Victoria Miro Trip – Surface Work Exhibition

 

A quick shimmy around some of the paintings on show!

 

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

 

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

 

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

 

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

 

 

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

 

A bit of self indulgent selfies and digital alterations!

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

 

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

 

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

victoria miro surface works visit 2018 jenny meehan british contemporary lyrical abstraction abstract expressionist romantic painter artist non representational british female painter artist london

victoria miro surface works visit 2018

 

https://www.victoria-miro.com/exhibitions/521/

 

You see, I may not be hanging in a gallery like Victoria Miro’s, but I can still hang around in one, and be inspired.  Many muses sit on the shoulders of those who carry a paint brush (or any other paint applicator!)

It was great just to be there…Great encouragement among some of the remains of work done by other women.  The older I get the more wildly I feel I love painting and the more it matters.  Yet I was also thinking very much, and reflecting on the words:

Business! Mankind was my business; charity, mercy, forbearance, and benevolence, were, all, my business. The deals of my trade were but a drop of water in the comprehensive ocean of my business!” is a quotation from A Christmas Carol, by Charles Dickens

 

Business! Mankind was my business; charity, mercy, forbearance, and benevolence,

were, all, my business. The deals of my trade were but a drop of water in the

comprehensive ocean of my business!

 

Reflections on Artists and what their “Business” is!

 

With all the ambitions in the world, all the hopes of being remembered, and of having one’s painting remaining, after you die, (and hopefully in more than a charity shop), in all of the random thoughts about the significance of the work you do, and whether it would ever have a high value placed on it in the realm of financial exchanges or not…Many of us artists entertain such fancies, even though we might not admit to them.  It seems that in this current time, artists are treated as entrepreneurs, who operate primarily in order to make money.  Yet the vast majority of us, in my opinion, do what we do in order that we might continue to be able to do it.  This is a non-profit making endeavour. The motivation is not financial. It is much, much greater than that. It’s about humanity, culture, depth of experience, connection with others and with oneself. It is creating a vessel for inner life.  The inner life of us as individuals, yes, this is an essential part, and even doing this can be quite a challenge,  but this also applies to a much larger expanse… Our relationships with the world around us and the inner life of not just our own body but humanity in it’s most inter-relational dimension and expressions. Art is essential, not a side line matter, or something to hold status just because of monetary value, or not.   Any trade is always going to be a drop of water in the comprehensive ocean of my business.  And I am very glad I have sorted this out in my own head!

Thoughts of success in the business sense of the word are most probably an illusion. For me, personally, I think this is the case, and I have happily dispensed with the ambition, (for it has popped its head in the door on a few occasions).  It’s taken time to sort out WHY I do what I do, and WHY it matters.  Art making is NOT business for me and it won’t hold that place in my life either. It’s been perfectly acceptable for artists in the past to have day jobs and also be an artist, and there hasn’t been any shame in that.  For me, my “day job” is a mother and homemaker, and undervalued in our society as this job is (not even claiming the merit of being a “job” because it is not paid work), it’s an important and worthwhile occupation.  I have to confess to being grateful that as my offspring get older, I have more and more time released for my artistic endeavours!  There is always a (mostly) healthy tension between the two.  Both affect each other and it’s an interesting relationship.  Less frustrating now than it used to be when the children were younger.

For some artists, for their art working to be a business, may be what they want and aim for…It may matter a great deal, and/or it may need to matter. It may just happen; a fortunate combination of the right factors and knowing the right people, having the funds to get where they want to go, or other advantages which pave the way forward.  Or it may be a huge struggle of the most difficult and challenging type with very little advantage or fortune, yet they manage to do it anyway.  Or a bit of both, from time to time. This is all very admirable, and I think it’s great.  It’s not my path though, and I will always be content as long as I am able to work with materials in the way that I do.  For me it is ALL about working with materials, enjoying writing, and loving relationships. That is loving…and relationships, and loving relationships!

I think that even if an artist’s work does enter the business arena, this  does NOT actually make it more valuable in any but material currency.  The value of your work is the value of your work.  It is part of your life story, and it’s significance lies mainly in that.  It is the expression of your very self and that is why it matters immensely.  I read recently somewhere…I cannot remember where it was… that art is “a vessel for the interior life” and I just love this. Love it to bits.  Involvement and commitment to the arts is a humanistic endeavour; it’s about relationships and interactions with other people and our environment.  Ideas, thoughts, new perspectives, spirituality, insights, human development.  Emotional, spiritual and mental engagement, reflection, and creative regeneration.  Now, more than ever, the interior life is in danger of being depressed.  The time to dwell, reflect, and just be… The time of gazing, experiencing, allowing space and light to exist with no other reason to need to be than that they are.  I guess that is my painting popping into my head now.

Artists bring the artistic imagination into everyday life.

Creative expression is a fundamental human right.

Let’s not forget that.

 

We all, naturally, are pleased when people appreciate our work as artists and show they value what we do. We are especially pleased when collectors decide to buy our work and pay money for it, because money is very useful indeed and can open lots of creative doors in terms of enabling us to try out new ideas, develop professionally, and increase our skills.   Unfortunately, this cannot be counted upon.  It isn’t sufficient to keep us to the task we are engaged with.  A lot of strength and determination need to come from within.  If thoughts of public appreciation and recognition are realistic or not, (and it’s always nice when work is appreciated) ultimately, it doesn’t really matter one bit, because indeed, it’s just “a drop of water” anyway, this money matter.  The business of life, in truth,  is much greater.  I find it helpful to remind myself regularly of this though, because I get so caught up in what I am doing it’s easy to loose all perspective!  Such is the problem of any passion, I suppose. This is most probably why I am taking the time to write what I am now.  I write to myself, as much as to anyone else!

So I am content with my selfies in this gallery, with esteemed work behind me, even though not my own!  Great inspirational visit, much appreciated.

Kingston Artists’ Open Studio!

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

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.  I will be part of the KAOS 9 studios which is based at 14 Liverpool Rd KT2 7SZ   Parking available (metered Sat)

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

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

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

Hope to see you! Jenny Meehan

I need and appreciate greatly your support!  I don’t take part in any other event, so the Annual Kingston Artist’s Open Studios in Kingston Upon Thames Surrey is the only time I get out there and invest time in this type of activity.  Most of my collectors come across me in other ways.  But it’s a good way to meet me and other very talented creatives!

Basically I work on a non-profit making basis, as any money I get from my creative activities gets fed straight back into my creative project.    Materials, professional development, research activities and writing, plus all the associated tasks which are part of my practice all take time and money. I am fortunate that I can work in the way I do, and I never take it for granted.

Like many artists, I don’t have  profit making aspirations, for me it is simply a matter of wanting to continue to be able to do what I do in life. To be true to myself. And share what I have with others, if it helps and enhances their life in any way possible. I sell my paintings when I have spent sufficient time learning from them and when they have been exhibited.

I sell my original paintings for between £200 and £400, which is amazingly affordable.  I do this deliberately because I would rather my paintings be affordable and bring pleasure to others in an accessible way.  If something strikes a chord with you about my work, then follow your instinct and buy one if you can. If your are not able to, then thanks to the wonders of the internet, I am glad you can at least see them that way.

There is such a wide variety of artists and their work.  All so different and wonderfully unique.

So come along and support your local creative community.  Kingston Artists’ Open Studios is a voluntary organisation which supports creativity!

 

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

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

Joy/Pain Painting by Jenny Meehan .  One of the works which will be displayed as part of this years super Surrey arts event: “Kingston Artists’ Open Studios”. VERY busy at the moment getting work ready for this.

 

“My Muybridge” Exhibition at Kingston Museum

 

At the same time as the Kingston Artists’ Open Studios is the “My Muybridge” Exhibition, flyer below.

My piece is rather dark and delves into the subconscious mind of Eadweard Muybridge as I imagine it might have been.  Work is a funny thing.  We can do fantastic and amazing things, but in the end it is our being which makes the most significant mark of our existence.  What we do matters, of course, but nothing can take the place of happiness, contentment, relationships, love.  It’s very important for artists to remember this, because we get so caught up in our work.  This is lovely, and yet our work is only one little aspect of us in the end.  I guess I felt I wanted to go beyond his work, as this has had its impact, and it’s out there, well known, appreciated, clearly seen. And it will always be seen and noted.  But I tend to be interested in the things which are not so obvious, and while  speculative, and imaginative, it gave me a lot of pleasure to make this painted collage.  I did this after doing a great deal of research on reports and perspectives, both factual and imaginative,  on Eadweard_Muybridges personal life, as much as we know.

