The usual mass of discrete title topics all messed into one…Just the way I like it!

Transgender, Gender & Psychoanalysis (Freud Museum and the SITE conference: Fringe event art exhibition)

 

 

pen and ink on torn paper unique print by jenny meehan jamartlondon

pen and ink on torn paper unique print by jenny meehan jamartlondon

Looking forward to being part of this exhibition.

Above is one of two submitted art works which were chosen by the curators for exhibition.  “Pen and Ink on Torn Paper” is composed of a digitally printed torn image, but this is effectively a unique original artwork, in that the tearing is unique to itself. So there is no edition as such. It is a “one off” by virtue of it’s torn substrate. It’s the tearing, rather than the print itself, which would is unique to each one, if I decide to make any more. So if anyone does express an interest in buying it, I can make one for them which would have the same image, but would be torn differently.

(Pen and ink were the original mediums of the figures, but they have never existed together in reality! )

And here, below is “Pink Girl”…

 

The SITE for Contemporary Psychoanalysis ,recovery psychotherapy,art psychotherapy,british female painter artist jenny meehan,Pink Girl painting in Recovery University of Leicester Instutute of Mental Health by Jenny Meeha

Pink Girl painting by Jenny Meehan © Jenny Meehan DACS All Rights Reserved

The exhibition is a fringe event which is part of an annual conference…

The SITE is teaming up with the Freud Museum for its annual conference in 2017:

Transgender, Gender & Psychoanalysis

11th & 12th March 2017 at the Freud Museum

EARLY BIRD TICKETS ON SALE UNTIL 15 JANUARY

The Conference Fringe will include a series of events leading up to the Conference…

 

Here is a bit about the SITE, quoted from their website:

The SITE for Contemporary Psychoanalysis is a training organisation and a member of the Council for Psychoanalysis and Jungian Analysis College (CPJA) of the United Kingdom Council for Psychotherapy (UKCP). All graduates are eligible for UKCP registration.

The Site was established in October 1997 by psychotherapists from diverse psychoanalytic organisations who wished to create a training programme and an association that would foster critical, reflective and imaginative thinking about psychoanalysis and its contemporary practices.

In 2010 the Site set up a sister training in Truro, Cornwall. This is now a well established part of the Site, with a successful training, an Introductory course and annual public events.

Here is the link to The SITE for Contemporary Psychoanalysis

And here is the information on the event, of which the Art Exhibition is going to be just one part.  I am delighted that my work was selected for this art exhibition!

“SITE announces collaboration with Freud Museum

The SITE is teaming up with the Freud Museum for its annual conference in 2017.

Transgender, Gender & Psychoanalysis

11th & 12th March 2017 at the Freud Museum

The struggles of people of transgender identity have exploded into mainstream consciousness. By crossing the ‘gender divide’, the trans movement has radicalised the question of what it means to be a man or a woman, uncovering a fertile and conflicting arena in which the emancipatory deconstruction of sexual identity intriguingly flirts with the pitfalls of essentialism.

Such a reshuffling of binary and non-binary categories confronts psychoanalysis with new clinical, political and theoretical challenges that push it out of its comfort zone. How can contemporary psychoanalysis meet the demands and the needs that such challenges yield? What does psychoanalysis have to lose? And what does it stand to gain?

The 2017 SITE Conference in collaboration with the Freud Museum will approach these questions critically while exploring new horizons from which to address the complex issues of sexual identity and gendered positioning.”

Here is the flyer for the SITE fringe “Transgender, Gender & Psychoanalysis” Art Exhibition:

fringe-exhibition-flyer-transgender-and-psychoanalysis

fringe-exhibition-flyer-transgender-and-psychoanalysis

Because my forthcoming knee replacement operation is also due in March,  I will not be able to make even the “short walk” to see the exhibition, as far as I can see, if I have just had the op!  Even now, getting to the venue has an added layer of complexity which I never fully appreciated before my own experience of disability in terms of mobility. On the other hand, If I have not had my operation, I am sure I can work out a way of getting to it. I use a crutch for when I am in London, as I need the extra support using public transport, (all those stairs!) and to enable me to walk more reliably for longer and without aggravating the joint to the point of agony.  Agony is not good.  I am now hoping that maybe the operation will be after this exhibition, and I can both deliver and collect my work at least. But I will need to wait and see.

It is a shame not to know how things will be, but actually it is heaven just knowing that I will have my knee joint treated surgically.   Hopefully they will take lots of images at the private view and I can get a taste of it that way, even if I cannot make the event. Until I am well and truly back walking again, I may have to give pursuing any opportunities a miss.

Labels for Painting Styles

Labels…  Kind of a necessity for me, in terms of communicating how my painting relates to other “movements”.  The good thing about movements is they are normally seen best from a great distance, and also, it is encouraging to look back and see other artists who have been as obsessed as you about particular approaches to art making and art working.  It is also helpful for those who enjoy collecting art…  They can explore different movements and will settle on something maybe over time which they find the most exciting and interesting for themselves in terms of a historical period or style of painting.  There are all kinds of ways that an art collector might decide to focus their collection of art work.

The terms I tend to use for describing my main thrust in painting are bouncing within the realms of the following terms: Lyrical abstraction, abstraction lyrique, tachism, tachisme, action painting, abstract expressionism, art informal, informalism.  But these are terms which relate to particular movements in the past, and serve as a way of describing and communicating what to expect with my own painting, and not anything more than that.  And it is the case that within my own realm of art working, I move between several styles…  This is part of the process of development.  I think I have written about this in a previous post.  It is a bad thing to narrow down artistic creation in order to adhere or fit into a style.  If it happens it will happen naturally, and evolve that way. It will grow and develop, playing and toying with different styles and approaches en route!

It is the case, that when using paint, things now are tending to fall within the bounds of my approach, which is process led and focused on formal elements and experimenting with materials. What comes through is a materialisation, a becoming, of my self.  Which references my life experience and emotional and spiritual journey.  Mostly I like to let things happen, rather than plan.  But there is a lot of unconscious planning which happens I think.  There is a lot of emerging!!!

Historical terms and descriptions of styles are good for searching for the kind of paintings you like, and there are plenty of movements which it is helpful for the keen collector of art to educate themselves in.  My own preoccupation is with the formal elements of the painting, and a process led approach.  My preferred terminology for my own work is that of British romantic, poetic, lyrical, abstract and expressionistic painting.  I like the romantic, because of the way it conveys both individuality and intensity of emotion and the importance of these.  I loved my studies of the Romantic poets when at University, and also of the paintings of Turner, which were studies as part of a couple of painting courses at West Dean College given by John T Freeman, (who I credit, among others, with role of welcoming me into the realms of painting as a way of life/vocational activity!)

This is rather helpful:

From Wikipedia, the free encyclopedia

Serge Poliakoff Composition: Gray and Red, 1964
Tachisme (alternative spelling: Tachism, derived from the French word tache, stain) is a French style of abstract painting popular in the 1940s and 1950s. The term is said to have been first used with regards to the movement in 1951.[1] It is often considered to be the European equivalent to abstract expressionism,[2] although there are stylistic differences (American abstract expressionism tended to be more “aggressively raw” than tachisme).[1] It was part of a larger postwar movement known as Art Informel (or Informel),[3] which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting. Another name for Tachism is Abstraction lyrique (related to American Lyrical Abstraction). COBRA is also related to Tachisme, as is Japan’s Gutai group.

After World War II the term School of Paris often referred to Tachisme, the European equivalent of American abstract expressionism. Important proponents were Jean-Paul Riopelle, Wols, Jean Dubuffet, Pierre Soulages, Nicolas de Staël, Hans Hartung, Serge Poliakoff, Georges Mathieu and Jean Messagier, among several others. (See list of artists below.)

According to Chilvers, the term tachisme “was first used in this sense in about 1951 (the French critics Charles Estienne and Pierre Guéguen have each been credited with coining it) and it was given wide currency by [French critic and painter] Michel Tapié in his book Un Art autre (1952).”

Tachisme was a reaction to Cubism and is characterized by spontaneous brushwork, drips and blobs of paint straight from the tube, and sometimes scribbling reminiscent of calligraphy.

