then follow the link to the abridged version: https://jennymeehan.wordpress.com/abridged-version-of-the-very-patient-knee-replacement-story-by-jenny-meehan/

I have called this “The Very Patient Knee Replacement Story” as it features a chapter of my life which, while it is still ongoing, (my knee replacement surgery was recently carried out on the 8th March 2017), was one of those experiences where time takes on a new dimension, and patience, as a virtue, does come into its own. The story as it stands at present, covers the time period from January 2017  to a couple of weeks after my knee replacement surgery,  but  it alludes back in time, (rather a lot!) as I recall the past, and try and make some kind of sense from it.

I think I have realised that what often happens in life, is we are very patient, but not out of choice, rather out of desperation, and a hope that something will change.   In some situations, patience is not a virtue.  Sometimes we wait, hoping, wondering, worrying, and being passive, but could be taking some action ourselves. We can wait too long for a change to happen and in the process of doing so, cause ourselves and others, a lot of distress.  We sometimes have some control over what happens, even if only a small amount, and we need to take it.  It might be the smallest of actions. A change of mind, or of direction.   A few questions asked.  An attempt at trying some new venture, or seeking any small thing which might help, clarify, or educate.  We might need to question something, and challenge it, rather than accept it.  We might need to raise our expectations both of ourselves and of how others treat us.  We may need to find faith in the process, where we currently harbour only doubt.  Just sitting there and waiting, while sometimes the right thing to do, isn’t always the right thing.

Waiting is not the same as patience.  Sometimes you can be patient, but choose not to wait.

I have been patient, but I did not want to wait, because I felt the timing for having knee replacement surgery on my very arthritic  (I prefer the term “screwed up”) right knee was ripe.  Now the knee replacement surgery  is done, and the story and journey continue, and indeed, I know in my heart of hearts, it was right to have this surgery now.  I’m a “young” knee replacement recipient, at just 52,  so in the decision for a knee replacement at this point is also embedded the prospect of revision surgery in the future.  It will take a long time to reap the benefits fully, but I am already reaping them now, just a few weeks post-operatively, and all the distress of the last two years can fade into the background.  This hasn’t happened quite yet, as you will see from my narrative, but it is happening, and it is happening in the light of me having a life which I can now walk through, with some chance of regularly being able to walk for an hour, and probably even more.  If this expectation seems a little low, and it probably is, it is because my expectations with respect to my quality of life shrunk before my eyes, and this alarming experience was made all the more alarming by the thoughts which were sown in my mind that it was reasonable simply to accept what was happening and live with it.  I did not accept these ideas in the end, though I toyed with them for a while,  and felt a certain amount of pressure to accept them.

I hope my writing about my experience, and sharing some of the thought processes I went through, will help someone else in some way.  Every person’s situation is different and everyone’s knees are different.  The knee is the largest load bearing joint of the body, and this, for me, is as well as being a simple fact, is also profoundly resonant psychologically.  Because my story is one not just of the problems with this load bearing joint, but the psychological load bearing which my knee has brought me into. The struggle involved in  making a decision to have elective knee replacement surgery, and the need for determination and faith at a time  when I was  already pretty discouraged and distressed.  (Anxious and depressed, at times, in the end!)  And it is a story of patience.  When feeling the pressure.

Patience is power.
Patience is not an absence of action;
rather it is “timing”
it waits on the right time to act,
for the right principles
and in the right way.”
― Fulton J. Sheen

Patience is  born from our inability to control much in our lives, and while we by our very natures, like to be in control, the reality is that while we exert control in some areas, we find ourselves in this vast pool of life, subject to all kinds of forces, influences, situations, people,  and experiences which we do not have any control over at all. Or very little.   Sometimes we did have control of an area of our life, at least in part, but did not see it, either because we were unwilling or unable to. Sometimes we were simply subjects, and didn’t have the power or ability to change things. We are broken, and lack insight at times to recognise what is going on. We misunderstand others and we misunderstand ourselves.  I think often the hardest person to understand in our life is ourselves, and we are also often the hardest person to get along with!

In this quest for understanding and getting along with ourselves, we  encounter our broken parts…our injured internal limbs, which stop us from moving as freely as we would like to move.  This “The Very Patient Knee Replacement Story” which orbits around my personal experience with osteoarthritis of my right knee and the decision for getting my knee surgically treated, is a personal narrative, first and foremost, which might be of interest to other obese 52 year olds who are considering elective surgery.  Or others, of other ages, who are not obese, but who are considering knee replacement surgery! It might be interesting for anyone working with patients having knee replacement surgery, or “TKR”s, as they are often termed.  (Total Knee Replacements). It’s not the usual type of patient account/diary/story of TKR, as I let myself dwell in waters deep; a little theological here and there, a bit philosophical, a little bit practical, with some research and some emotional angst as well.  It’s long. You’ve been warned!  It has many extra miles in it, and like my life at the moment, cannot be rushed through!  Recovery is a slow process. But gives me a lot of time to write!