If you are not familiar with Eadweard Muybridge you can do your own little bit of research here…

https://en.wikipedia.org/wiki/Eadweard_Muybridge

 

Here is an extract from my statement about the work.  Unfortunately the artist’s statements are not shown in the exhibition.  This is a bit of a shame I think, as often new perspectives on a subject are made much clearer when the artist’s thinking and approach; their rationale, is at least glimpsed at.

“My creative practice includes poetry and painting and the relationships between the two. My interest in the subconscious provided the foundation for this work which touches on both lack of affect and the murder of a man.

The Mind’s Eye
What thoughts and memories
unsettled
might dwell in the unconscious mind of the artist
as he works?
Projected onto models…
Figures of his own past
laughing
moving
strangers
touching new pain in the mind’s eye?
Shot images…
they infiltrate the heart
yet, even the most animated
leave it
still
so solitary.

Jenny Meehan 2017”

 

Quite a nice change for me to produce something with a particular subject in mind from the outset. Immense amount of research went into the work.

 

artists and subconscious mind, artist interpretation of muybridge, kingston museum exhibition 2018, british female contemporary artist jenny meehan, brain injury muybridge and emotional affect, imaginative interpretation, projection into creation, minds eye muybridge artwork jenny

minds eye muybridge artwork jenny

 

 

Kingston Arts at Kingston Museum My Muybridge exhibition surrey cultu

Kingston Arts at Kingston Museum My Muybridge exhibition surrey cultural event 2018

 

Things which make me happy:  Art Collectors who kindly let me know how they feel about my work!

This lovely quote, written by one of my collectors!  It is always a great happiness to sell and painting, and this is not a simple matter of money, though we all need that, it is far, far more!

“I thought your picture was the finest thing in that exhibition — I am very pleased to be acquiring it. I have lots of things in my collection — Terry Frost, Clifford Fishwick, Sandra Blow, Barbara Hepworth, John Hoyland, Keith Vaughan … Also a fin de siecle artist called Charles Conder.”  

I keep the buyer confidential as I am not in the habit of listing other people’s personal possessions, but it’s bringing a smile to my face, of course!  It’s a few years back now.

 

Kaleidoscope: Colour and Sequence in 1960s British Art

1 April 2017 – 3 June 2018

Looks very good!

http://www.artscouncilcollection.org.uk/exhibition/kaleidoscope-colour-and-sequence-1960s-british-art

Text copied and pasted from the website:

“An Arts Council Collection Touring Exhibition

British art of the 1960s is noted for its bold, artificial colour, alluring surfaces and capricious shapes and forms, yet these exuberant qualities are often underpinned by a strong sense of order, founded on repetition, sequence and symmetry. Bringing together outstanding examples of painting and sculpture from the Arts Council Collection and other major UK collections, Kaleidoscope examines 1960s visual art through a fresh and surprising lens, bringing into view the relationship between colour and form, rationality and irrationality, order and waywardness.

As the first Arts Council Collection survey of 1960s British art in over twenty years, Kaleidoscope assumes a wide angle, looking across media and movements to find fresh correspondences. From this perspective, the mind-bending surfaces of Op Art, the flattened repetition of Pop, the mathematical order of Constructivism, and the sequential placement of brightly-coloured abstract units found in New Generation sculpture find a common language shaped by sequence and symmetry.

Kaleidoscope represents the work of over twenty artists including: David AnnesleyAnthony CaroRobyn DennyTess JarayPhillip KingKim LimMary MartinEduardo PaolozziBridget RileyTim ScottRichard SmithWilliam Tucker and William Turnbull.” 

I am not going to get there to see it in person, but thankfully so many resources online, I can have a very good research session!!!

 

“Christ Under the Tree/Contemplation/Garden of Gethsemane”

It is always a great pleasure to sell a painting.  I find it interesting and exciting to meet those who decide they like my painting so much they want an ongoing relationship with it!!!  Some of my painting I hold onto, (often for quite a while!) maybe because I am still learning something from it, or I am wanting to hold it for an exhibition or event, or I would like to do some writing around it.  I am always happy to let it go… I see this as part of the process in fact, and I have no wish to die under a pile of my own work!  But I do not paint in order to produce.  Bit of a paradox there!  I have realised I need to keep the creation process completely separate from any other journey the work might make.  The painting has a second life, apart from me, and it has the life which has been happening during its creation. The two are not connected. The reason for the paintings existence cannot be equated in any way with what will happen to it.  It must speak only for itself.  And that must be completely enough reason for its existence.

I have painted only a couple of works as commissions over the last ten years.  I don’t doubt there’s a place for this, but it is not my usual way of working at the present time.  The very good thing about painting something for an external reason or purpose,  is it can introduce very specific challenges which are great to get stuck into. The “Mind’s Eye” painted collage was like this.  And I enjoyed it, for the challenge. It involved a lot of research which takes time.  But it is interesting intellectually.  In creating something for a particular purpose things often get more conceptual at a stage when I wouldn’t normally think in clear thoughts.  Usually the thinking and reflection comes long after I have painted something.  So getting all conceptual can be an interesting dimension to a work.  Or sometimes the challenge can be practical, as it was when I created a painting for the company “All Glass”  So I am always open to external reasons for a painting to be.  However focused I am on what I am doing, I think I always need to be open to change, development, challenge, debate, discussion.  But above all,  nothing should interfere with the process of creation, and the relationship I have with my painting needs to be focused.  This seems to be the main challenge in painting, for me I find.  It’s an act of contemplation which takes time and discipline.  It’s great!

 

The painting below  “Christ Under the Tree/Contemplation/Garden of Gethsemane (yes, THREE titles!)

 

holy week art church of england hook jenny meehan

I am pleased that this has now a new home.  Also such a lovely comment and feedback on it.  As recent I am not going to quote, but as always, thank you.

 

Another Exhibition at Kingston Museum

 

me in front of anagrams kingston museum banner surrey art event

me in front of anagrams kingston museum banner

Gracious!  This was me in 2016… I have lost quite a bit of weight thankfully!  Kingston Museum chose to use part of my painting on their banner which was good, and here I am standing in front of it!  That was before my knee replacement when I couldn’t walk very far or well at all!  Apologies, this is a bit of repetition.  I write in a piecemeal fashion.  Happens sometimes.  Cutting down time by leaving as it is!

You can see some very interesting pieces of art, including my own offering, at the My Muybridge exhibiton!   Details:  Kingston Art 2018: My Muybridge’ exhibition at Kingston Museum 4 May – 7 July 2018 Wheatfield Way, Kingston upon Thames KT1 2PS

 

Kingston Arts at Kingston Museum My Muybridge exhibition surrey cultu

Kingston Arts at Kingston Museum My Muybridge exhibition surrey cultural event 2018

Ooops! Bit random, already wrote about that.  Must remember not to write my blog in the same way I paint my paintings! Piecemeal!

Wrote that earlier too!  Ha Ha!  More of the same!

 

Studio Tent… In the Spring and Summer it’s a wonderful place!

 

 

 

studio tent jenny meehan

 

 

 

There’s a lot of work going on in my studio tent at the moment.  This time of year in the run up to the Kingston Artists’ Open Studios is always full on!  Love it!  Yet I don’t tend to share my work at this stage in the making…It feels better to keep it to myself.  There is a lot of colour mixing going on.  A fair amount of finishing off too.  A lot of preparation for the Kingston Artists’ Open Studios.

So what I can show you now is a few past photos from the archives.  Though I don’t tend to paint from direct observation very much at all anymore,  I still get my inspiration from creation around me.  Everything goes in through the eyes.  I love looking and look hard as much as possible.  Taking in all the wonder and beauty around me.  Endless beauty and design, beautifully expressed.  So much. So immense. So inspiring.

 

©jenny meehan

Creation and nature is so wonderful, I love it!  Cannot bear to copy something like this flower above, because it is so perfect anyway!  Do enjoy taking photos though!  It’s all colour, light and composition which are such a joy.

 

 

A small selection of memory images

I’ve posted these because I don’t tend to show my photography anymore…it’s all paintings I exhibit.  But my archives are full of photographs and my photographs are memories which still beckon in visual directions and serve some kind of purpose for me in reminding me of things which have made an impression on me and which I thought worthy to remember.  Though my photographic output is not what it was, due to the need to focus on painting, I like to share past digital imagery.

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

 

 

jenny meehan jamartlondon.com photography

jenny meehan jamartlondon.com photography

 

As you can see, water is a repeated theme.  In various forms, from ice to unfrozen!  Vast amounts and small amounts.  I spend a lot of time looking at water!  Water is an element which repeatedly inspires! It’s immensely relaxing, interesting, and amazing!