Tachisme is closely related to Informalism or Art Informel, which, in its 1950s French art-critical context, referred not so much to a sense of “informal art” as “a lack or absence of form itself”–non-formal or un-form-ulated–and not a simple reduction of formality or formalness. Art Informel was more about the absence of premeditated structure, conception or approach (sans cérémonie) than a mere casual, loosened or relaxed art procedure.[4]

And there is lots more to read: https://en.wikipedia.org/wiki/Tachisme

More Paintings

eternal one painting jenny meehan referencing afterlife

eternal one painting jenny meehan referencing afterlife

Eternal One

arylic painting for sale purchase surrey fine painting on surrey artist network by contemporary British painter Jenny Meehan based in south west london. Acrylic paint, pigments, various mediums and fillers, sand, glass beads, on canvas coated with very thin coating of acrylic resin for protection. Framed and available for sale/purchase/collection.

Painting referencing afterlife, heaven,future,doorways,entrance,exit,rite of passage,dust,clouds,air,vision,Christian,heaven,ascension,spiritual,spirit,supernatural,death, life,journey,light

Time Passes

abstract acrylic contemporary british lyrical expressionist romantic elegiac fine painting alley outhouses lament past rear access roads passageway memory, jamartlondon, jenny meehan, jennifer meehan, © Jenny Meehan, abstract expressionist female painter 21st century, collectable abstract art,

past remembrances, elergy painting poetic mournful lament

Abstract acrylic painting, using glass beads, filler, pigments, pearlescent pigment,sand,acrylic medium.
Process based painting, with subject matter emerging as the painting progresses, so kind of free association process going on through the painting. This resonated as a memory, memory of past walks through the rear access roads in my area and also childhood memories of playing in alleyways.

Non representational acrylic painting with pigments, acrylic medium, glass beads,filler, wax crayon,oil pastel, pigment.

 

Upper Room

lyrical abstraction,abstract expressionist fine painting, british english women artist, 21st century painter female, upper room, christian artist art spirituality, contemplative art, meditative art, romantic abstract lyrical expressionism, abstract acrylic painting christian art sacred symbolism jenny meehan

lyrical abstract painting selected for “Not the Royal Academy” exhibition at Llewellyn Alexander Fine Paintings Waterloo in 2013. For sale.

“Upper Room” (reference, upper room in New Testament, where Last Supper took place)

Non representational acrylic painting with pigments, acrylic medium, sand, glass beads,filler, spray paint, pearlescent pigment, pigment.

 

Update on the current paintings in progress is there is a lot of looking and thinking, mulling and reflecting going on, but not a lot of action.

 

Printing Papers

While not painting, I have been experimenting with inkjet printing on different types of paper.  For some images I wanted duller colours and not the brightness which comes from using an ink-jet paper. I have a new printer which takes some time to get the head around but with a scanner it offers some new opportunities I am sure.  I have produced a fair bit of work but not anything I want to show at this point as still very much under consideration.

I have many different types of paper and have no rule for what I use for what.  Sometimes ordinary watercolour paper is right, other times, just copy paper.  Ink jet paper yields totally  different results to watercolour paper, quite surprisingly so. I should not be surprised, but I always am. There are different grades of ordinary printing paper that can give some of the benefits of photo paper (cleaner, clearer images; brighter colour; cleaner text) but for less money.

Fundamental differences are:

Weight: The amount of mass of a ream of 500 pages of the paper in question before it is cut down to whatever its current size may be.  Paper weight is simply an simple way to measure the density of a paper.

Point size: Point size is a measure of the thickness of paper, unlike weight, which is a measure of density of paper material. Points are one thousandth of an inch, with heavier papers having higher point sizes. Many types of paper will have no mention of point size, but photo papers/cards may include it.

Brightness: Brightness is the amount of light that is reflected off the surface of the paper.  More reflected light mean  a better colour range is achievable, and better contrast too. So the brighter the paper stock, the better, IF brightness is what you want and the greatest range of colours.   Brightness is measured in values from 0 to 100. For instance, you can  buy fine quality reams of typing paper with a brightness of 90.

Whiteness: Easily confused with paper brightness, “whiteness” is the shift in colour of the paper, for example white can lean towards blue or much warmer red.  There are icy, bluish, and cool whites or whites which lean towards cream.

Paper stock: Related to point size and weight, various densities, thicknesses, and paper qualities have various names, like “Newsprint,” “Cardstock,” or “Bristol.” Many photo papers are heavier weights, often in an attempt to recreate the feel of old style photo prints on light sensitive paper developed with photo chemistry.

Coated Paper:  (for photo papers) They are coated with a layer of chemical bonded to the paper, intended to allow inks to be absorbed more accurately, creating better quality images.  They can be coated on  just one or both sides. They might be gloss or matte.

 

I don’t always choose to print on coated paper, as what I want the print to look like can vary a lot depending on the image.  Inkjet printers fire ink at pages in small liquid drops and the porous paper accepts the liquid material with capillary action, drawing it out in multiple directions.  This can sometimes be the kind of image I want, and the flow of ink,  though it could be seen as detrimental to the quality of the print, (because the print is less clean and crisp) can also add a softness to the print which is rather suitable.

Coated papers are chemically treated to help the paper be a better printing substrate, well, “better” if crisp and clear is your objective. Ink blots rest on the emulsion in a wet state, but stay neatly put and are also neatly absorbed. Images stay clean, because the absorption of inks into emulsified surfaces is a more controlled process.  As the ink settles and dries, the pigment left behind is effectively locked into the surface treatment of the paper. It cannot have it’s own way  quite as much as it would!

 

 

Prints, Editions, Limited Editions, Numbered Editions – Clarity  or Confusion?

I’m popping this in by way of general reference in relation to the way I have chosen to do things.

There are two main strands to my visual creative practice, one being original fine paintings and the other being mechanically reproduced prints (either digital C-prints or ink-jet prints). I do not often artificially limit my prints in number, but it is safe to say that numbers are very well limited by the amount of time I spend on creating them.

Digital C-prints and ink-jet prints made by me personally are numbered and signed, and I keep my own records, but their number will be naturally limited by nature of my own mortality! “Numbered and signed” prints are NOT the same as “limited editions”. I describe them as “numbered editions”, but the number of prints possible is open ended. This gives me greater flexibility as their creator in that I can make them in a variety of formats and sizes, and on different substrates.

Selected imagery is available unsigned and un-numbered for use on print-on-demand merchandise. It’s no less valuable than any other imagery, but if something leans in that direction and I can share it, then I will. Plus, funding is much needed to pay for painting materials and this facility helps in a small way by giving me a royalty from each sale.

Please do consider purchasing some of my printed artwork as this is an easy and mutually beneficial way help support my creative project.
Take a look at Redbubble.com:

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

Most of the signed/numbered and unsigned/open edition mechanical prints of my work, are not reproductions of paintings or drawings but are works true to their own medium which is photographic imagery, either originating from a photographic image or from photo-manipulation software. If I think a work in another medium suitable for translation into digital imagery and printing, then I will do this, but not indiscriminately.

I also produce monotypes, using traditional printing techniques and sometimes hand finished digital prints on various substrat

Here is the link to my website jamartlondon which tells you a bit about editions with reference to my own imagery. 

Good Article on an Exhibition I won’t be able to see…STRIKING UP A CONVERSATION: THE BALTIMORE MUSEUM OF ART UNITES MATISSE AND DIEBENKORN IN A GLORIOUS EXHIBITION

Both Diebenkorn and Matisse have worked their magic on me, and so feeling rather sad I cannot see this.  This review makes for a good read though, and gives a flavour at least of what must be a super experience of viewing the works together.. It’s written by Phyllis Tuchman  and POSTED 01/19/17 10:51 AM January 29.

http://www.artnews.com/2017/01/19/striking-up-a-conversation-the-baltimore-museum-of-art-unites-matisse-and-diebenkorn-in-a-glorious-exhibition/

First Visit to an Osteopath – What to Expect

Well, that is the question. There are lots of answers to that, but for me, the “What to expect” is, rather than the actual  encounter,  if I should expect any kind of improvement or result from the visit.  My agenda in going to see an osteopath certainly wasn’t anything to do with avoiding knee replacement surgery.  The bones are grating and banging against each other in a way which clearly isn’t going to be changed by anything at all.  I have been exercising and working on the muscles of the whole leg, and the rest of my body, since September 2015, starting with GP prescribed quad muscle exercises, gentle yoga, swimming, and then individually tailored physiotherapy from September 2016.  It was hard to imagine that any thing further might change in any way at all. Even with trying something new and unexplored, and having an appointment with an Osteopath.