My experience of increased pain and disability due to osteoarthritis in my right knee was something which came upon me rather more suddenly than I could ever have imagined, and it changed my life dramatically from the beginning of 2015 onward.  With my knee replacement surgery in March 2017, the journey is not over, but it is significantly altered, as is my life, which is  already much better.  I am not sure how unusual such a rapid deterioration of a knee joint is, and I do not have the means to judge my own experience in a comparative way, with others,  but I imagine that my previous injury to the knee in 2010, no doubt contributed to the state of the knee being quite as dire as it was.   Well, whatever the whys and wherefores, this is my knee replacement story as it stands (rather nice and straight!) at the moment. I have kept my narrative centred on myself, and not included all the wonderful, lovely people who have helped me through this time.  I prefer to keep confidentiality unless specific permission has been given by people I write about, but one of the fantastically valuable aspects of my experience has been the way I have realised how much God can bless, work, and use people, working in hearts, minds, words and understanding, to knit together, in a healing way, the wounds we all carry and experience in our lives. It’s been a wonderful last few months.

I trust you’ll get something worthwhile from it, if you are patient enough to read it, that is!  Though I have packed it into some form of organisation, also strays this way and that, meandering, in the style of my usual blog “Jenny Meehan, Contemporary Artist’s Journal – The Artist’s Meandering Discourse”.    Written from my perspectives as a Christian, aspects of my faith are shared as they are an integral part of my life, and my understanding of my experience is that it has very much been a matter of me learning to trust God, to wait patiently, and to expect good things.  But trusting God, waiting patiently, and expecting good things, are not passive, and do not preclude taking actions or making decisions.  Indeed, the power and ability and strength to take action, comes from “Waiting on God”. The timing, the principles, the way.  As I quoted earlier, but will again, because it is of the essence of what I have learnt through this experience:

“Patience is power.
Patience is not an absence of action;
rather it is “timing”
it waits on the right time to act,
for the right principles
and in the right way.”
― Fulton J. Sheen

As a believer in a marvellously mysterious Creator, yet one also intimately involved in our lives, (if we wish this to be so), I can see how I muddle through things, often rather blindly, and in my stumbling around, often make things quite hard for myself.  However, through all this, God manages to work, and writing this story also means I can look back and be reminded afresh of this time.  Whatever happens with my knee replacement in the future…that great unknown… nothing can take away the rich and rewarding aspects of this experience.  Though it certainly has not been easy, this experience  is one through which I have made progress, and also gained more faith through.

Sometimes when writing, people dedicate their writing to others, and I dedicate this piece of writing to the wonderful people who have been part of this experience; the friends, family, and NHS staff, my surgeon, and all those who made it possible for me to get where I am at the moment.  Anyone who has helped me in any way.  You know who you are!  And I also dedicate it to my knee, which though it found the pressure too much to bear without some reformation, still continues to bear my weight, even while traumatised and healing.

It’s early days.  But I’ve come forward miles already.

Here goes…Be patient!

Most recent entry is first. “The Very Patient Knee Replacement Story by Jenny Meehan”  can be read either way, from the present backwards, or in chronological order.

Well that’s the introduction!  If you are brave enough to read it, you may find you enter your own experience of being a knight fighting a snail, because it does go on!!!!   I am hoping it might be of use to those who do have a knee replacement operation.  It’s very helpful to read of other peoples experiences. 

Meditation Garden

Very pleased to see what is happening in the garden at the moment!

 

sign of the times series jenny meehan

And I have spent quite a bit of time pottering around in the garden, which is very enjoyable!  Plus doing what I am able to do for the:

Forthcoming Kingston Artists’ Open Studios for 2017

“No Fear” painting by jenny meehan abstract lyrical expressionist british paintings jenny meehan

 

“No Fear” is one of the paintings I plan to bring along and show as part of this years Kingston Artists’ Open Studios.

Interesting among  other things for the combination of some of my more graphic strands of working, for example, the “Signs of the Times” series (of which “Meditation Garden” is one) but this time happening in paint, with, quite literally, a more lyrical edge to it.  Plus the joys of action painting!

To simplify one’s painting from time to time is a helpful habit.  It tends to get over involved if you are not careful.  That is OK to a point but it can be a slippery  slope to lost perspective.

 

Emily Carr Quote:

Emily Carr. Carr said “Art is art, nature is nature, you cannot improve upon it… Pictures should be inspired by nature, but made in the soul of the artist; it is the soul of the individual that counts.”

west dean gardens jenny meehan flora foliage

Above “Dear Life” photograph by Jenny Meehan © Jenny Meehan

About Jenny Meehan 

 Jenny Meehan (Jennifer Meehan) is a painter-poet, artist-author
inspired by contemplative practices including prayer and mindfulness,

Christ-centred spirituality, various psychoanalytic themes

and trauma recovery processes.