 

 

 

Digging Up Old Posts…Fragment from 2012 Jenny Meehan WordPress Artist’s Journal

I always enjoy a reminisce, and here is one:

“If you are in London this Summer,  take a look at the “Not The Royal Academy” exhibition of original artwork at Llewellyn Alexander (Fine Paintings) Ltd situated very close to Waterloo Station. There is a  varied selection of paintings on show, and seeing them makes me think I really ought to try to enter something into the Royal Academy Summer Exhibition next year. It helps to think that if you don’t get something in the Royal Academy Summer Exhibition itself, you could have a chance of getting something on show at Llewellyn Alexander’s “Not The Royal Academy” exhibition instead.

http://www.nottheroyalacademy.com/#salon

The exhibition of paintings at Llewellyn Alexander is changed around every three weeks, so I think I need to go and take another look soon.  The paintings are representational and taking a quick look at the website it looks like the prices are around the £400 mark in the main.  It is a very pleasant gallery, they are always very welcoming and though the space is quite compact, they always seem to use it well ensuring that the do have quality, fine painting on show, rather than paint squeezed out a tube, with a long explanation of what it means!

Thinking about the Royal Academy Summer Exhibition , and possibly entering a painting in it, it is a lot of hassle for a very small chance of success, but on the other hand, “Nothing ventured, nothing gained” comes to mind.  You never know.  It’s all a bit random I am sure, pot luck really, but it is exposure and I have realised that I can save some money by reducing the pages on my website next time it comes up for renewal, so I might just re allocate the money saved to enter the Royal Academy Summer Exhibition next year.  If I paint a representational painting, it might get into the Llewellyn Alexander show, so I might just do that.”

I was up in London near Waterloo Station recently and noticed that Llewellyn Alexander was, by all appearances, at the end of its’s life.  And I find it is all done and dusted!

“After 31 Happy years of trading,
the Llewellyn Alexander Gallery
closed its doors on February 24, 2018.

Best wishes to the many customers
and artists who enjoyed our exhibitions.”

Well, all things do come to an end.  But I will miss the gallery immensely.  It was a lovely place to visit…I particularly liked their miniatures and the “Not the Royal Academy” exhibitions.  The year after I wrote the text above I did submit to the Royal Academy and then, rejected in due course, trundled over to Llewellyn Alexander with my painting “Upper Room”.  Interestingly, though it is an abstract painting, they received it and exhibited it, and this is something I am very grateful for.  I felt it  somewhat of a compliment, bearing in mind the work is so abstract.  It’s a great relief when people can see quality in an abstract painting.  For indeed, though bold, abstract and  bright, the painting did involve a sensitivity and discernment which is not always spotted by all who cast their eyes on it.

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.

 

I do still have this original painting, so contact me if interested.  I am normally happy to part with paintings if they have been shown in a public exhibition at least once.  And if I have dwelt and learnt from them long enough, which is the case with this one.   I am happy for it to go to another life now.  It’s a signature painting…What do I mean by that?  I think it marks a decisive point in my creative evolution. It was awareness of presence and the importance of this in a painting which became a clearer goal.   And those glass beads, of course, and pure pigment.  Which continue to feature in much of my painting.   I sell my original paintings, when ready to roll away with the waves and embark on their new life with another person between around £130 – £500.  I would rather have them appreciated by other people than just hanging around here, so keep the price on the low side… Gotta be realistic.  There’s a lot of wonderful art work in the world. A lot of choice.  My prayer is simply that the paintings find a friend they can live with, are appreciated, and that the person that buys them LOVES the painting, and continues to get a lot of solace and enjoyment from gazing at it.  Then it has done its job and I have done mine.  And as long as I can continue to do the work I do I am happy.   Here’s some old text about the “Upper Room” or “The Upper Room”.

Here’s some information on my painting “The Upper Room” which is to be included in the “Not the Royal Academy” exhibition at Llewellyn Alexander (Fine Paintings) LTD.  (I just love to include the “fine paintings” part!   I know I could miss it out quite easily!)

“The Upper Room” is a painting in which I started with no idea of the direction it might take me in, instead responding to each mark and colour as the painting progressed in a process based approach. Using both my instincts and formal considerations, I ended up with this. Emotionally, it made me think of the New Testament account of Jesus taking the Last Supper with his disciples, I think because of the sense of presence and warmth it communicated to me emotionally, (The Holy Spirit, the comforter, “I will be with you”) even though it contains a large area of black. Also, because of the way it is held together with a building type structure; upper and a lower areas, and suggestions of both entrance and exit. Pentecost also happened in an “Upper Room” though not the same one, I don’t think.

 

Well, that is more than enough for this month! I have a habit of continually popping different pieces into place!

PS…

 

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!    Putting work into exhibitions does unfortunately cost money, and yet I like to get it out there.  Submission fees are the bane of my life, and I will spare you the moan. Because I have moaned before on this blog and there is no need to moan again!  (The Kingston Museum Exhibition was fine, by the way,  and no gripe with that, very very good arrangements, and very fair,  but so many exhibitions require considerable chunks of cash JUST to submit…)   That’s even before you get your work shown, (or not).

My ego doesn’t matter, it’s not about that. It is NICE to have work selected, yes, it’s a nice affirmation, but only a bonus. An artist makes their work for themselves primarily. The have to hang it in the gallery of their soul and be completely happy for its presence to inhibit them forever!  But when it gets hung elsewhere, it’s great too, because it is shared, and who wants to keep something all for themselves when it can be shared? But It’s the way things are this paying to show your work to others. A right pain.  Sometimes just a small amount.  Not a problem. Just a bit of a shame when money is made out of artists wish to exhibit their work, sometimes so ruthlessly.   As an artist, you just want your work to be seen, because as music is made to be heard, art is made to be seen. Simple as that.

Jenny Meehan on Redbubble.com

Redbubble is a great “print on demand” website and I have some of my images there.  The world is full of fabulous artists and Redbubble is a good place for buying merchandise which is original, exciting and contemporary.  The artists on Redbubble get a royalty payment from any items that you purchase there, so it is one way to support the creative community and help artists gain a little bit of income from their work.  Do take a look!

https://www.redbubble.com/people/jennyjimjams?asc=u

I get around 30% of the price you pay for the merchandise you buy.  Every little helps!

 

 

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Little Robin Friend

robin my supervisor!

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

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

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

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

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

 

Signs of the Times Series

 

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

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

 

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

 

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

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

 

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

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

 

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

 

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

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

 

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

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

 

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

http://www.jamartlondon.com/

 

 

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

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

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

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

 

 

 

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

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

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

Artist Statement – Jenny Meehan

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

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

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

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

 

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

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

 

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

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

holy week art church of england hook jenny meehan

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

holy week art church of england hook jenny meehan

 

Lots of images!

It all seems rather a long time ago now!

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

Not quite done with the contemplative theme though…

 

The Soldier And The Cross

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

The Soldier And The Cross

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

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

of weakness
and subjection.

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

By the sight of you.

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

 

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

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

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

If I believe,

just for one
moment

that you might choose to forgive?

 

©jenny meehan

 

 

Drop In Drawing and Painting

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

 

jenny meehanccol0033

 

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

Time Passes Painting by Jenny Meehan

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

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

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

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

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

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

http://www.jamartlondon.com/

Hope to see you! Jenny Meehan

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

 

Upper Room Painting by Jenny Meehan

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

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

It’s available for purchase if you are interested.

 

Good News

 

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

minds eye edward muybridge kingston musuem exhibition jenny meehan

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

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

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

 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

 

Jenny Meehan (Jennifer Meehan) is a painter-poet, artist-author  and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  

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

Contact Jenny via her website: 

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

 

 

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

paypal.me/jennymeehan

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

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

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

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

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

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

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

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

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

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

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

Well, another month, another post!

Quite late to post February post on the 19th!

The older you get the quicker time flies!  Indeed, I am mid month, and only just posting this entry!  For time may have wings, but I don’t.  Though it’s great to be able to walk now! (March 8th, last year…Total Knee Replacement!!!) This journal serves as a tool for my creative practice.  It’s a reason to write with a deadline, of sorts, and keeps me writing, reviewing, thinking, and having a space to think and reflect, as well as enabling me to share snippets of what I am up to with my visual art practice. I throw in a poem here and there, and chew over random thoughts from time to time.  I share paintings, drawings and photographs, both past and present. Sometimes those in progress and those which seem finished.