I was not looking for a reduction in pain either.  I have got used to pain being part of my daily menu in life.  I am getting the knee surgically treated because the knee needs to be treated, and the problem addressed in this way.  I am not a medic,  but it has become increasingly clear to me, as I experience the steady and rather rapid deterioration, that things are not going to improve.  The fluctuations in symptoms which do occur, only belie the underlying reality that I cannot walk very far at all, and the I am turning down opportunities left, right, and centre, because I am now disabled and my life is restricted in a soul destroying way, and in a way I cannot accept.   And I don’t want to sign up to an experience of pain and disability any longer than I need to.

But, as an artist, I have a strong appreciation of the importance of balance.  In an abstract painting, the constant alterations to the balance of the work, which are to do with the form/structure of the painting, make all the difference.  So it is simply logical that the same should apply to my own body.  I have been aware of being very “out of kilter”  and also of how a problem/alteration in one joint affects the whole body.  It affects the way I move, hold myself, and the experience of pain also needs to be managed and negotiated somehow.  The whole body tenses up when in pain.  So I did not go along to an Osteopath to relieve any pain.  Maybe that might be an objective after surgery though!!!

Here is a link if you want an answer to the question “First Visit to an Osteopath – What to Expect” in terms of the general experience of a visit to an Osteopath, the examination, diagnosis, and treatment, plus ongoing care: 

http://www.osteopathy.org.uk/visiting-an-osteopath/what-to-expect/

My Personal Experience of Consulting an Osteopath

As part of my knee journey, I felt some time ago it would be beneficial to visit an osteopath.  I walk past the British School of Osteopathy quite regularly.   http://www.bso.ac.uk/   One of the things I had felt surprised about was that at no point in my experiences of physiotherapy had any direct manual work been done on my knee/leg and that this was something which might be beneficial. It just seemed logical.  All those exercises did make a difference to the muscles around the knee joint, and I guess an appreciation of the importance of all the soft tissues and how they are involved did make me think that, even though I will have my joint addressed, it is also important for everything around it to be treated.

I don’t have any great expectations attached to my interest.  I don’t wish to avoid a knee replacement, as my quality of life is too badly affected.  I am fortunate in that I have worked, and continue to work very hard, on my body… The yoga is beneficial, the swimming is beneficial and the physiotherapy was also beneficial.  I have been pulling, stretching, massaging and moving both in and out of water.  I have been working hard for  months and doing all I can, including weight loss, to improve my situation.  I am managing the pain pretty well, though it has to be noted that it has been a lot easier to manage with the forthcoming knee replacement operation well and truly on the horizon.  The thought that I do not have a life long sentence of avoidable pain and disability is a very significant point to make.  I now realise that I will miss my “old knee” to a certain extent… It has been with me for a long while.

Anyway, back to Osteopathy and why I thought I would bring myself along to the British School of Osteopathy and see what happened.  As said, I wondered about the lack of physical manipulation.  The total lack of physical manipulation.  When I was treated with Physiotherapy at hospital I was very grateful for the individually tailored programme of exercises, and I did them very conscientiously every day.  But something about being treated was missing.  People with a long term chronic condition  are in a very different place to someone with a more immediate trauma injury.  The whole experience of knowing that your life will be affected in a very long term way,  is a big matter to get your head around.  But even when you have done your best at that, constantly experiencing pain and disability and knowing this is your daily lot, if it happens to be beyond what you feel you can bear, is depressing and anxiety provoking.  Your WHOLE life is affected, and it becomes more important, that when you are treated, the effect on your whole life becomes an important element of the way you are treated.  More so than if you have something with a clear beginning and end.

So what happened when I went to visit an Osteopath?  Things had deteriorated with my knee at such a pace which did have the overall effect of making me willing to try anything, even if I had not thought about it before.   So I was ready for anything potentially beneficial at all.  I do confess to having dismissed osteopathic treatment, thinking it was probably something not REALLY worthwhile. However, I am pleased to say that the session of osteopathic treatment I had WAS beneficial.   Someone who knows how to pull and push your limb around, and manipulate the soft tissues in theory should be helpful, and it was with this in mind that I went along.   I can now straighten my right leg more than before…  I felt the difference last night lying in bed, and was suitably impressed.  I also noticed some change in how the leg felt when I was swimming this morning.  It does feel more comfortable somehow. It feels straighter.  I did not ask about the details of what she was doing/had done because I did not want to involve my brain and my thinking, or my belief process in the treatment but I just wanted to simply have the limb manipulated and see what happened.

Bearing in mind that I have been working on my right leg for months, and have done what I am able to attempt to increase how straight it can be, including stretching it in the sauna, , plus yoga stretching and standing, and various other activities (with straight leg pressing the back of back of  knee into bed,etc) I am suitably impressed.   The fixed flexion deformity was only slight when noted last year, but all the same,  as far as I understand, it is not a good thing for the knee joint not be able to straighten well, as this I think puts more load on the patella.   From my perspective though, it was simply rather impressive and encouraging that it is possible to manipulate the limb in this way and I wasn’t expecting anything at all. Simply curious and interested.  So it was a positive experience and I plan to come back when I have got the “all clear” after the knee replacement operation, and offer up my leg for some manual treatment.  I do confess to being very keen to ensure that I make the best possible recovery, and that I make the most of my rehabilitation process and get a good outcome from the operation.

As said, I had not considered going to see an osteopath.  But, as I massaged my knee, for pain relief mainly, I felt not only that there had been nothing practically done in the area of physical manipulation, which I was surprised about, (because of the importance of all the surrounding structures), but also that my experience with my knee was effectively a whole body experience. The osteoarthritis, while the right knee has taken centre stage, is part of what is happening for me all round.   The knee joint itself is one part of that.  The best way for me to tell you the outcome is by posting the feedback letter I posted…As I have already written it!

Hello,

I would be very grateful if you would pass on this feedback from my recent appointment

Dear ………

I just wanted to say how pleased I feel after deciding to come along and see what an osteopathic approach might offer me and to see if I found it beneficial.

I had no particular expectations with respect to any treatment, but my own instincts from massaging my own knee and to thinking about the body in general (in relation to art, in fact…as a mechanism which needs balance in order to create harmony) and also my experience of doing Scarivelli inspired yoga over the last year prompted me to come along. I have walked past the other BSO building many times and had never thought about osteopathic treatment up until then.

While I have certainly appreciated the Physiotherapy I received at hospital, I was surprised and disappointed with respect to the absence of any physical manipulation. This just seemed logical to me. I ended up feeling that my knee was not actually being treated. While all the exercises, (which I have been doing for rather a long time) have improved my leg, it was important to me that when I have the bones of the knee treated surgically that I had an optimal state of leg!

After my treatment my leg felt fine, but I wasn’t expecting anything much to be different. However, I am pleased to say that my leg does feel more aligned…and more like the left one. I had noticed that their was something a bit different about the right one in terms of alignment but couldn’t quite put my finger on it… it was to do with the way it moved. I also am pleased to say that indeed, something has been released at the back and I can more comfortably straighten it.

It is a much better feeling to do the necessary exercises having had the structure of the leg adjusted. I have noticed that when I do my sit to stands there is less shaking in the quads…They are still shaking a bit of course, because weakened, but there is certainly less shaking. When I am swimming, it feels I am swimming more efficiently. I was getting a lot of “out of joint” ness (cannot think of a way to put it) when swimming “doggie paddle” which stopped me doing that style, and had just been sticking to the crawl, but so far I can now doggie paddle too.

I am most pleased about the way it can now lay straighter though. It might seem a small thing but it really bothered me, because I felt this cannot be helpful for the knee, and though my walking is much better than it was last June, when the ESP noted “a slight fixed flexion deformity (“right knee movement -5 to 110 degrees with springy end feel at both ends”) it was very good to have you actually addressing the matter directly. I had set myself to attempt to address this myself, as nothing was said or done about it when I then got referred on to another Physio at the hospital. I had expressed my concern about the way it was painful there when sitting in “staff pose” but the response was “Well, just don’t do it then”. But I believe that this is a good and healthy sitting position for me to take, for my whole body, not just my leg, and that I should be able to sit that way if I want to. Plus, I really enjoy the yoga I do and I wanted to be able sit like that! I also stretched the back of the right leg in the sauna weekly and in the pool, and in various other ways I could think of. But it is so nice that it feels less tight and much easier to do now. Thank you very much!