Jenny Meehan Paintings – Copyright Infringement – Thoughts on “The Art of Buying Art” by Alan Bamberger – Busy Paintings and Simple Pieces – The so called “Art World” and What is a “Successful Artist”? Sandra Blow Inspirations – Knee Replacement Art

 

deluge painting jenny meehan copyright  all rights reserved

“Deluge” Painting by Jenny Meehan referencing water,flood,deluge,catastrophe,disaster,trauma,house,home,wind,air.    I don’t paint to commission much, but I do sell my old paintings when no longer needed for exhibitions, study, contemplation, etc.  This one I am happy to say “bye bye” to.   It has certainly stood the test of time, but needs another set of eyes to appreciate it I think.   It’s been exhibited a couple of times in the UK.

Well Spring painting by Jenny Meehan used on the cover of The Recovery of Hope by Naomi Starkey

The above painting “Well Spring” by Jenny Meehan.     Very strong painting, which cannot fully be appreciated on screen as there are glass beads used on the surface which bring a lot of added dimension.  This painting was used by designer Alison Beeck very skillfully and to great effect on the book cover of “Recovery of Hope” by Naomi Starkey.  You can take a look at the book cover here:

https://www.waterstones.com/book/the-recovery-of-hope/naomi-starkey/9780857464170

Synopsis: We live in the hope of experiencing first-hand the all-sufficient grace, love and forgiveness which are God’s alone, a hope that we may know with our heads long before we feel it in our hearts. Such hope may mean encountering God as consoling presence in the darkness, as well as one who challenges us to respond to his call. That call may prove to be costly but, in responding, we are transformed by discovering and rediscovering that we are known exactly as we are, yet still loved beyond understanding, as God’s precious children. In a series of Bible reflections – and some poems – this hope is explored in different ways, from the yearning of the psalmist to walking the gentle journey of the Good Shepherd’s leading.
Publisher: BRF (The Bible Reading Fellowship)
ISBN: 9780857464170

I have read the book (of course!) and it is very good.  Like a well, it is something I keep dipping into now and again.  Just right.  So glad the painting has served so well for a book cover.  Even better that the book is about something I care about!!!

I am willing to let this painting go also, so contact me if you are interested in it.  I have space problems here, and new paintings are being painted all the time.

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

Above we have a painting titled “The Comforter/St Julian”  This painting is related to my poem “The Comforter”.  The need for more awareness of the Mother Heart of God and the comfort which comes from the Holy Spirit and also from other females love and nurturing inspired this painting and poem, as does my research on St Julian of Norwich and my experience of psychoanalytic psychotherapy.  This painting marks the beginning of a more contemplative path for me in my life and also an embracing of psychotherapy as part of that process of self-development, bound intimately with spirituality, in particular Christ-centred spirituality, which is where my own heart lies most happily.

This painting is also one I am happy to let go of.  It has an interesting surface and is a good example of one of my paintings with a more subtle and restrained use of colour, yet with a strong and dynamic mark making element.

Final version of Surviving Houses/47 Nelson Square

“Surviving Houses/47 Nelson Square” is a painting firmly rooted in my early experiences of participating in a psychoanalytic/psycho dynamic process in order to re establish my own foundations which were certainly bomb hit.

This painting is referencing 47 Nelson square, Lambeth, Southwark, London, trauma recovery,Guild of Psychotherapists, Psychotherapy,survival,house,rooms,hope,sun,windows,light sources, insight,mental and emotional ordering,fear,anxiety,safe place, security,warmth home,construction,reconstruction,mind as a building.

This painting is not available.  It’s interesting for me to compare this with recent work which also uses very bold brush work. (See below!!)

Inclusive Church

Isn’t it great that now this type of organisation exists! It’s worth noting too that there are many churches who though not signed up to it,  still embrace all people… So worth looking on their individual websites to check out where they are coming from.  If their parish councils can’t agree completely on every point, they often come up with their own statement and go with that.  Still, it’s a step in the right direction.  Here is the Inclusive Church Statement:

“We believe in inclusive church – a church which celebrates and affirms every person and does not discriminate.

We will continue to challenge the church where it continues to discriminate against people on grounds of disability, economic power, ethnicity, gender, gender identity, learning disability, mental health, neurodiversity, or sexuality.

We believe in a Church which welcomes and serves all people in the name of Jesus Christ; which is scripturally faithful; which seeks to proclaim the Gospel afresh for each generation; and which, in the power of the Holy Spirit, allows all people to grasp how wide and long and high and deep is the love of Jesus Christ.”