Though I keep my website jamartlondon.com reasonably tidy and succinct, on this Jenny Meehan Contemporary Artist’s Journey, I take my meandering discourse wherever it will go. Great fun.  Not a perfected piece of writing but a narrative, partly to myself and partly to you.  A note book of a kind.  A discipline.  A record.  A way of me looking back from time to time to reflect on what I have been thinking and doing, how things have changed, how they are the same, and simply just wondering.

I have always enjoyed the stream of consciousness writing form, so while I do edit this journal a little bit, the overarching idea is I just write whatever I fancy at the time and don’t worry very much at all about structuring it.  It’s a bit of a collage I think.  I hope it serves as some kind of insight into my visual art activities and it provides some release for me in terms of enjoying very much the process of writing, researching and reflecting.  It’s not a solid and it’s not a gas.. It’s a liquid.  Not  order.  Not chaos.  Somewhere in between!

Unfortunately this cannot be said for my studio tent, which does need some attention.  It’s nice for the flowers to have somewhere to grow though!

studio tent jenny meehan

studio tent jenny meehan

Time to tidy up, before March, when it gets (hopefully) warmer!

“Vibe Drome”: One Small Piece of the Small World Futures project!

Image of the Small World Futures contribution from myself!

SWF_Jenny_Meehan_14d_33% vibe drome on display london bridge

Image credit: ©Alban Low

The “Vibe Drome” (My nick name for this world!) is taking part in the “Small World Futures” exhibition at the Unsettled Gallery, London Bridge.  Look out for it, and if you find it, be careful…It may pick you up!

Many other interesting pieces to be found! Hopefully, if they stay there for long.  Let’s hope they do!

Here is some text quoted from the CollectConnect website:

“Here at ColllectConnect we’re starting 2018 with a fascinating little exhibition. Small World Futures is a collection of 38 miniature sculptures depicting what life could look like in years to come. Each of these small artworks will be placed in public spaces (#unsettledgallery) around London Bridge. Every day throughout February we will be featuring one of these worlds here on the website. A writer will also use the world as an inspiration to create something new and fresh, their words describing the shape of a new world.

In the autumn of 2017 Dean Reddick and Alban Low began cultivating a series of public exhibition spaces around London Bridge called the #unsettledgallery. These include flowerbeds, railings and gates, as well as spaces between bricks, in gullies and beside drainpipes – basically anywhere an artwork can rest and be seen by the public.  Although these spaces change and evolve on a daily basis, several housed artworks for a longer period of time. The Small World Futures will find their homes in these public spaces. They may stay there for an hour or a week. Perhaps they will plant a seed of an idea in the people who see them.”

I did write my own text for the Vibe Drome, but I have kept that under covers so that my own ideas don’t influence anyone else’s.  Take a look at the blog to see more on the project and lots of fabulous future worlds with the writing which they have helped to inspire!

http://collectconnect.blogspot.co.uk/

And here is the delightful poem to accompany it,  by Natalie Low:

Today we discover the Small World Future of…. Jenny Meehan
The year is 5,000,000,000 AD

Twinkle twinkle dying star
No escape from what you are
Hanging limply in the sky
Watching us all wave bye-bye
Twinkle twinkle dying star
Au revoir our ex-solar.

Now your light and fire are gone
Earth’s too cold to live upon
You can’t blame the human race
Off to try another place
Twinkle twinkle dying star
Au revoir our ex-solar.

© Natalie Low

(Included on here with permission from Natalie Low)

I will be going to visit it in person very soon.  Hopefully it will still be there!  It looks like it is worth something due to the shiny parts.  My earnest wish is that a magpie in need of some bling might locate it and take part of it away for its nest.  I think anyone picking it up in search of worldly wealth is going to be very disappointed.  Damien Hirst may well have been able to use real diamonds on his skull, but my sculpture is, quite literally, a world apart.  Some information from Wiki on Damien Hirst’s skull:

“For the Love of God is a sculpture by artist Damien Hirst produced in 2007. It consists of a platinum cast of an 18th-century human skull encrusted with 8,601 flawless diamonds, including a pear-shaped pink diamond located in the forehead that is known as the Skull Star Diamond. The skull’s teeth are original, and were purchased by Hirst in London. The artwork is a Memento mori, or reminder of the mortality of the viewer. Costing £14 million to produce, the work was placed on its inaugural display at the White Cube gallery in London in an exhibition Beyond belief with an asking price of £50 million. This would have been the highest price ever paid for a single work by a living artist.[2]”

Rather than inhibit an interior space, I am hoping that my piece dies a natural death, remains in its place, and looses its worthless jewels in the beak of a magpie.  I have to say, I have never seen a magpie around the London Bridge area, but you never know, there may be a small chance!

Do take a look at Alban Low’s website too.  He’s doing great work in a variety of ways!

http://www.albanlow.co.uk/

He’s busy sketching on the radio at A World In London at Resonance FM nearly every week, as well as plenty of gigs around London. Have a look at http://artofjazz.blogspot.co.uk/

I love his drawing!

Why Abstract Painting Isn’t Music

https://philosophynow.org/issues/50/Why_Abstract_Painting_Isnt_Music

Patricia Railing on the point of abstract art, and on how it works.     I am reading through and reflecting on this.  It’s one of the best pieces of writing on painting I have come across in a long time!

NOTE: I have emboldened some areas for my own notes, this is not in original text.  

A recent exhibition in Paris at the Musée d’Orsay, entitled At the Origins of Abstraction (Aux Origines de l’abstraction), explained the advent and practice of abstract painting at the beginning of the 20th century as the ‘translation of music’. Thus continues into our new century the widespread misunderstanding of the early abstraction of ‘pure painting’ and of the relationship between painting and music.

Certainly there were composers who wrote scores accompanied by colour-light shows (e.g., Scriabin and Rimsky-Korsakov) and painters like Ciurlionis who wrote scores as sound compositions of their paintings. This correspondence between the arts issued largely from Symbolism and had been inspired by scientific studies of colours and tones as sensations. The ‘pure’ painters – Vasily Kandinsky, Frank Kupka, Piet Mondrian and Kazimir Malevich – who followed after 1910, however, always declared that their paintings were not music, nor that they were painting music. Rather, they claimed that painting’s colours have an effect on the human being just as music’s tones do: the relationship between music and painting is a parallel one, colour and tone affecting and enlivening human feelings. 

Painting and Music Play on the Instrument of the Feelings

It is the feelings, then, that are the ‘instrument’ on which colours and tones play their tunes. The media are different but both set the feelings in motion, giving them a particular kind and quality.  In his 1912, Concerning the Spiritual in Art, Kandinsky wrote: “Generally speaking, colour is a power which directly influences the soul (i.e., the feelings). Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul.” (Dover Publications, p.25). It was Schopenhauer who had inspired this image of the feelings, writing: “We ourselves are now the vibrating string that is stretched and plucked” by pleasure and pain, by harmony and dissonance. (The World as Will and Representation, Vol. II, p.451.)

References to music abound in Kandinsky’s book, and he gave musical titles to three groups of work between 1909 and 1914: Improvisations, Impressions, and Compositions. Frank Kupka also titled a few of his works with the musical terms of Nocturne and Fugue. So critics at the time, standing before works the likes of which they had never seen in their lives, latched on to the musical theme and explained this abstract painting in terms of music. This was so frequent that Kandinsky was compelled to state in a 1913 catalogue and a 1914 lecture: “I do not want to paint music. I do not want to paint states of mind.” Rather, it had to be understood that the “laws of harmonics in painting and music are the same”, to borrow the title of Henri Rovel’s article of 1908 in Les Tendances nouvelles.

This parallelism of the arts of painting and music was based, on the one hand, on their inner creative laws and, on the other hand, on their effects in the human realm of feeling (called the soul). This is neatly illustrated by Kandinsky and by Franz Marc in letters of January 1911 after they had attended a concert of the music of Arnold Schoenberg. Remarking particularly on the composer’s 1909 Three Piano Pieces, Kandinsky wrote to Schoenberg: “The independent progress through their own destinies, the independent life of the individual voices in your compositions, is exactly what I am trying to find in my paintings.” What Kandinsky meant is made clearer by Franz Marc, writing to Auguste Macke: “Can you imagine a music in which tonality (i.e., the adherence to any key) is completely suspended? I was constantly reminded of Kandinsky’s Composition [see Illustration], which also permits no trace of tonality, and also of Kandinsky’s ‘jumping spots’, in hearing this music, which allows each tone sounded to stand on its own (a kind of white canvas between the spots of color!)”. (In Schoenberg, Kandinsky, and the Blue Rider, Scala, 2003, p.25 and p.21.) Applied to his painting, Kandinsky’s ‘jumping spots’ of colour allow each colour to stand on its own, independent of colour tonality. To feel the content of each tone or each colour, to feel their ‘independent voices’, is one of the essential creative aims of the abstract arts of music and of painting around 1910.