All in all, when I do my exercises the whole leg feels stronger and more efficient, and this is a really great experience for me, in the respect that I can now go and have my surgery knowing that things are as good as they can get in the other structures of my leg. I realise that the surgeon will upset things with the surgery, hopefully as little as possible…and that I will need to start all over with the rehab. But it makes sense for things to be as nicely in place as they can at the start and certainly the way the exercising is more effective is very encouraging. It worried me that even some of the simple post op exercises where so difficult for me pre-op, (ie lying down with left leg bent, then doing a low straight leg lift with the right, involved an awful lot of trembling!) and now they are easier, I feel more confident about my body’s ability to work through the whole experience successfully.

So thank you very much indeed, and I look forward to seeing you post op! What a shame that Physio’s are also not Osteopaths, for I would have been able to access this experience much earlier. But thank you for your treatment of me, and I will definitely be coming back.

Kind regards,

Jenny Meehan

 

Some general information gleaned on Osteopathy:

Osteopathy is a system of diagnosis and treatment for a wide range of medical conditions. It works with the structure and function of the body, and is based on the principle that the well-being of an individual depends on the skeleton, muscles, ligaments and connective tissues functioning smoothly together.

To an osteopath, for your body to work well, its structure must also work well. So osteopaths work to restore your body to a state of balance, where possible without the use of drugs or surgery. Osteopaths use touch, physical manipulation, stretching and massage to increase the mobility of joints, to relieve muscle tension, to enhance the blood and nerve supply to tissues, and to help your body’s own healing mechanisms. They may also provide advice on posture and exercise to aid recovery, promote health and prevent symptoms recurring.

The above is quoted from http://www.osteopathy.org.uk/visiting-an-osteopath/about-osteopathy/

and, a small extract quoted from

 OSTEOPATHIC PRINCIPLES AND PHILOSOPHY
by
Raymond J. Hruby, DO, MS, FAAO
Copyright 2000, 2007, 2014 by
Raymond J. Hruby, DO, MS, FAAO

We can define osteopathic medicine as a complete system of medical care with a
philosophy that combines the needs of the patient with the current practice of medicine,
surgery, and obstetrics; that emphasizes the interrelationship between structure and
function; and that has an appreciation of the body’s ability to heal itself. Based on this
definition, osteopathic medicine defines a distinctive set of tenets which osteopathic
physicians use to formulate their approach to patient care.5
These tenets are:
 A person is the product of dynamic interaction between body, mind, and
spirit
 An inherent property of this dynamic interaction is the capacity of the
individual for the maintenance of health and recovery from disease
 Many forces, both intrinsic and extrinsic to the person, can challenge this
inherent capacity and contribute to the onset of illness
 The musculoskeletal system significantly influences the individual’s
ability to restore this inherent capacity and therefore to resist disease
processes
From these tenets the osteopathic physician derives certain principles for patient care.
These principles state that 1) the patient is the focus for healthcare; 2) the patient has the
primary responsibility for his or her health; and 3) an effective treatment program for
patient care is founded on the above-mentioned tenets.
Thus the osteopathic physician uses a health-oriented and patient-centered
philosophy to implement the principles of osteopathic medicine in the care of the patient.
The osteopathic physician’s goals are to:
 Seek out and address the root cause(s) of disease using available evidence-based
approaches
 Optimize the patient’s self-regulating and self-healing capacities
 Provide an individualized patient management plan that includes emphasis on
health promotion and disease prevention
7
 Include palpatory diagnosis and osteopathic manipulative treatment to address the
somatic component of disease the extent that it influences the well-being of the patient.”

 

Drop In Drawing/Painting Sessions for 2015 – Fridays- Daytime-Once a Month-Workshop Style-Beginners and Experienced Welcome
Friday 27th February 1 – 3pm
Friday 20th March 1 – 3pm
Friday 17th April 1 – 3pm
Friday 15th May 1 – 3pm
The idea is that I am available to help you to develop your own projects and ideas. I will be there to add my technical and practical input, and help you by discussing your direction and the difficulties which may be encountered along the way, if you so require. As to what you actually do, this could be from drawing from the imagination, copying something from life, designing something abstract, or making a collage of text and images. Or simply experimenting and exploring what it is like to use a particular material or method of drawing.I will provide some ideas if people like, but anticipate people coming along with some idea of what they might like to do beforehand. However, just a vague idea is just fine! Participants also need to bring their own materials along with them. I am gearing it mostly to dry media, ie pencil, charcoal, oil pastels, chalk pastels, pens, biros, markers etc. If someone sneaks a bit of paint in, I won’t complain though.. (how could I?) however, for practical reasons, you might need to work outside if you are painting medium or large scale!The idea of holding the sessions on a “drop in” basis is that is it often hard for people to commit to a regular group a long time in advance, however, you do need to let me know the same week if you will be attending, as there is limited space and so I need to know about numbers. I won’t be formally planning a structured session… On these occasions the session takes a “workshop” style approach, with plenty of individual input and opportunities for feedback, discussion, and analysis, as you consider ways of developing your own direction.
If interested, then please contact me via my website contact form http://www.jamartlondon.com for more information.   Thanks.
 Some Painting
 Some painting would be a fine thing…There is too much rubbish in the house which needs sorting!  Too many outstanding household chores, jobs, mending, admin, etc etc.  However I reflect that it’s not a bad thing to have gaps in one’s creative production.   Ill with some flu type cold, and minus my voice for a few weeks forces me into silence, and also into a nostalgic trip into the past as I look through images on CDS and put them onto a portable hard drive.  It’s great to be able to document my work myself.    For a nice escape, I took a tour.
Fancy a little tour around some of the National Gallery?   This little “Life of Christ” tour may be an enjoyable investment of time!
I have also started a mini blog on the Artists Newsletter site.  This is an attempt to make a somewhat narrower stream than river which is this meandering discourse.   I envisage this being orientated around just what I am working as I am working on it, rather than a broader span of past and present artworking.
I am concerned that I might be spewing out too many words, however, I cannot deny that I find it helpful to my creative processes.  I suspect this might be something I start and don’t continue…this does happen sometimes, but it might be useful to try, maybe focusing just on my sculpture/3D work.  ???
I have also looked back on the photography blog site…Something that kept me happy when the children were younger.   I would like to pull together some of the past imagery and self publish a book with some poems maybe.  At some point.
“When we were children, we used to think that when we were grown-up we would no longer be vulnerable. But to grow up is to accept vulnerability… To be alive is to be vulnerable.”
Madeleine L’Engle
Yeah, so true.
Past Work Review 
New Start by Jenny Meehan

New Start by Jenny Meehan

 There is something of the moon in here…Something of an orbit…It is one of the geometric abstract works from the “Signs of the Times” Series.  I had painted some flat abstract paintings several years earlier, but didn’t enjoy painting  sharp lines and didn’t see the point in going to a lot of effort to make intense, flat, smooth areas of colour with paint, when I could do so far more easily,(and get the effect that I wanted ie..smooth smooth smooth, and completely all over satin finish…so that the light would hit the physical surface in exactly the same way), far more easily with vector graphics and wonderful rich pigment ink printed by Poster Pigeon.  I don’t mind plugging them because the service and prints were excellent.
These colours I like very much, I may take and use as a start for a painting.  The moon pops into a lot of my paintings too.  Why the moon?  Maybe just because it is nice and round and white…I suspect this is what attracts me.  Looking at the moonlight as it sometimes floods into the house on a dark clear night is a wonderful experience.  The quality of light, light reflected, does seem to bathe  one in a way which the sunlight cannot.  It is more gentle, more mysterious, and a deeper kind of light.  Reflected light.
As I often do, I have played with this image, and produced this:
starting out series design by jenny meehan to buy on redbubble