Copyright Infringement 

https://www.dacs.org.uk/latest-news/copyright-uncovered-infringements?category=For%20Artists|For%20Licensing%20Customers|Latest%20News&title=N

Small quote here:

An infringement can occur when someone directly copies one of your works in its entirety or if they use substantial elements of your work without your permission.

What is determined by ‘substantial’ is not necessarily about proportion or size. A small but distinct element of your work can be copied and this could still amount to an infringement.

In previous UK court cases – for example, where an artist has been accused of infringing another artist’s work, or where a company has used parts of an artist’s work on a product they are selling – the assessment for copyright infringement has been made by looking at the similarities, rather than differences.

For copyright infringement to be determined there must be a connection between the infringing work and the original work – the infringement has to be derived from the original. There are ways of establishing the connection by looking at surrounding circumstances, such as availability. For example, the original work could be easily accessed online or in public exhibitions. Additionally, any contact with the infringing party such as discussions to use the work, or even engagement on social media, will help establish that they were aware of your work before making the infringing version.

The test for infringement is done on a case by case basis. If you claim your work has been infringed, you will have to prove this. Once it has been established, it will be for the person potentially infringing the work to prove they have a defence, for example that their work was their independent creation. Copyright infringement is known as a ‘strict liability’ offence, which means that it is irrelevant whether or not the infringer knew or wanted to infringe copyright.
– See more at: https://www.dacs.org.uk/latest-news/copyright-uncovered-infringements?category=For%20Artists|For%20Licensing%20Customers|Latest%20News&title=N#sthash.QixIArcE.dpuf

It’s a very important matter, and artists who are professional in approach should certainly ensure they understand how it works.  I am a member of DACS and find it a very helpful and important organisation.

Busy Paintings

I have been feeling that my recent very full and rather busy paintings, lovely as they are, need a little respite and so have been working the tail end of this year on some which are far less crowded and more simple.  With my usual attention to surface, and working with the pigments which I am particularly fond of, I have sought to obtain a balance between dynamic energy and restfulness.

“No Fear” painting by jenny meehan abstract lyrical expressionist british paintings jenny meehan

“The Realm of Between/Pushing it a bit” abstract lyrical expressionist british paintings jenny meehan

It has been interesting to experiment with the relationship between quite delicate and intricate variations in perceived and actual texture along  broad and very matt, almost sheaths, of paint, laid down on unprimed hardboard.

“Crossing Over/Simple Piece” abstract lyrical expressionist british paintings jenny meehan

Some time of  “less is more” to challenge that part of me which last year was placing daub upon daub of colour.  I am not unhappy with those paintings… not at all, but need to balance out that experience of painting with something different.

Helpful quotes, and my comments,  from “The Art of Buying Art” by Alan Bamberger. The section entitled “How to Look”.
“How to Look
“Looking at art means more than giving casual glances as you pass it by. You’ve got to spend time studying individual pieces.”

Indeed… There is too much casual glancing going on nowadays.  We are bombarded with some much imagery.  I also believe just focusing on one small part of an art work is beneficial.  This is partly why I plan to start another blog soon focusing on passages of my paintings.  To immerse oneself needs time.
“Stand up close and focus on small areas of the art. Stand back and look at the whole thing. Stick your nose right up to the canvas or wood or paper or bronze and study the minutest details. Back away slowly and watch how the art changes. Move so far away that the art fades into its surroundings.”

What comes to mind now is the frustration of paying to see an exhibition and then not being able to view the work properly due to too many other people, distractions and also, because one is paying for a single visit, the pressure of seeing everything in one go.  How much better it is then to see exhibitions which do not charge, for then you can go back as many times as you want!

Looking at every element and aspect of a work, and giving it time is essential.

This is helpful:

“If you happen to see something you really like, note what it is, where you saw it, how it looks, and why it attracts you – nothing more. You’ll have plenty of opportunity to return and learn more about it later. By experiencing a little bit of everything that’s out there and taking some time to study it in detail, you begin to acquire strength of conviction and begin to define what really thrills you.”

Strength of conviction is kind of related to confidence.  Confidence that your own experience matters and that that experience is the most important thing about the art work you are viewing.  I had an interesting conversation recently with someone unfamiliar with appreciating non-objective paintings.  I simply said “Don’t worry about what it is meant to be.  What it is to me is of interest, but it is not that that matters.  You have your own experience of this painting and that is what matters.  She was worried that I would be offended if my painting was not what it was for me.  I explained that if it mattered to me I would paint more representational paintings which gave the viewer more direction and prescribed more what the subject matter was.  It would then be rather offensive if they thought my, horse, for example, was actually a man.