Composition

Why should artists want to tap the feelings in this way? This is a broad issue and part of the Zeitgeist of the late 19th and early 20th centuries. Two aspects of this are particularly relevant. First of all, artists wanted to see behind appearance, or rather, they wanted to see the realities that create appearance, at a time when publications on the new physics were providing a new understanding of creation itself. Secondly, the artists were among the first to explore another reality: that of colour itself and tone itself, together with their effects on the human being. This was based on the many 19th century publications by experimental scientists like Helmholtz, Wilhelm Wundt, Freud, Mach and others. The premise of this work was that the nerve-sense system is a dynamic system in constant movement, receiving and responding to stimulae, called sensations, which are found to directly affect the feelings and hence states of mind. This field of exploration, called psycho-physiology, informed Kandinsky’s Concerning the Spiritual in Art, Kupka’s Creation in the Plastic Arts, Malevich’s writings, and traces are also found in Mondrian’s writings. The metaphor that the feelings are like a musical instrument playing the songs of life allowed artists to take a new look at their media. Scientists were asserting that colours and tones have direct and verifiable effects on every individual, so artists set about exploring the vast artistic realm of sensation and feeling through colour and tone, and this resulted in a new form of artistic expression. Artists could play on the harp of the soul, plucking now one string, now another, now sounding them together. This inner music, “in which tonality is completely suspended,” in which “jumping spots allow each tone sounded [or painted] to stand on its own,” was the touching of the soul (the feelings) directly. The created work was thus pure music or pure painting, having no intermediary and no intrusion from the world of thought in the form of any kind of imitation (mythology, religious philosophy, history or genre). It was the pure music or the pure painting of pure feeling in the artist’s use of colours and tones, stimulating pure feeling in the spectator.

 

All is Energy

But what were the ‘laws of harmonics’ that stood behind the creation of pure painting and pure music and that were common to both? Essential to them is that they were based on yet another component of the early 20th century Zeitgeist: the world-view that all is energy, dynamism, movement. This was asserted by the new physics of Einstein (1905 and 1916), Maxwell’s treatises on electromagnetism (1870s), Max Planck’s paper on quantum theory in 1900, Poincaré’s works, and so many others. Thus, the laws of harmonics – by which is meant the laws of constructing music and painting – are to be found in the laws of movement, dynamism and the expression of energy. The laws of construction are the forming processes of music and of painting, and they are parallel to the forming processes found in all reality. As music is the art of movement itself, and painting had always been thought of as a static art, it was to the language of music that painters turned for want of a traditional vocabulary of movement.

The Constructive Laws of Rhythm

‘Rhythm’ is music’s most basic component. Tone moves according to rhythm, but colours in a painting are also arranged according to rhythm. The same is true for poetry. In How Verses Are Made (1926) the Russian poet, Vladimir Mayakovsky, wrote: “I went along, swinging my arms and mumbling almost incoherently, now slowing down so as not to disturb my mumbling, now mumbling quicker in order to keep time with my feet. That is the way to shape and plane rhythm, the basis of all poetry, which runs through it in the form of a subdued roar. Gradually, you begin to extract individual words from the roar.” And in the same year the German painter/poet/composer/builder, Kurt Schwitters, noted:

“What art is you know as well as I do: it is nothing more than rhythm. And if that’s true, I … can modestly and simply give you rhythm, in any material whatsoever: bus tickets, oil paints, building blocks, that’s right, you heard me, building blocks, or words in poetry, or sounds in music, or you just name it. That’s why you mustn’t look too hard at the material; because that isn’t what it’s all about…. [Just] try, in spite of the unusual materials, to catch the rhythm of the forms and the colours…. Every artwork throughout history has had to fulfill this primary requirement: to be rhythm, or else it isn’t art.” (In poems performance pieces proses plays poetics, Cambridge, MA., Exact Change, 2002, p.229.)

In nature, rhythm is the manifestation of energy in its forming process, and it functions according to one of two fundamental laws: that of progression, and that of the contrast of forces; usually they are found together. Progression is always numerical and/or geometrical, as in the Fibonacci series, while the contrast of forces is the law of polarity, those forces of the centrifugal/centripetal, push/pull, the attraction/repulsion of electromagnetism. In art, rhythm is also the manifestation of energy in the forming, creative process. The law of numerical progression had been the fundamental creative means of classical Western music; in painting it is found in perspective – geometrical – and proportion – numerical. When artists like Schoenberg and Kandinsky began to use the law of the contrast of forces rather than that of progression, music and painting became subject to entirely different rules of rhythm and, hence, to entirely different rules of harmony, made up of consonance, the means according to which the law functions, and dissonance, the necessary opposite of consonance.

In the creative law of numerical and geometrical progression, consonance is determined by adherence to the particular order or structure of progression; dissonance is introduced when that order or structure is violated. When an artist creates using the energy of polarities, the law of contrasts – of tones or of colours push-pulling, attracting and repelling – consonance is that state of balance between the two forces while dissonance is that state of imbalance between the two forces when one or the other increases or decreases its energy. Movement or dynamism then take the place of a state of rest, allowing change to occur. Because of the innate dynamism of polarities, the term ‘dissonance’ became an alternative word for ‘creativity’ for many artists. Thus would Kandinsky write to Schoenberg in his letter of January 1911:

“I am certain that our own modern harmony is not to be found in the ‘geometric’ way, but rather in the anti-geometric, anti-logical way. And this way is that of ‘dissonances in art’, in painting, therefore, just as much as in music. And ‘today’s’ dissonance in painting and music is merely the consonance of ‘tomorrow’.”

It is interesting to note here Schoenberg’s interpretation of the term ‘anti-logical’ in his reply to Kandinsky, writing that it is what “I call the elimination of the conscious will in art.” Around 1910, art was rejecting cultural anecdotes of whatever subject matter, no longer constructing according to linear, intellectual progression, and becoming instead a means of revealing the very nature of the human being, a being that is dynamic, continuously ignited by contrast in the feelings, in thinking and in life itself. Art gave expression to, and extended, the potential of this vast creative realm, the realm from which the human being extends into the world and creates it.

Rhythm is innate to the human being, to the breath and to the heartbeat. It is innate to the very existence of nature and the universe. Rhythm, for so many early 20th century artists, was the heartbeat of all reality and it was the very substance of Frank Kupka’s art. Drawing on Henri Bergson’s Creative Evolution, and on many scientific publications, Kupka made visible the invisible forces of growth in nature, the universe and in the physical human body. These forces – taking the shape of the spiral, the triangle, the vertical and the horizontal – are both the scaffolding of everything that exists and the means of its creative laws. They are so, they are both particle/form and wave/energy, because they are determined by rhythm. Catching the rhythm meant catching the chord which holds together the human body, nature and the universe, meant catching the energy that creates.

Rhythm is not a thing: it can only act through things. For the painting-composer these things are colours and forms, for the music-composer they are tones. We shall consider painting only.

To begin with colour. In their writings, Kandinsky, Kupka and Mondrian all describe how colours function both optically and in the realm of feelings and, therefore, how they can be used to set up many, many kinds of rhythms. As Kupka wrote in Creation in the Plastic Arts, “The radiation of vital energy in nature, and of the same energy which dwells inside us, always manifests itself through the relationships between different vibrations and, therefore, between different colours.” (Liverpool University Press, p.87.) Scientists had shown how long exposure to certain reds made the subject anxious or angry, for example. In Concerning the Spiritual in Art Kandinsky writes that the intensification of a certain yellow “increases the painful shrillness of its note” (p.68). And Kupka says in Creation in the Plastic Arts that violet is “a mixture of passion and reason, is the colour of thought and of bishops” (p.86). Playing the strings of the feelings meant playing the effects of the colours on the feelings. And suddenly, the painting becomes active and activated, the spectator experiencing the light vibrancy or heavy thud of ‘jumping spots’ and, in the case of Kupka, say, a swirling of blues where inner movement is harmonious and pleasant.

Forms, too, affect the feelings. Kandinsky did studies on the effects of shape, concluding that the pointed triangle made a different impression on the subject than the curved circle, and he published his findings in 1926 in Point and Line to Plane whilst at the Bauhaus. Colouring the pointed triangle yellow or red produced yet another effect on the observer, one being harmonious and satisfying, the other like a conflict between two forces and thus producing another feeling. It is precisely in the law of forces, whether they are consonant or dissonant, that the laws of harmonies are found. Rhythm is an expression of these forces.