starting out series design by jenny meehan to buy on redbubble

This is one of a series.
I have put these up on Redbubble.  The cards and other products are quite reasonably priced, so take a look.  If you would like to support in some small way my art working, which is far, far, from profitable in the monetary sense of the word, at least, then buying something this way will, at some point help me pay for materials.  ( I say “at some point” because I haven’t yet even reached the small amount of sales which mean that any due payments will get processed!)   I get around ten percent of whatever the cost of the item is. Only three items with my design have been sold in the last five years…!!!!!  This is common, because the pool of lovely art work is so large.  Which is good, though doesn’t make it that much of a feature in my life.  I do feel it is good to make things available though, which is why I bother with it.  I have completely given up on the idea that I might ever generate anything resembling an income from my art working.  And I don’t wish to make what I do commercial in the sense of really gearing myself up in that direction.  However, it’s always a little boost when something happens! And, materials are expensive.  We are fortunate to  get by financially as a family, but the fact that I don’t earn because I am investing my time in other directions, means that I don’t mind making little pleas like this from time to time.  I don’t paint on thin air.  It all has to come from somewhere.
Look under the products to narrow down the shown selection to something you are most interested in.  The cards are super and very good value.
If you take a look, see something you like, but don’t wish to buy at, then even enabling a “share” will be great!
If you have some inclination to support my art working in a rather more substantial way, then Cass Art gift vouchers always come in handing for art materials.  Or an Art Fund card, Tate Card, Royal Academy Card…anything like that which helps me see lots of art… A useful thing for any artist to do.  Keeps one fresh.   (feels odd to mention it, but  why not?) 
Psychotherapy
I was thinking today that we are all wounded…This is something which every single person shares with each other.  We are all the same in this respect.  Some people have a larger portion than others, but it is foolish to make measurements about such things.  We tend to be  defensive, and guarded about our suffering.  For self protection, I think.   I was reading about how groups of hens peck their weakest member, and I can see we all have a bit of this instinct in us too.  It is horrible, but true, that signs of weakness, particularly if we are not able to identify, embrace, and accept our own vulnerabilities, weaknesses and struggles, sometime contribute to decisions, both subconscious and conscious, to give other people a hard time.  I am grateful I have opportunity to delve below the surface of my own experiences, both past and present.  Therapy has been a great asset for my art working for sure.   And it has introduced me to the area of  depth psychology, which in turn leads me at times to spend time reading about different theories and approaches.  As always, there are endless numbers of different schools of thought and theories.  None on their own make up the whole picture, thankfully.  But very interesting to read about!
(Logotherapy is a form of psychotherapy proposed by the Austrian neurologist, psychiatrist, and holocaust-
survivor, Dr Viktor E. Frankl.)
Quote from:
Fabry, Joseph B.
The Pursuit of Meaning : Logotherapy Applied to Life
. Cork (4 Bridge St., Cork):Mercier Press, 1975.
 Fabry writing about a type of psychotherapy approach called Logotherapy:
” It tells him that he cannot change his past, but that he is not its slave either; that he can change his present and influence his future. It tells him that he has limitations but also great freedom within these, and that the use of this freedom can make the difference between a full and empty life; that, if not used responsibly, freedom will turn into meaningless arbitrariness. It tells him that he has choices to make, at every moment, and that he must make them in the face of constant uncertainty, that he never can wait until all answers are in. It tells him that each person is alone, yet participates in a reality that far transcends him and his understanding; that success in life does not depend on the obvious; that individual life is geared to ultimate meaning. It tells him that he can never grasp the reality of the Ultimate, whatever name is given to it, but that everything depends on how he responds to its demands. Logotherapy assumes that ultimate  meaning exists but that it is ultimately un-knowable for the individual. He only can guess at it by means of his conscience, which is part of his human make up and therefore can err. And what his best guesses will reveal is not the overall Master plan but only the meaning of one life situation at a time. He can participate in ultimate meaning only by responding, to the best of his limited capacities, to the meaning demands of the moment. The day-by-day pursuit of meaning gives content to his life. Happiness, peace of mind, satisfaction, success are only by-products of his pursuit of meaning.”
I like these thoughts, though I don’t sign up to any particular school or approach to therapy, (not knowing enough about it in the first place!)  I do rather like this quote from Fabry in addition to the above: “In philosophy something wholly new is likely not to be fully true. That holds for psychotherapy, too. If Logotherapy had achieved nothing more than to rediscover and reformulate old truths even then it would have contributed to the advancement of psychotherapy.”

 

The Imagination between Beauty and Goodness

http://www.transpositions.co.uk/2014/09/the-imagination-between-beauty-and-goodness/

Rather a snippet… But as said before…This blog is my notebook!

 

Mount Street Jesuit Centre

I am benefiting from my visits to the Mount Street Jesuit Centre.  While I cannot shake off the feeling that I am venturing, soaked in Protestantism, onto Catholic territory, I don’t mind the feeling, indeed, I quite like it.  I haven’t found it a problem, rather, it is very interesting, and I am finding, as far as I have experienced so far at least, that those who are looking to deepen their experience of the Creator God through investing time in listening and learning, and whose focus is on deepening their own personal spirituality in a determined and dedicated way, have a wider conception of the body of Christ than that exclusive idea that it is limited to one’s own particular church or church tradition.  (Thankfully!) So I am having interesting discussions and meeting lots of lovely people who were not brought up in a Baptist Church and who don’t go to an Anglican Church.

When asked what I considered myself to be recently, found myself faltering, and saying “nothing really”, explaining that I had been in a great variety of churches, including charismatic, Baptist, evangelical, house churches, and now the Anglican church.  I did mention that my choice to be baptised as an adult was particularly significant for me.  I went to a Baptist Church (Hampton Wick Baptist Church)  as a child, and the female minister Sister Edna Black was such an inspiration to me…I realise this more now as an adult than I did as a child.   So my deep roots feel mostly of that variety.  Choosing to be baptised is the most significant turning point in my life, and the symbolism of that resonates mostly through my self, particularly at this present time.  I have the Baptist  ideas on adult Baptism to thank for that.  I see it as the most helpful marker in my own experience and walk in faith.   Other people have different markers.  I don’t feel that one should have to be baptised or anything like that.  I feel that our Creator is interested in the constant conversion of our hearts as we bumble along in everyday life most of all.  Conversion as a constant, and dedicated baptism process of death and life.  Immersion in the Holy Spirit.  Identifying ourselves with Christ, and taking our identity in who we are in Christ.   But now later on in my journey, I am glad I took part in that particular rite of conversion, because it’s so rich in symbolism, in a continual kind of way, rather than as a one off experience, also.

 

 

Can we still experience the sacred in a secular world?  Ignation and Buddhist Perspectives – Facilitated by Terry Walsh SJ

7th February.

Text from the printed leaflet.  Quote:

“Fr Terry Walsh is a Jesuit priest and a philosopher. His curiosity about the roots of human experience – cognitive, ethical and religious – led him to the practice of Buddhist meditation at a time in 2007 when he was living among the Tibetans in exile in northern India. Since then he has returned to Asia every two years to teach philosophy and to continue the practice of meditation in monasteries in Thailand, Laos, and Sri Lanka. There he has discovered not an identity, but a valuable and enlightening correlation between the Buddhist concept of mindfulness and the Ignatian focus on the desires that compel the search for the divine as the interior realization of freedom.”

and:

“Do we believe that in the present state of secular culture marked by unbelief in God and indifference to religion it is still possible to experience the sacred? I believe experience of the sacred is attainable, but there are obstacles mostly of our own making that must be overcome. As the parable of the sower in Matthew’s Gospel suggests, it is possible to have ears and not hear, eyes and not see, hearts and not understand (Mt 13). The sacred might surround us and thoroughly penetrate our lives; yet we don’t perceive it.

Both Buddhism and Ignatian spirituality direct us to enter into ourselves, to search for traces of a hidden yet real dimension of the sacred within the fabric of mundane experience, which we unthinkingly dismiss as too ordinary or profane to contain the divine.

The workshop will explore how these two schools of spirituality offer concrete ways to achieve a freedom that arises once we have let go of preconceived notions of the sacred that blind us to its authentic presence and constrict our experience. We need to allow our minds and senses to grow accustomed to the darkness and emptiness of spirit, because this is where grace takes root and thrives. For whatever we think of the holy, it is not just another object in the world, there to be egotistically manipulated for personal satisfaction.”

For more information on the Mount Street Jesuit Centre, go to:

http://www.msjc.org.uk/

 

Photoshop Learning

There is so much to learn, and while I really should have picked up this little gem of knowledge before, I only recently found out the following!

Merge Layers – All layers that are selected are merged into a single layer

Merge visible – All layers that are not hidden will be merged into a single layer

Flatten Image – Will merge all layers and discard any layers that are hidden

Ah well, better late than never!

Holocaust Memorial Day 2015: Keeping the Memory Alive at the Council Chambers, Guildhall, Kingston on Sunday 1st February 2015

This was a very valuable event with lots of variety and different presentations by many people, including the Revd Andrew Williams who gave an excellent presentation on the visual arts in relation to the Holocaust.  I was very pleased to receive third prize in the 16+ category of the art competition which was part of the event.  The judging panel was made up of representatives from the Kingston Synagogues, the Holocaust Memorial Day Trust, the Inter Faith Forum and the Volunteering Service at Kingston University.