But with a completely abstract painting, though I will have my own personal interpretation,  for the viewing, this does not matter to the extent that it should dictate their experience of the painting.  They may find it of interest, and they may ask me what the painting is to me.  But it is what the painting is to them which matters.  They have a huge part to play in the experience of viewing the paintings.  Once they have the assurance that there isn’t some hidden, strange, meaning or concept that they have to “get” in order to access the work, they suddenly find that the freedom to experience it in their own way is quite a liberating and enjoyable matter.  Well, some people do.  Others find they want and need to be told “What it is”.  This is fine, of course.  However, they may have to accept that it is not definable in the way that they would like it to be!!!

I have now settled on the practice of including references (as I have done in this post) for those who are interested in the relationship between my abstract paintings and their significance/meaning for me.  But I would never feel upset if someone did not see what I see.  We all have valid perceptions and what we see is influenced by ourselves, our experience, and our emotions.

Alan continues:
Out of all the millions of art pieces that have ever been and have yet to be created, you will choose to own maybe one, maybe five, maybe one hundred. And you’ll choose them because they mean something special to you and you alone. Now is the time to acquire a feel for where that special meaning lies, and to identify what qualities in art attract you the most.”

Perfectly put.   “Something special to you and you alone”.

I like this advice very much. For those wanting to get into collecting art, it is probably the most important piece of advice to heed. The book  has a lot of advice, and quite a lot of it focuses on art which no doubt considerably more expensive than my own, however, there are many key points and while not a recent book, being published in 2007, I still found it an interesting read.
I have not considered myself how much of a mine field it must be for some people who want to collect art but are not familiar with the various systems (ie galleries, dealers). I think the chapter on buying directly from the artist of most use and of relevance to my own experience. Indeed, the way people buy art has changed a lot. For the majority, I think, it is much easier, more accessible and pretty straightforward. The book includes chapters on buying directly from artists, and also buying art over the internet. I cannot be done with all the speculative buying, “art world” and dealer dealing matters personally. But there are chapters which offer very interesting insights into a realm which lies well outside my own remit. And I cannot help feeling rather thankful that my own work is not being handled by dealers!!!

The so called “Art World”

With no aspirations towards business, profit, fame or financial success, I have mercifully relieved myself of the whole so called “art world”; that world of art, which I have no desire to enter. I am not sure where the boundaries of this mysterious “art world” lie, but I suspect they lie in the imaginations of those who consider themselves part of it.  And if the determining factor of being in or out of it,  is money and status driven, and to do with who you know, then it may be best that I do consider myself an “outsider artist”…if that is what that term means.  (I am sure I have rambled on about outsider art before in this journal.) But I don’t like the whole insider/outsider definition.  We are all inhabiting the same world, in truth.  The aim for the artist could be to see ourselves as continual welcomers…with the aim of continually inviting people in to an experience of our artistic practice which aims to educate and enlighten, enrich and nourish the imagination and hearts of all. Fame and fortune will just be for the very few. And this may be good for them in many ways.  But it is not a good hope.  I focus on people, relationships, and creativity.

I have been thinking about what a “professional” artist is.  I consider myself one. As a professional artist, the idea that in order to be professional, ones activities should be financially profitable, is a huge mistake in my opinion. Professionalism is an attitude and an approach that does not need too be qualified with monetary gain. It’s more about how you go about what you do, and how you think of it.   Things such as exhibiting your work, cataloguing it, having faith in what you are doing, and having collectors and followers who engage with your work are important. Taking it seriously and investing in it in a professional manner. Engaging in training and development.  Being part of groups of artists and networking.  Looking for new projects and opportunities.  Being open minded and receptive to whatever creative currents are weaving their way about the age in which you live in.  Being professional is an attitude and approach more than anything else.  A way of thinking about what you do and understanding the value of it. An attitude of rigour to ones work.  And discipline.

The fact that some activities in life are not termed a “job”, and are rather a vocation, (and caring for others, raising children, plus many voluntary activities come under this banner) does not mean that they are either hobbies, optional for the person doing them, or of lesser importance.  A vocation may not count officially in respect of it not being counted in the “labour market”,  but this does not mean that that it is not work, and should not therefore be valued. Thankfully there are plenty of people who do recognise that vocation in life is sometimes expressed in part through paid employment, be it self-employment or as an employee, but that this is only the case for some, and there are millions of other people who fulfil their calling in life through other avenues.  Vocation can be:

1.
a particular occupation, business, or profession; calling.
2.
a strong impulse or inclination to follow a particular activity or career.
3.
a divine call to God’s service or to the Christian life.
4.
a function or station in life to which one is called by God.

Indeed, we are not singular in purpose or vocation.  We have many strands running through us.  At different times they will be developed and come into being and we will be active to a greater and lesser degree.  Sometimes circumstances help, and other times they hinder.  What I was involved in ten years ago is different to what I am involved in now.  But all the strands of my life contribute to who I am, to my art working, and to how I see what I do.