Painting, then, has a ‘grammar’ of colours and of forms, to use Kandinsky’s word. Simple and straightforward as the grammar itself might be, it allows great complexity of expression, just as the written and spoken grammar of words does. We have only to compare the painting of Kandinsky and Mondrian: Kandinsky’s Composition II (1910, destroyed) was full of colour energies in animated, painterly movement, while Mondrian’s compositions with the primary colours of red, yellow and blue (1920s and 1930s) were made of few colours in flat planes held within a few horizontal or vertical bands. The former work is visually dynamic, the latter are visually static. The former has many loud or breezy rhythms rushing about, the latter have quiet, even silent, rhythms, especially noticeable in the white and black paintings such as Composition II with Black Lines, 1930 (Stedelijk Van Abbemuseum, Eindhoven). All these rhythms we feel, played as they are on the instrument of our soul, our feelings. These paintings do not come from music, they are not the translated tones of Schoenberg’s Three Piano Pieces or any other musical composition. But like anything that makes the soul sing – or weep or jump or dance – they can be called ‘musical’, if that is understood as only a metaphor for organised movement and dynamism.

Pure Painting, Pure Aesthetics

Consonance and dissonance of rhythm in pure painting, the play between contrasting forces and their coherence or unity, was for Vasily Kandinsky the basis of the new ‘harmony’, as he concluded in Concerning the Spiritual in Art. Kazimir Malevich called consonance and dissonance and their unity in the work of art the ‘new aesthetic’, in the opening paragraph of his 1919, On New Systems in Art / Statics & Speed. Malevich writes that this new aesthetic, this new means of affecting the feelings directly through artistic means, is seen in nature by the artist as “painterly masses in motion and at rest, … the unity of diverse painterly forms; … the symmetry and harmony of contrasting elements”, the painter rejoicing in nature’s “flow of forces and their harmony”. Similarly, sitting before his canvas, the painter:

“regulates the flowing forces of colour and painterly energy in a multiplicity of forms, lines, planes; he also creates forms and the different elements of their signs and achieves a unity of contrasts on the surface of his picture. Thus the creation of contrasts between forms leads to a single harmony in the body of the construction without which creation would be inconceivable.” (In Malevich on Suprematism, University of Iowa Museum of Art, 1999, p.55.)

And all this because the contrasts set up by consonance and dissonance produce a harmony of the feelings. Pure painting had led to pure aesthetics, one that was of and for the feelings alone (without the intervention of thinking through mimesis), while awakening consciousness, the mind. This is why artists claimed that art was finally fulfilling its true task.

Since painting had become abstract after 1910, it could certainly be talked about in the same way as Schopenhauer had described music. Abstract painting was rhythm touching the feelings directly so now, it too, like music, was a ‘copy of the world will’. No longer passing through objects of the world but passing over them, no longer depicting only fragments of reality, abstract painting, like music, was independent of the phenomenal world of objects. Abstract painting objectifies the will itself, directly (no longer indirectly through ‘mimesis’, the imitation of the phenomenal world) through its artistic means and their arrangement, also like music.

Abstract painting, however, had taken a further step: because it embodies pure rhythm, which takes place in time, whilst existing as an object in space, abstract art brought time and space together in a way that had been inconceivable for Schopenhauer and 19th century painting and sculpture. Abstract art was a reconciliation of fundamental opposites. As the union of space and time, abstraction was both ‘representation’, or pure forms, and ‘will’, or pure energy, it was particular and universal, it was material and essence – that essence that sings its way through all eternity in every living thing.”

© Patricia Railing 2005

Dr Patricia Railing has published widely on early 20th century abstract art. She is director of Artists.Bookworks which publishes artists’ books and writings of the early 20th century.  See:  https://artistsbookworks.co.uk/

This piece was originally published in Philosophy Now Issue 50, as follows:  https://philosophynow.org/issues/50/Why_Abstract_Painting_Isnt_Music

Included in this blog by kind permission.

I am delighted to find this article and I find it vastly helpful and insightful.   It certainly describes excellently what my painting means to me and how I see it functioning.  It is amusing to me that I have recently started learning African hand drumming and am very excited about rhythm and movement, seeing a connection between the drumming, dancing (which I have often done when painting, often wearing clogs!) and movement in general.  Since my knee replacement and the experience of pain and disability, and of having my movement restricted, the importance is felt even more deeply.  I am very much looking forward to the Summer this year, when I plan to work on some bigger paintings which incorporate recent developments in my practice.

The Smell of Paint!

Walking into a gallery in Cork Street last December  made a big impression on me but not for the reasons you might think!

The SMELL!

Paint fumes!  They had painted the walls with thick emulsion paint, and the sculpture on show was also painted.   I told them about the smell, and asked if it was the walls or the sculptures.  They told me the sculptures had been repainted and that it was that but it smelt like both vinyl emulsion and enamel paint to my nifty nose!

It was the Waddington Custot Gallery,  (Waddington Custot 11 Cork Street, London W1S 3LT) and the show was very good.  Here is some blurb quoted from the website:

“David Annesley (b. 1936, London) received early recognition for his colour sculptures at The New Generation: 1965 show at the Whitechapel Gallery, London. The exhibition showcased a new generation of sculptors who had been taught by Anthony Caro at St Martin’s School of Art in London in the early sixties. The new approach was defined by the placement of sculptures directly on the ground, allowing them to occupy the same floor-space as the viewer; the use of new materials such as fibreglass, aluminium and plastic, which were less expensive and more practical than traditional bronze; and the use of bright colours.”

I enjoyed looking around, and enjoyed the effect of the shadows on the work immensely.  That, and the wonderful experience of three dimensions and all that walking around, back and forth, and playing around with the angles and other joys that sculpture has which the flat 2D plane hasn’t!

https://www.waddingtoncustot.com/artists/150-david-annesley/works/11184/

However, the feeling of space was spoilt for me by the fumes of the paint!

As they had just painted the walls it seemed a bit late to tell them about Keim silica sol paint and how much better it would be if they had painted the walls with it!  The smell from the sculpture was only half of it, I am certain about that!

Paint to love…

The kind of paint you use in your home or work environment is very important.  There is such a thing as indoor pollution, and the experience of walking around that gallery really brought that home to  me.  Indoor pollution is caused by things like building materials, heating, chemicals and cleaners, materials and furnishing, paints and solvents, and mould and bacteria.   Unfortunately we are  not always very  aware of this.  I was thinking of using some blue loo fluid recently in some painting. I wanted to use the colour as it is very violently blue and as I am trying to use materials I already have as I start to experiment with working on a larger scale.  I guessed it has no binders in it, but the synthetic dye itself is very strong and I thought it would be interesting to play with.  Until I found out that it had formaldehyde in it! Among other things.  That put me off the idea, so I let that one go.

I am not thinking I need to ban these chemicals from my life and work entirely, as this wouldn’t be practical.  But it is important to be aware of VOCs, … Volatile Organic Compounds.  VOCs are chemicals like formaldehyde, Benzene, Toluene,  Acetaldehyde.   Conventional paint finishes do contribute to poorer indoor air quality by releasing VOCs.  Sad, but true.  Of course,  I use acrylic paints in my fine art paintings…Yes, like many artists, the event of acrylics has opened up new avenues to us.  Plastics have changed the way we live.  I think of acrylic paints as working with liquid plastic. Not a nice thought, but we live in the age we live in!  There are useful qualities about PVA and acrylics, as there are of all plastics.  Indeed, I am currently spending quite a bit of time experimenting with plastic.  Never thought that would happen!  But at the same time, I feel concern about pollution and the environment.

It was when I started researching for the mural at Trafalgar Junior School several years back, that I spent some time looking into more ecologically friendly paint and this was when I discovered the virtues and qualities of it.  I looked at many different types of paint and materials, and worked on the mural with both Beeckosil and Keim Soldalit.   I preferred the Keim Soldalit, which is a third generation silica sol mineral paint, because of its ease of use.  It was easier to manipulate on the vertical surface of the walls, and I used it for the linear elements.  Silicate paint of all kinds has a much better light reflective quality, and how paint reflects light is pretty much an essential interest for any painter!