How lovely it was to receive a prize, and a lovely one, at that, some gift vouchers to spend at a local art store.  So useful too!  I met some great  people, and was glad of the opportunity to spend time in reflection not only on the Holocaust, but on other genocides which have happened since, and to receive the sobering message that our intentions should be strengthened against the prejudice and fear which often starts such horrific processes festering, and adds fuel to the creation of such atrocities.

The plan is that over the coming weeks several local exhibitions will be mounted in order to display the work.

lasting stones of memory painting by jenny meehan for holocaust memorial day kingston

lasting stones of memory painting by jenny meehan for holocaust memorial day kingston

Above:  Lasting Stones of Memory – Painting by Jenny Meehan – Acrylic on Canvas Board

Tiny Bones

 

I trod on fragments of bone;

Homosexual, Jew and Gypsy.

Unknowingly desecrating

precious loved ones,

with my soles.

 

A heartless, human realisation –

I did not know, until the man told me.

When he spoke,

my world changed.

Brokenness took a new meaning.

Even the tiniest

prejudice

is a terrible thing.

 

I took one of the splinters –

pressed it

into my skin

and wept.

 

Jenny Meehan

3 – 22 February 2015

Society of Wood Engravers

I always go and see the exhibition at the Bankside Gallery by the Society of Wood Engravers, as I love it so much.  Here is the text which I quote from the website:

“The Society of Wood Engravers is the principal organisation and rallying point for those interested in the subject, and it also maintains a lively interest in other forms of relief printmaking. Essentially, it is an artists’ exhibiting society. There are about seventy members, practising artists who have been elected or invited to membership on merit.
An international exhibition drawn from an open submission of wood engravings and other forms of relief printmaking. In this show there will be over 130 original prints by elected SWE members and others, plus a special section spotlighting the work of Sarah van Niekerk and her great influence as a teacher of engraving. While the exhibition will comprise mainly of wood engravings other forms of relief print such as woodcut and linocut will also be on display”

Well, I saw it again this year, and it always delivers.  Something about black and white is very challenging, and very useful and important.  The combination of mark making variations, types, directions, characters, all give a lot.

 

Copyright Alert

A blog run by someone else has pinched one of my drawing images and has posted it up as their own work.   Just for the records, the image below is my work.  In this case it appears difficult to track down…mshahzis.blogspot.  But no way of contacting that I can see right now, anyway.   But for those that like to know what they are looking at…This pencil sketch is mine!

 

Leith Hill Surrey Pencil Sketch Jenny Meehan Contemporary British Artist surrey artist artwork for sale to buy affordable english romantic artist modern, tree trunk bench resting place,

This pencil sketch is by Jenny Meehan.
Copyright jenny meehan.

I’m not flattered when people do this.    Those that have respect, ask permission before using others work on their blogs and certainly provide clear credit and a link, so that there is no confusion.  For full information on copyright matters, see below.

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

Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.

Licencing 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 licence to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)

Also, please of course feel free to contact me if you are looking for a particular type of artwork image, as I have a large archive of images myself. 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,  I would then refer you to  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.

If you need any further clarification, the DACS website is clear and very helpful indeed, and they would be happy to help you.

DACS
Design and Artist Copyright Society
33 Old Bethnal Green Road
London E2 6AA
Telephone: +44 (0) 20 7336 8811
Fax: +44 (0) 20 7336 8822
email: info@dacs.org.uk
website: http://www.dacs.org.uk
Offices are open 0930 – 1700 Monday through Friday.

 

Oliver Mc Ternan – Finding Sense in a Complex World: The Need for a Spiritual Paradigm

Well, it is along way back now, but on Thursday 9th January I made my way to Westminster Cathedral Hall SW1P 0QJ for an event organised by “Silence in the City”.  (www.silenceinthecity.org.uk)  As part of my creative practice this year (and probably many years to come, I hope) I am going to invest more time into the practice of contemplative Christian centred prayer and meditation, and I was very pleased to find an organisation like Silence in the City who organise regular events with speakers and also with a time of silent prayer and reflection.    To my dismay, I realised I was pen and paperless, but tried out my mobile phone’s swipe facility for note taking.  Urm, it was good, very fast,  but problematic when it got the occasional word wrong!  Returning to correct some errors was essential, and this took a protracted amount of time.  However, I did manage to record a few things!  Silence in the City do produce recordings of the talks they host, so if you are interested then go to the www.silenceinthecity.org.uk website and enquire.  http://www.silenceinthecity.org.uk/

(My notes here are very piecemeal, and miss out huge chunks, particularly when I ended up fiddling around with the mis types of the swype!)

What I came away with, that which stays most prominently in my mind is the importance of keeping open communication with others even when we don’t agree, and the importance of patience and perseverance when there is a breakdown of communication and the potential for conflict.   Oliver is particularly involved in east west relations and conflict resolutions.  I also note his comments concerning the fact that religion has an ambiguity towards violence, and also that peace processes often fail because the religious factor has been ignored.  He stressed the need to understand religious motivations and adopt a mindset which can understand the other in the sacred spaces where we are able to connect with what we find in common.  People can have a spiritual sense of what life is about which is shared, even if there is disagreement over certain matters. There is always a place on a human level where we can connect with each other.    He also talked about how we have grown to privatise our faith, but that faith places an obligation on us to shape the world and to see that each person is able to live in the justice that God intended them to experience.   How we define our spirituality should not stop us responding with sensitivity and awareness to what is going on around us.  This is the real mark of the spiritual.   We tend to try and stay in our comfort zone but need to embrace the unpredictability of God.    It’s very easy to be tempted by reasonable arguments and a sense of righteousness which can stop us from relating with people on a human level.  We cannot circumvent the painful moments in the lives of others.  He noted that the spiritual framework can be symbolised very well in the sign of the cross…  the line travels both horizontally and vertically… relationally it is something which needs to happen both ways.  The divine and the human.

Contemplation  and Contemplation/Garden of Gethsemane 

contemplative pray,garden of Gethsemane, oil painting christian artist painter,spirituality painting expression,expressive abstraction, jenny meehan contemporary female painter

A recent painting… I am pleased with this as it seems to flow in a bit of a stream of my work which I feel runs true to the main current. It makes me feel the way I feel when I look at a painting by Corot, which is good with me, as I love his painting!

It’s on linen, 40x60cm in size, painted in oils. I soon begun to think along the lines of the Garden of Gethsemane, but kept the title more open. Gethsemane means literally “oil press” though, which I find an attractive thought. Maybe I will end up doing what I often do and giving it two titles!  So Contemplation/Garden of Gethsemane.   I think the title of a painting is very important, and sometimes emerges in phases.  I’m starting to rest on the two titles together.  On the one hand I like the title not to reveal too much, because I feel if someone wants it very much, then it would almost need them to re-title it, so what is the point of making the title more particular!  On the other hand, I feel it might be interesting to hint at the meaning of the work for me.  So the general and the particular in a title is good. 

Andy Goldsworthy 14 chalk stones  on the West Dean Estate and “Chalk Lump” painting

As time goes by, my own participation in psychoanalysis, more time spent working with painting, and more focus on centring myself firmly within my faith and Christ-centred contemplative practice, is all contributing to a much deeper and richer experience of life.  Still scattered with the same boulders, some within and some without. Thinking on the boulder, lump and stone theme makes me  think now of my painting “Chalk Lump” painted at West Dean College during a painting course taught by John T Freeman.  Here it is: 

Chalk Lump on West Dean Estate by Jenny Meehan, oil painting british 21st century, british female uk painter semi abstract,semi abstract ivon hitches influenced painting,romantic lyrical abstraction meehan,

Chalk Lump on West Dean Estate by Jenny Meehan
Oil on Canvas

I found out after painting this painting that  Andy Goldsworthy made 14 chalk stones of approximately 6 foot diameter and placed them in chosen locations along a five mile trail on the South Downs between West Dean Gardens and Cocking Hill. (in 2002 I think)  This painting was painted from (or rather, based very loosely!) on a sketch drawn from observation of the scene before me, as I looked out from the front of West Dean and over towards the chalk stone.  I have wondered if I should change the title to “Chalk Stone” to make the relationship with what it was based on clearer, but I like the “lump” because it expresses an emotional blockage and makes me think of a “lump in the throat”  and is therefore more accurate  in that respect.  I have other paintings of Andy Goldsworthy’s chalk stone at West Dean which I painted at that time and also afterwards, because as a motif I like it very much.  Something just there, incongruous but present.