As far as I can see, the majority of artists I have come across are not financially “successful” in the sense that they do not generate an income, from the sale of their work, which is anything near capable of meeting their most basic human needs. They rely on other, often related activities, to help sustain them in life, normally in employment of some kind or being part of a partnership or community which helps them financially. This is one of the reasons I get cross about ridiculous submission fees for artists wanting to exhibit their work.  To treat artists showing their work as some kind of business venture for the artist, which therefore they should be prepared to pay for, it just not the case. (I read this recently, I cannot remember where, and was furious.) The chances of selling your work at an exhibition are pretty low.  There are thousands of wonderful artists, for which I am glad, but even the good ones don’t necessarily sell much work.  It does happen, but only occasionally, for the majority.  And it costs money to take part, even without submission fees. Time, travel, framing… all that kind of thing.  This is not a moan, by the way. That is just the way it is. If I wanted money and that was my aim, then I would do something else with my life.

I have realised that I personally am not able to mix painting with any aspirations of business or profit making.  I have thought about it in the past, but other time commitments have pretty much nipped that in the bud before the bud even appeared!  And I have questioned myself, and sifted out what I really want, from what I do.  A little bit of occasional recompense here and there is always welcome, and helps towards material costs in some small way. (It certainly is occasional! But good when it happens.)  I consider a professional approach from myself in all that I do, as essential to the value I hold in what I do, yet this is simply as far as it goes.  I think what I do is more of a creative mission.  It’s something about me simply being in the world what I feel I am meant to be.  Something which is like breathing and serves the same purpose.  Which comes out with no external aim in mind but the mere act/material of being.  I can accept that, and I like it.  I don’t need anything else to validate it.

But still, it is lovely when someone decides to collect your art.  I am delighted when the chord is struck, and I wave bye bye to one of my paintings.  So much of what artists do (fine artists, I mean) is speculative.  It is a hit and miss matter.  Once in a blue moon you sell something.   That’s always nice.  But certainly not dependable!  

Artists should technically  be paid if their work is shown in an exhibition. They provide the material substance of an art exhibition.   I have little hope of this happening, as it is  not the way the system works at all, but when you provide part of the material for an exhibition, you are offering your work for a use, of sorts.  People come to see the art work.  What would the exhibition be without it?

Thankfully, we at least have some options for exhibiting art work with no submission fees, or very low ones.  Unless exhibitions are very big/renowned, charges are not made to people viewing the work, and people don’t consider paying to see an art exhibition as something that they would need to do, unless the artists were famous.  I am all for people seeing art exhibitions for free.  But not so keen on the idea of artists paying for them to do so!  Artists bear many costs when exhibiting work.  We don’t need any more costs!  Artists desire to show and share our work, which is a vital part of what we do.  It’s not about showing what we can do. (Well, I speak personally, but I am not alone in this respect) It’s about opening eyes to new possibilities.  Creative energy.  Visual education.  Opening up the mind and spirit.  Emotionally connecting.  There are some opportunities which don’t have submission fees. Always grateful for those.

Sadly, artists are sometimes used by organisations and individuals as a way of generating money. It is not surprising, and not always the case, but it is good to be aware of it.  It is something to do with some strange idea that having work in an exhibition makes an artist more successful, (in the public perception) I think. It is always nice to have your work  selected for exhibition, of course.  Yet it is simply fortunate if your work gets shown. Nice.  Pleasing.  After all, we want it to be viewed!!!!  But the cost of doing so must be counted, as all costs need to be.  Juried exhibitions generally come down to what the taste of the jury is.  And not a lot more than that, in the end.  Why would it be anything more? It may sometimes be a case of who know’s who, and existing links.  That just happens.  Some themed exhibitions can be more of a quest… and can be interesting in this respect. There is satisfaction in exploring a theme or concept and coming up with something very apt and fitting.  There is a challenge which makes selection more rewarding if your work hits the core of some issue or theme.  Exhibitions for charities are rewarding, in that it is a great way to give to charity and show work.  Artists can bear some costs, but the addition of a submission fee is quite frankly annoying.  Minimal, it must be, if it is made at all.  Certainly under a tenner!  “Admin Fee”… but no more.  And one fee, however many works.

It is a fundamental error, I think, to equate success as a fine artist, with money. With fame, or fortune.   If you are able to invest your time into art working, then you are fortunate even in that. There are many people in the world who have to spend all of their time simply fetching water.  I am highly aware of the blessings and benefits of my own situation in life. I am fortunate to be able to do what I do, and I thrive in it. I overheard an interesting conversation on the train recently.  And it was in this conversation the nail was hit on the head.  “Money is not the same as Value”.  Thank you, to the person who said that.