Though I have not continued with painting murals due to my knee problem,  now I have my new knee, at least I can experiment again with painting on a large scale and also using my new found mobility in my work.  Action, movement, motion.  Rhythm.   I am liking the sound of it all!   I can now stand as long as I need to.  Even dance!  The only problem I have right now is lack of wall space and lack of floor space!   I did paint a painting on the outside of the house with a roller a few years back, which is nice, but painting the outside of the house is not very transportable work, and I do like to take my work to other places, not just in the home!

I am currently involved in a lot of experiments with more substrates and Keim Optil.   I am thinking along the lines that as long as I know the qualities and limitations of the paint I work with, I will know how far I can push it or not.  And in terms of the pigment looseness on certain substrates and the flexibility, or lack of, of the paint on certain substrates, as long as I know what I am working with, all will be well.  It may be that I produce some temporary paintings, or it may be that I produce some paintings which need to be kept behind glass.  It may also be that I find some options which would not conventionally be acceptable, ie not working to the usual criteria necessary for practical use in other spheres, ie interior or exterior decorative purposes, but which would be interesting and do-able in the arena of fine art.  It is not likely that I will be posting or publicising what I do for a couple of years, as I find it takes a few years to find a direction worth walking in.  Indeed,  I have been using the Keim silica-sol paint in my work for several years already, though often in combination with acrylic paints.

Nothing should be rushed.  Even the newest things need time to die first before they come alive again.  It’s the same with glass.  I have an undercurrent of using that in my paintings which goes back a fair few years now.  And I have only just begun. The trouble and delight of using different materials in painting is they open up so many different avenues that it is quite possible to get lost very quickly.  Hence the necessary reserve and holding back on quickness to display what I am up to! Besides, it’s a tender process, this painting matter.  It’s all quite vulnerable at first, new ventures.  I think it will be interesting to relinquish my need for permanence and to produce some work which may be of a temporary nature.  The main thing is that the nature of the work is clear.

I am actually quite a pedant when it comes to materials.   I take great care in ensuring my paintings are light fast, sealed, with no loose pigment, unless displayed under glass. I think about the practical considerations for a person who collects my art work and wants it to last as long as possible, and too be cleanable, practical and enduring!  Yet I am thinking new thoughts also, about an openness to exploring in some different ways.  With paintings which I may not keep, or which may not last maybe?   I may experiment with that as well.  I think as long as an artist knows the material they work with, they can risk playing around!  And I certainly know my materials.

Using recycled materials as much as I can, is something I plan to do.  Even in my house, I have plenty of materials to hand.  I was disappointed to find out that my local borough does not have a community paint recycling scheme!  A lot of needless waste is created by the lack of such schemes.  I have written to the local waste department, and to their credit, they are looking into the matter.  I am going to need to buy a little bit of vinyl emulsion for sure, but I would like to buy as little as possible.  Well, I cannot actually afford to buy very much, but this doesn’t matter.  It is probably just as well!   Using  mineral paints is my preferred option  and is much nicer to use, looks beautiful and holds a lot more promise.   I like the inorganic oxide pigments much better.  Having said that, I am currently also experimenting with the synthetic dyes available a lot, though obviously NOT in the silica sol mineral paints!  It’s getting interesting seeing the different directions I am being taken in with these two very different types of paint and pigment!

Keim  silica sol mineral paints are environmentally friendly and sustainable, VOC and solvent free, odourless and non-toxic, anti-bacterial and breathable, and basically brilliant!

https://www.keim.com/en-gb/

For my purposes,  acrylics and vinyl emulsion paints are OK, in small quantities only!

Plastics etc are very useful, but we don’t seem to be handling them very well in terms of looking after our environment and our lovely world.

My oil paints seem to have been put aside for the time being.  I have nowhere to dry oil paintings!  This is another problem with not having an interior space of dedicated use for painting.  The studio tent is still rather too cold to work in right now.

Not Drawing…

Yeah, I am not drawing much of late.  I like drawing from life.  But I have other tasks which just seem more pressing.   But not drawing doesn’t mean I am not looking.  It’s making that mental space to dwell on what you see.  It can be recorded and interpreted, or just taken in.  But the main thing is the looking.   I guess.  Will, it will have to be, for me right now, for the time being!

Here is some past drawing.

The rear access roads in Chessington were a bit of a refuge for me, and a very good place for drawing!

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

rear access roads chessington art jenny meehan

Sitting outside and drawing was lovely, and I still remember the very kind lady who gave me a sweet, and the worried looking cats whose territory I was invading!  But these drawings in no way convey the feeling or the desolation I felt.  The grief and the void.  They cannot convey the place I was in, even though they depict it.  They were enjoyable enough to produce, and I do like a bit of drawing from time to time, but they don’t reveal any strong interest.  The visual experience which held me fast and touched me, which sung out for the future and which offered a sense of direction, was all to do with paint, surfaces, texture, and some beautiful revelation possibly neatly summed up particularly in  two photographs I took.  Though they were just two of many, for I took photograph after photograph of my observations in the rear access roads of Chessington, it was “Wall Painting” and……

 

insert

Speaking Out Project

Just realised that there is this record of one of the projects I was involved with a few years back.  It was an excellent project, so do take a look:   Speaking out.

It was a fantastic privilege to be involved in this. As someone who experienced violence from a very young age and who has done a  lot of work in psychotherapy to recover from the trauma of it, my involvement in the project, while challenging, did serve as a means to focus thoughts in a way which it would have been easier to avoid. While no one wants to be re-traumatised, I have found in my own creative practice that working visually, and with poetry, can help me come to terms with what has happened, and helps me make something positive from adversity.  I hope this may serve someone else in some way, who has had a similar experience.  Articulation, be it written or visual, can sound a sound and resonate in another human being in a way which can help facilitate healing. Maybe it is just bringing some kind of order into being?  A sense is felt.  It’s a comfort in itself maybe? A recognition? Because though we are all completely different, we do share in our suffering.   For in understanding a feeling, there can be a meeting of sorts.  I don’t know.  I am not a theorist.  But it’s good to wonder!

What is happening this year?

Well, the Kingston Artists’ Open Studios!

I will be taking part once more.  So pencil in your diary!

OS18 will be taking place on 9/10th and 16/17th June 2018 from 11am to 5pm each day

Open to all artists and makers living or working in the Kingston area
Kingston Artists Open Studios is a group of artists and makers based in and around Kingston. Our main annual event is our open studios when we open our studios to the public for two weekends in the summer. But our members are active throughout the year, taking part in exhibitions and events both nationally and internationally. See: 

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

http://www.kingstonartists.co.uk/

A Prayer of Anselm (1033-1109)

 Jesus, like a mother you gather your people to you;

you are gentle with us as a mother with her children.

Often you weep over our sins and our pride,

tenderly you draw us from hatred and judgement.

You comfort us in sorrow and bind up our wounds,

in sickness you nurse us, and with pure milk you feed us.

Jesus, by your dying we are born to new life;

by your anguish and labour we come forth in joy.

Despair turns to hope through your sweet goodness;

through your gentleness we find comfort in fear.

Your warmth gives life to the dead,

your touch makes sinners righteous.

Lord Jesus, in your mercy heal us;

in your love and tenderness remake us.

In your compassion bring grace and forgiveness,

for the beauty of heaven may your love prepare us.

Amen.

 

Such a beautiful prayer. 

Redbubble.com

Redbubble is a great “print on demand” website and I have some of my images there.  The world is full of fabulous artists and Redbubble is a good place for buying merchandise which is original, exciting and contemporary.  The artists on Redbubble get a royalty payment from any items that you purchase there, so it is one way to support the creative community and help artists gain a little bit of income from their work.  Do take a look!

https://www.redbubble.com/people/jennyjimjams?asc=u

See some of my paintings on my personal website jamartlondon.com

 

 

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“River Journey” abstract lyrical expressionist british paintings jenny meehan

Come and meet me this year at the Kingston Artists’ Open Studios!
KAOS OPEN STUDIOS 10th/11th and 17th/18th June 2017 11 – 5pm at Studio KAOS 2 , 14 Liverpool Road Kingston KT2 7SZ
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!

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

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

walking after TKR

 

 

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 crisis, elective surgery joint replacement rationing, TKR graphic art, graphic image knee joint,abstract knee replacement design,abstract artwork knee joint, © Jenny Meehan DACS All Rights Reserved

NHS financial pressures knee replacement jenny meehan © Jenny Meehan DACS All Rights Reserved

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.  I do go on!!!!!

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 abstract art print by Jenny Meehan jamartlondon.com bright bold motivational art for physiotherapy experience personal mobility challenges, 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!