A “lump in the throat” is described in medical terms as “globus”  and it used to describe the sensation of a lump in the throat where no true lump exists. It was once called Globus Hystericus,  and is sometimes also referred to as Globus pharyngeus.  It is related to many things, two of them being stress and tiredness. I am experiencing globus quite lot myself at the moment, and I do think emotional tension and trouble expressing grief and deep sadness may be related to it.  A kind of holding in of emotional tension which needs to be expressed.  Some people experience a lot of trauma in life, from a very young age,  and this can accumulate and cause problems later  if the emotions and thinking are not worked through and faced.  In the process of working through the tangle (via psychotherapy),  sometimes a backlog of grief builds up, and you feel it.  This is my thinking on the emotional “lump in the throat” matter.   It doesn’t worry me…I have learnt to embrace it as part of my experience, and I think, used in the right way, these odd ways our bodies express themselves can be helpful to us if we heed their complaining and act accordingly.  For me, it is more rest, less doing, more chance to allow my emotions to have their own say in things a bit more then they usually get as I rush from A to B and try and achieve more than I need to!

Concerning the  external “stones”, these things will always be here, things which block and get in the way of love, of truth, of the light. But maybe, with a commitment to the truth, to seeking truth, through living with as much integrity as we can, time will wear them down, and we, in some way, may help the process by choosing to love, in and through all.  

On the psychoanalysis/art topic, this looks great…  The text is from the Freud Museum  website and a few other places!

Psychoanalysis and Artistic Process

Grayson Perry in conversation with Valerie Sinason

A celebration of the launch of a Special Edition of Free Associations:  “The journal, Free Associations, is delighted to announce the launch of a special edition edited by Patricia Townsend on the theme of ‘Psychoanalysis and Artistic Process’”

Grayson Perry won the Turner Prize in 2003 and delivered the 2013 BBC Reith lectures. His major exhibition The Tomb of the Unknown Craftsman was shown at the British Museum in 2011-12. He has exhibited his ceramics, sculptures, prints and textiles widely for 30 years and has also written a weekly arts column for the Times and made radio and television documentaries. Valerie Sinason is a poet, author, child and adult psychotherapist and adult psychoanalyst. She is Director of the Clinic for Dissociative Studies and Honorary Consultant Psychotherapist to the Cape Town Child Guidance Unit.

The Special Edition includes articles by Kenneth Wright, Lesley Caldwell, Sharon Kivland and Patricia Townsend, transcripts of talks by Grayson Perry, Martin Creed and Valerie Sinason and an afterword by Juliet Mitchell.

More information here:

 http://www.freud.org.uk/events/75386/psychoanalysis-and-artistic-process/

It’s fully booked now, so I have missed the boat.

The conference ‘Psychoanalysis and Artistic Process – a day of dialogues between artists and psychoanalysts’ took place on 25th February 2012 at University College London.

The speakers were:

Session 1: Kenneth Wright and Sharon Kivland
Session 2: Grayson Perry and Valerie Sinason
Session 3: Martin Creed and Lesley Caldwell

More here:  http://vimeo.com/user11474015

 

Artists Hiring Out Galleries versus Alternative Exhibition/Gallery Spaces

For those with the cash in their pocket to spend, it is possible to rent a gallery and many people do this.   Many galleries need to hire space out in order to run and it is part of their business.   Prices vary and I thought I would include this useful list for anyone who is fortunate enough to have the cash to spend on such a venture:

http://www.galleries.co.uk/g-ts2.htm

It’s worth bearing in mind that it is the space and the services of the gallery you get and usually that is pretty much it.  There may be a little advertising in the organisations existing framework, but it’s up to you to promote your work…So you still do the hard work.   And while giving you a nice platform to display yourself and your work,  and maybe a good venue address for your CV…and good experience of exhibiting…  it is possible to get experience of exhibiting your work in other ways, ie through open studios, art fairs,  and approaching restaurants, hotels, bars, theatres, community organisations and community centres, etc.     These alternative venues may not have the perceived “status” of a gallery in a London setting,  but everyone in the know knows which galleries are hired out to artists in this way, and so no extra value will be placed on your work by showing at a hired space.  The only possible benefit would be that it would demonstrate the way that you value your own work, which is a good thing, and also possibly that you have money to spend on such ventures.  It may also be perceived by those who know nothing of how this system works, as being an endorsement that your work is of particular worth.  So if you are in a position to do it, it is probably worth considering.  However, I wanted to add this into my journal because it is very easy to become disheartened if you are an artist with little or no disposable income…it is easy to feel that doors are closed to you if you don’t have the cash.  However, this is not the case, and one should persist in seeking open doors…They do exist, and if you look for opportunities to show and share what you do, they will come.  You seek them, and you offer your art as a service, which it is.  Be creative!

Arrogance Abounds….

Couldn’t resist showing this.  Sad.  Hard to imagine if this person is looking around them?

http://www.independent.co.uk/arts-entertainment/art/news/whats-the-biggest-problem-with-women-artists-none-of-them-can-actually-paint-says-georg-baselitz-8484019.html

Well, as a pleasant change and in order to read something more interesting and intelligent, take a look here:

http://www.thewhitereview.org/interviews/interview-with-tess-jaray/

Leatherhead Theatre “Sacred Spaces”  Exhibition 

Miyajima by Hilary Walker

Miyajima by Hilary Walker


Hilary Walker

I’ve been interested in photography for many years. I like the immediacy of a photograph and how it can tell a story. I think that the relationship between the image and the artist is a subtle one with photography; the photograph itself is often (but not always) very representational and perhaps could be seen as little to do with the artist compared to a painting or a drawing. However, the photographer is very influential in the final result. They choose the viewpoint of the photograph, the scale, colour intensity and contrast, the composition and the main focus of the image. Sometimes I manipulate the original a great deal so that it becomes an abstract piece. With these photographs I kept the realism to the fore to emphasise that this is not about the artist as such, more about the people who use these things to relate spiritually to their world

Forms created by animals and the natural world underlie most of Hilary’s work: in particular the way shape and colour interact with each other. She uses her photographs to create images that can range from naturalistic to highly abstract. Hilary embraces a very wide spectrum of ways to express her ideas creatively. She has produced work using acrylics, watercolour, etching and relief printing, pencil, photography, and most recently, the iPad.

“To me, it doesn’t really matter what medium I use; I don’t specialise in that way. If the medium is right for the idea I want to express or the effect I want to create then I use it, it’s as simple as that.”

She has always been inspired by Japan, both by its culture and the landscape itself. After visiting the country, she has created a portfolio of photographs to reflect the deeply spiritual nature of Japan, its people and culture. Hilary’s work can be found on her website: http://www.hilarywalker.co.uk


Icy Landscape - Jenny Meehan

Icy Landscape – Jenny Meehan

Jenny Meehan

The two process led paintings I am showing stem from my imagination, and reference both present and past visual and emotional experiences. The process of building up the painting is slow, which means on some days I might only add a couple of marks! The analytical reviewing of the works formal elements and time spent simply looking at the work to determine how it resonates emotionally is part of a contemplative practice requiring openness and reflection. This is true of all my paintings, even those more figurative, but especially so with non-objective or highly abstracted paintings. I draw on my own subconscious in an attempt to locate some of my most central concerns, emotions, and thinking. As the paintings develop, subject matter emerges, which you can see reflected in the titles.

I am also exhibiting a black and white digital print which is an example of another strand in my work through which I delight in the pattern and dramatic impact of the natural world and its forms, which ultimately initiate and enlighten the imagination for even the deepest inner thoughts and images.

Human experience, emotion, and my own personal life journey form the centre of my work. The brokenness of human experience fascinates me, as well as the potential for growth and renewal.

After a BA Honours (Literature) in 1994 and a PGCE in 1995 I taught in Primary Education. I now use teaching skills integrated with nine years experience as an artist to occasionally offer tuition in painting and drawing.  I am based in Chessington, Surrey, and I exhibit widely across the UK.