I value my work.

But as is the case with homemaking, and/or domestic and caring work carried out by people (who happen to be related to those they care for), or who work in many fields voluntarily, fine artists too find themselves in the realms of those who do work, but who are not part of the labour market.  But my main point is, if you are an artist, don’t believe that your only option is to sign up for the “starving artist” or the “financially successful artist”.  The success of what you do can be judged by other criteria.  It is my opinion that success is to do with connection, growth and development.  Success for me is when a painting is done and I look at it, and see it is finished.  When I learn and progress.  When research, training, and education are part of what I do. When my work develops and resonates with a sense of integrity and truthfulness to experience and life.  When someone relates to it, uses it, connects with it, responds to it.  When it’s relevance is something felt by them.  Which brings us neatly back to the earlier quote:

“Something special to you and you alone”.

“Out of all the millions of art pieces that have ever been and have yet to be created, you will choose to own maybe one, maybe five, maybe one hundred. And you’ll choose them because they mean something special to you and you alone. Now is the time to acquire a feel for where that special meaning lies, and to identify what qualities in art attract you the most.”

And I think the artist creator themselves also needs to have this either as their sole focus,or certainly main focus, and preoccupation.  There must be nothing else in the way.  This does not make paintings done for other people any less worthy, but somewhere in the centre of the process there must be a connection which is not comprised.  It doesn’t make anything more art or less art, but, if you want to be a successful fine artist who gets a real sense of reward from what you do, then do what you do in your way, and stick to that. All the time seek to learn and develop.  If you sell and your work is useful to others that is a great bonus.  If it matters to you (and/ or you need it),  that  you have some kind of business/monetary success and you want to develop what you do in that way, then of course,  there is nothing wrong with that at all.  It is an exciting and challenging aim, and many artists want to be self employed as artists.  Often doing something for someone else’s criteria and requirements can open up new and exciting avenues.  It is one path. But just one.

Commercially viable art working is the aim of some artists, and there are plenty of online courses and programmes to follow for those who want to try it out. But being commercially viable is not the same thing as successful.

I like this:

“Society needs artists, just as it needs scientists, technicians, workers, professional people, witnesses of the faith, teacher, fathers and mothers, who ensure the growth of the person and the development of the community by means of that supreme art form which is “the art of education.” Within the vast cultural panorama of each nation, artists have their unique place… The particular vocation of individual artists decides the arena in which they serve and points to the tasks they must assume, the hard work they must endure and the responsibility they must accept… There is therefore an ethic, even a spirituality of artistic service, which contributes in its way to the life and renewal of a people.”

(From the Letter of His Holiness Pope John Paul II “To Artists.”)

“There is therefore an ethic, even a spirituality of artistic service, which contributes in its way to the life and renewal of a people.”

Found this, and will make it some reading:

http://theotherjournal.com/2012/01/16/are-artists-the-high-priests-of-culture-part-i/

Ahh, Blow!  Sandra Blow! 

I am unable to walk very far at present… and this means that I cannot pop along and see the exhibition of eleven late works of the British abstract painting Sandra Blow, which is being presented by The Fine Art Society.  I have to keep my walking to the most essential, and while I would like to see this exhibition, it would involve a lot of walking.

The British abstract painter Sandra Blow (1925-2006) was influenced by Italian post-war art and by the American Abstract Expressionists.  I was very delighted to find that the collector who purchased my “London Downpour” also had a work by Sandra Blow, and it was, I have to confess, pleasing to think my work would be hung in a collection which included a piece by Sandra Blow.  There were other names of works mentioned, but only Sandra Blow stood out for me, because I have encountered her painting “Space and Matter” at the Tate, and admired it. Sandra Blow was very occupied with the material of her paintings, and “Space and Matter” involves the use of liquid cement, chaff and charcoal.  She worked in a process led and  intuitive way which I always find interesting.   The term sometimes used is “Art Informel” which was a term coined by the French critic Michel Tapié.  Sandra Blow spent time at “Eagles Nest” which was Patrick Heron’s home and then she rented a cottage at Tregerthen.   She enjoyed the encouragement and patronage of Heron, Roger Hilton, and Peter Lanyon.   (Peter Lanyon’s paintings have had a significant influence on my own approach.)

St. Ives and the sea were great sources of inspiration to Sandra Blow in the end phase of her career.

Sandra Blow said “Now I have more enjoyment, and knowledge of what happens when I do what I do. The pressures have gone, the striving to find something. I do work I know is good, and I know how to do it.”