Painting is the main strand in my practice, but I am also involved in applied arts and design, digital imagery, printmaking and writing. I always seek creative and innovative ways to experiment with existing skills and knowledge. Curating and organising this exhibition on behalf of KAOS is part of my ongoing professional development. You can see more of my work and exhibition history on my website: www.jamartlondon.com  and read about my activities on my blog: http://www.jennymeehan.wordpress.com

art at leatherhead theatre KAOS kingston artists' open studios exhibition Geranium Johnsons Blue cyanotype by EmilyLimna

Geranium Johnsons Blue cyanotype by EmilyLimna

Emily Limna

In my original prints I combine hand with digital photographic techniques. I capture the beautiful details found in plant and flower structures through controlling light and composition. My methods include hand drawn monoprints, cyanotype sun prints and digital macro work.

I find the geometric patterns and structures found in flora fascinating. Representing these natural forms with intricate mark making and precise photographic techniques becomes a meditative process. Revealing tiny, hidden details through intricate, hand drawn studies and macro lenses emphasises the beauty found in even the simplest natural forms.

The three cyanotype prints shown are rooted in nature through both content and technique. I select natural forms for their structure and behaviour with light. The tiny veins in geranium petals glow with the backlit rays of sunlight. These sun prints are exposed in my garden. Some are direct photograms and others are using negative transparencies of my macro prints.

In a current project with a local writer I am creating a limited edition children’s book. My images for this publication playfully combine miniature figures and animals with the surrounding world.

Emily is also a teacher and examiner of Art, Design and Photography in London.

http://www.emilylimna.com

Well, “Sacred Spaces” is coming up in May, but for the present time I am having a little well earned break from the organisational tasks involved…I got those done early because I know how incessant it can all  seem.  Apart from a little bit of publicity,  I’m not needing to spend time on it right now.

Sacred Spaces Flyer by Jenny Meehan which promotes the Sacred Spaces Visual Art Exhibition at Leatherhead Theatre in May 2014 organised on behalf of KAOS (Kingston Artists' Open Studios)

Sacred Spaces Flyer by Jenny Meehan which promotes the Sacred Spaces Visual Art Exhibition at Leatherhead Theatre in May 2014 organised on behalf of KAOS (Kingston Artists’ Open Studios)

Which is GREAT!  I have some time to look at other peoples work a bit more!

Starting to invest more time in looking at Clyde Hopkins’ paintings

Before I start, I am no great writer, but writing is enjoyable to me, and at least attempts to put what seems, with painting, the mostly impossible into words…Well, it doesn’t do that,  it cannot, (thankfully) but it tries, in a clumsy way, to put logic this way and that, hopefully in an interesting manner.  I view writing about paintings as tempting, but always likely to miss the point, the point being ON the painting.  Something might be gained though by forcing my brain to use words as I look at a painting, even if what I say falls away, at least I will have invested the time in looking and thinking about it.  My brain is lazy.  It’s just a natural thing!  So over the next few journal posts, I will take the time to mull over Clyde Hopkins’ paintings.   So first comes:

Clyde Hopkins
Your Choice of Cereal (for Breakfast)
Painting
Oil on linen
Canvas size: 30 x 25cm

Copyright Clyde Hopkins

Well, that is kind.  My choice of cereal for breakfast.  In our house this is no small matter.  If your choice of cereal is not there, all hell breaks loose, it does, completely.  Maybe only slightly worse is the situation where there is a very small amount of cereal in the packet, but the person before you has scoffed pretty much all of the rest.  So the title, it relates.  How it relates to the painting will maybe need to remain something nice and personal to the painter himself, unless you happen to ask.  This is good.  It is kind.  It makes the start of my writing very simple.  And the painting is kind too.

The colour is kind.  Yes, colour can be kind.  It can relate respectfully to its surrounding colours, yet shine.  It can take up its room, and not trespass on someone else’s room.  This happens with this painting and it happens with all of Clyde’s paintings  (well, those I have seen (on the net) so far.  It is not easy to use so many colours when playing with space on the picture plane.  I have only just started to touch on what a skilful, sometimes painful,  task this can be.  So I am not surprised I find these paintings inspiring.  In my own painting I am tending to prefer soft edges rather than hard edges, but the undulations in this painting are just sufficient to relieve me of any “hard line stress” (invented term!)  that otherwise may creep into my mind as I look at them.

Those tiny little dots.  They call out “crafted”…We are applied, we are placed, with care.  They make a pleasing perceived and actual (though I cannot see from image, I am sure) texture.  It is great to have something hit the eye in this manner.  I think it has an energy of it’s own which works very effectively against the areas of flatter colour, though again, I suspect that, face to face, I would see a lot of what I am missing by just using an image.  There are other more subtle things going on.  But to have the obvious and heightened surface…to have it meet your eye in this way is a great visual sensation.  There are some patterns in this painting, but the regular areas both cover and reveal…they do this by being a covering but also making me think of the substrate underneath, in this case the linen.

More next post…

Baker Tilly in Guildford 

Here is another of the prints from the forthcoming exhibition at Baker Tilly in Guildford.

digital print buy abstract geometric Rush Hour - Jenny Meehan Signs of the Times Series

Rush Hour – Jenny Meehan Signs of the Times Series

I also now have available selected prints from the “Signs of the Times” series on my Photobox Gallery.  The Photobox Gallery is a handy facility for enabling people to buy my prints in a quick, easy and affordable way.  The prints I describe as “Poster Prints” because they are not signed and checked by me, but I am very confident about the quality.  They are in fact  A2 and A3 sized laser prints…So, they are photographic quality…by this, I mean they are printed on archival quality photographic paper using a chemical process, rather than ink-jet prints.  Here is the link to my Photobox Gallery:

Here is the link to my Photobox Gallery:

http://www.photoboxgallery.com/19507

There are other options for different types of prints on the Photobox Gallery, but at the present time I am restricting the distribution of my work over the Photobox Gallery to just A2 and A2  prints.   However, if you do want something specific, just contact me with your requirements and I am completely free, (thanks to not limiting these images to “limited edition”) to arrange to have prints made to varying specifications and to be signed and numbered.  Prints which come from me personally are signed and numbered, even though not limited in number.

The laminated and mounted  prints which will be on show at Baker Tilly are signed on reverse with both my signatures.  I have two signatures, one is a combination of my initials and the other my usual signature which I use in daily life.  I tend to sign paintings just with the combination of my initials and prints with both.  I also sign my paintings on the back, as I don’t like to put marks on the front of my work.  Sometimes I do with drawings.  But it depends on the work.  I always use my initials signature, for all my work now.  I like the way it can be used on any material, for example, clay and even stone, quite easily.

Jenny Meehan is a painter and designer based in East Surrey/South West London.
Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also offers art tuition.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details.   Commissions for paintings are also undertaken at affordable prices.

 Jenny Meehan works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings and other artwork forms (prices ranging from between £60 and £700) and affordable photo-mechanically produced prints are available to purchase.

Enquiries welcome.  I have more artwork than I can display on the internet, so let me know if you are looking for something specific in terms of style, function, or subject matter. 

Jenny Meehan exhibits around the United Kingdom and holds regular Open Studio/Studio Sale events.  To be placed on Jenny Meehan’s bi-annual  mailing list please email j.meehan@tesco.net requesting to be kept up to date.

Also, you could follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way. 

Note About Following Jenny Meehan Contemporary Artist’s Journal 

I would be very pleased if you would  choose to “follow” the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed of what I am up to this way.   Just press  the “follow” button and pop in your email address.  You determine how often you get updates and you don’t need a WordPress account to follow Jenny Meehan Contemporary Artist’s Journal.  I don’t have a Facebook page as yet, and won’t be on Twitter.  So this is the best way to follow my art practice.  Though I ramble on, I try to organise things for easy skimming, so you can pick and choose according to your own interests quite easily!    

You tube video with examples of photography, drawing and painting

by Jenny Meehan http://www.youtube.com/watch?v=TAXqzMIaF5k

Website Link for jamartlondon:  www.jamartlondon.com 

Digital photography can be viewed on http://www.photographyblog.com/gallery/showgallery.php?cat=500&ppuser=5491

Notice regarding my use of images on my Jenny Meehan Artist’s Journal blog:   I always try and contact the relevant artist if I include images of their work on my blog and make clear the source.  Where images are taken from other websites, I make it my practice to  cite the source and normally include a link to the place where the image was found.  When I include images I do so in the belief that this will not cause commercial harm to the copyright holder. I  believe that this is fair use  and does not infringe copyright.  Images are used in order for me to comment and reference them in relation to my own creative and artistic practice.  When I include extracts of text, I also do so with the understanding that again, this is permissible under the widely accepted fair usage terms with respect to copyright.

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