The exhibition at The Fine Art Society is at 148, New Bond Street, London, W1S 2JT.  It runs until 30th January 2017

http://www.sandrablow.com/page2.htm

On the Knee …

I now have a pre-op assessment appointment…  Going round the house putting up unfinished paintings everywhere so I can work on them.  “Work on them” in this case will mean looking at them.  I have a tablet and I am going to experiment with using it to help me explore options.  I normally need to stand and walk a lot, applying paint, and then taking it off.  I am hoping that by taking an image and making visual notes I might make some progress on some of the paintings which are nearly done.  However, this won’t be sufficient, as I need to see the actual pigment on the painting, the texture, the exact brush stroke.  But it may help with some decisions.  I will wait and see.

I also have a lot of books I plan to read and look at.

Seems like life will be a mixture of pain management, exercises, some resting and recovery.  Challenging.

“Angles and Edges”  Experiment below, inspired by the whole knee journey!

“Angles and Edges” Knee Replacement inspired art work image by Jenny Meehan. © Jenny Meehan  All Rights Reserved

I read there are seven key cuts in a knee replacement operation:

Seven cuts to the perfect total knee.
Brooks P1.
Author information
Abstract
There are a total of 7 bone cuts in a typical total knee replacement (TKR): distal femur, anterior femur, posterior femur, anterior chamfer, posterior chamfer, tibia, and patella. Each of these cuts has its own special science, and each cut can affect the other cuts and potentially the outcome of the TKR. The distal femoral cut starts the overall alignment of the leg. Five degrees of valgus is cosmetically appealing, avoids excessive valgus, and prevents thighs from rubbing together. The anterior femoral cut sets femoral component rotation, which has effects on patellar tracking and gap balancing. In most knees, correct rotation is approximately 3 degrees of external rotation compared to the posterior condylar axis. An important exception is in valgus knees, where this could lead to accidental internal rotation. The posterior condyle cuts, with the tibial cut, determine the flexion gap. Injury to the medial collateral and posterior cruciate ligaments should be avoided. Anterior and posterior chamfer cuts must avoid these ligaments as well. The tibial cut is challenging. A 3 degrees posterior slope is most typical, and rotation is crucial. Internal rotation is a common error, affecting patellar tracking. Changing rotation on a sloped cut also adds varus or valgus. The patella cut should not be too deep. Component placement should tend medial and superior. If a lateral release is necessary, it should be done from inside-out, with preservation of the blood supply.

This is of interest to me, in appreciation of the art of surgery!  My image has rather random cuts pretty much everywhere; “Angles and Edges” seemed apt though, for this image.   I liked the suggestion of shine in the image.  Light bounces off objects,  and light of course is a natural preoccupation!  So it is an image which alludes to the importance of precision, mathematics and the surgeon’s skill, but rather plays around with the actual object with that joyous and wonderful “Art licenselo” or Artistic License. An image which relates to face, but denotes the distortion of fact.  My fictional image for my real situation!   However, I hope my own knee is very factual indeed!!!!!!!!

I continued to work on the image and then came up with the “Cutting Edge” design, which has a more abstract reference to the figure of a knee replacement but I think retains enough of the structure.  You can see that here;

http://www.redbubble.com/people/jennyjimjams/works/24202274-cutting-edge-abstract-knee-replacement-design-by-jenny-meehan?asc=u&c=231599-geometric-abstract-prints

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About Jenny Meehan

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

I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios. I have  trained  with SPIDIR as a spiritual guide/mentor. I am a qualified teacher and hold occasional small groups in developing painting and drawing skills, and general visual creative expression. I offer online art tuition and mentoring too.

How to Support Jenny Meehan

If you like my art working and would like to support me you can! Pop

Paypal.me/jennymeehan

in your browser and follow instructions. There’s no option for me to thank you via the PayPal Me process but do contact me via contact form and let me know if you have gifted me so I can thank you.

You can buy my original paintings… Just contact me via the contact form. Price range is between £250 and £400.

Also available via redbubble, the well known print on demand marketplace, you can buy unsigned prints on many substrates.

Take a look here, any problems locating it feel free to contact me via the contact page on this Art Journal/ Artist Blog

jennyjimjams.redbubble.com

It’s also a good place to get a feel for quite a big strand of my creative artworking. Any problems locating what you want, feel free to contact me via the contact page on this Art Journal/ Artist Blog  jennyjimjams.redbubble.com

I have mostly the abstract, flat colour geometrical art in Redbubble as it makes nice prints. I selected work for that platform in order to help my work become more accessible. There’s also a lot of surface pattern designs. I find creating patterns very therapeutic!

The main style of my original painting is Lyrical Abstraction/Abstract Expressionism. I also enjoy working with black and white photography tending towards pictorialism. I frequently use collage and digital collage.

Copyright and Licensing Digital Images Information – Jenny Meehan

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. DACS propose fees in line with the industry standard. I am open to negotiation. So contact me in the first instance. They will administrate accordingly

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!)

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