 

abstract graphic art, geometric design, contemplative christianity artist christian uk, british female contemporary art, colourful graphic garden design, art print to buy simple piece, jamartlondon.com © Jenny Meehan DACS All Rights Reserved

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

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

“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.”

© Jenny Meehan DACS All Rights Reserved

west dean gardens jenny meehan flora foliage jamartlondon

Above “Dear Life” photograph by Jenny Meehan © Jenny Meehan DACS All Rights Reserved

 

Well, because of all the time I am spending with my knee surgery rehabilitation, I am going to finish promptly, for a change!  Do come along and see me at the Open Studios if you can.  Feel free to email me and let me know if you are coming and introduce yourself when you visit!  Remember:

KAOS OPEN STUDIOS 10th/11th and 17th/18th June 2017 11 – 5pm at Studio KAOS 2 , 14 Liverpool Road Kingston KT2 7SZ
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! …Visit several studios and meet lots of artists! You can talk with us and find out more about the work in a way you wouldn’t be able to do in a different context.
There are 90 artists showing work in total. 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/

 

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.
See examples of her painting at jamartlondon.com

Kingston Artists’ Open Studios

Here are some images from this year’s Kingston Artists’ Open Studios.

kingston artists open studios

kingston artists open studios – image of “Rush Hour” (below) and “No Cares” (above)

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan  “laid to rest” and “clog dance/sacred dance” oil paintings by Jenny Meehan

Okingston artists open studios jenny meehan

kingston artists open studios jenny meehan showing various acrylic on linen paintings by Jenny Meehan

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan  “bright and breezy” and “resurrection one” paintings plus the table with information and prints.

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan – “bright and breezy” painting.  this was exhibited at the Dulwich Picture Gallery a couple of years ago but still lives with me at the moment!

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan – “Resurrection One”

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan view showing my work and some of Cressida Borrett’s ceramics.

 

Writing this after the first weekend and before the second.. So still time to come along and visit 13 venues in the Kingston Upon Thames area…

18/19th June. 11 – 5pm at Studio KAOS 3, 14 Liverpool Road Kingston KT2 7SZ to come and say hello to me,  and:

Caroline Calascione, find out more about her work here: http://www.carolinecalascione.co.uk/

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

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

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

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

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

and Seana Mallen:  www.smallen.moonfruit.com

There are 74 artists taking part showing their work in 13 venues, so plenty to see!  Take a look in the catalogue to plan your route!

It’s wonderful to have other creatives to talk with, bounce ideas about with, and generally spend time with.  We need each other to encourage and support each other.  One of the wonderful things about being part of KAOS I have found is that we a mutually supportive group, rather than competitive with each other, and this means a lot.  While taking part in the Kingston Artists’ Open Studios event does take a lot of effort, it is good to talk to each other and those who visit.

One lady profusely thanked us last weekend for all our time and effort and I was very much blessed by that, as she recognised that we are offering something which we don’t often get thanked for.  While we hope to sell some of our work (of course)  the time and effort of putting on an event like the Kingston Artists’ Open Studios doesn’t normally generate profit for the vast majority of us (even if you sell something, it doesn’t translate into profit!).  So we hope very much that people not only come themselves,  but spread the word, as the more people who know about Kingston Artists’ Open Studios and who come along to the Kingston Artists’ Open Studios weekends each year, the more our work is appreciated.  The process of showing artwork, introducing people to our work, and talking about what we do is a valuable contribution to society which is sometimes not appreciated.   Aside from the practical necessity of selling the work, which does exist,  (both from the point of recovering storage space in our already too “jam packed with artwork” homes and the need to reinvest in the development of our work/materials, etc) it is immensely motivating to see people discover art work which resonates for them in a powerful way.

Artists Need Collectors!  

I have put that in bold, because it is a reality.  We need people who discover that our art works resonate with them to a degree that they purchase them, and also, that they then invest themselves into keeping in track with what we are doing, and make a kind of mini internal commitment to “openness to buy” our work, not as a means of purchasing a commodity, but by way of a creative relationship which supports and encourages the artist, and also benefits the collector.  A ideal collector will buy something not just because they love the art work itself but because they are interested in the artist and recognise that the artist is involved in a creative process which they need support and encouragement in.  It is not simply a matter of buying objects for oneself.  When you buy a piece of art, you help the artist in the creation of their work and support them in their vocation.

While there are some artists whose art working is a business, (among other things) (they have my admiration, and I applaud them on all fronts!) , there are many whose art working will never be, nor does it aspire to be a business (I am one of those!)  What I do is a vocation only.  However, this does not remove the need for money to fund it.  Buying a certain piece of art may not be an investment of the financial type (however… you never know, when I am dead!!!  Ho Ho Ho!!! Give me 100 years…or 300) and there is a challenge in purchasing a piece of art for yourself,  I think. And the challenge is this:  If it speaks to you, do you consider that encounter worth investing in?  I feel personally that buying a piece of art and/or being a collector of art might very healthily be viewed as a type of self investment.  There is a mysterious type of poetic strengthening of life which happens in the face of a deep resonance between a work of art and the human being encountering it.  Sometimes,  just sometimes, this is worth investing in, if the work is such that it has a sustaining effect on you as a person, and that you sense this will be a long lasting affair.

Profit is not simply about money… Indeed, I find it is seldom about money at all.

Where collectors  (I term “collector” as anyone who has purchased one of my art works either to add to an ongoing collection, or who has purchased more than one of my art works) become patrons, is at the point where their relationship with your work of art becomes not something simply to do with them and an object they have paid for, but becomes a recognition that they are part of a creative process themselves.  In collecting a certain artists work they recognise that they have a supportive role.  Not one with  strings attached.  But one which recognises that in choosing to pay money for an artists work they are contributing in some way to the production of future work.  The buying of an art work is not just a matter of themselves,  but might be, if they choose to make it so, the beginning of an interesting and ongoing journey, in following an artist in the creative path they travel down, and periodically assisting in that path by buying that artists work not just once, but over a period of time.

This type of collector-patron, one who will invest in an artist and their work, and pick out specific artists which they develop an ongoing creative relationship with, is something I am mulling over right now, as I bounce around my thinking in this Journal.  I think this is because I have been thinking about the word commodity.

Simple Definition of commodity
: something that is bought and sold
: something or someone that is useful or valued….Merriam-Webster’s Learner’s Dictionary

It is the sick feeling I get each year before the Kingston Artists’ Open Studios event which has led me to start thinking this through.  My experience or rather fear, of my work being viewed as a commodity only... an object brought and sold, probably brings on the dire feeling.    An artists work is so much more.  The usefulness and value of a piece of art is not very measurable at all.  And the buying and selling bit has to happen, such is the world we live in.    But what is the exchange really meaning in all this?  Money is the medium of exchange, but what is the meaning of the exchange, what is it’s nature and what might be it’s potential?   The use and value of someone choosing to buy artwork which you as an artist have created  isn’t simply a material matter.  That someone decides to invest and that this is symbolised partly through the exchange of money is always a great thing.  Useful too, on a practical level. Essential. But the transaction can mean so much more to the artist.  We are separate from our work, and don’t need to hang on to it, control it, or refuse to let go, however, what it will be,  we always hope, will be so much more than something brought and sold.  We want it to have a life of its own. An existence which will live new lives in the people who relate to it.  We want that to be a good relationship.  We poured ourselves into it, and then let go completely.  Even if it ends up in a charity shop, we wish it well, and hope that no one sits on it.  Well, I speak for myself with my very big “We”.  But it writes better to say “We” and I know I am not alone.

And I guess it varies a lot with the type of work it is, and how much creative energy/significance/effort one has invested in it.  I am thinking of my paintings here, rather than anything else.  My paintings are the spear head of my creative energy and the tool with which I hammer on into reality, searching, but always in the dark! Wonderful abandonment, which strangely, I am found in!  (And probably pretty much any other paradox which could be applied, could be applied!  So words do fail..)

I do ramble on!

To finish on this one, I hope that those who I will call, for the reasons of my ramblings above, art “collector-patrons”; those who buy a few select pieces that mean the world to them, and who follow artists and take a genuine interest in them, recognise how important they are to the ongoing creation of art.  For example, those who have brought my work and continue to do so, encourage and inspire me, by their investment.  Which is not actually simply a matter of paying money for something, but rather the faith that what they have brought matters. That it matters to them, yes, this is clear and true, yet also, in that process, a recognition that it matters to me to the extent that I pour myself out for it.  They see my investment and choose to invest.  That’s a good thing.

I have just found this, which is kind of what I am getting at I think:

Terry Eagleton offers insight into the idea that art may transcend systemic titles of value such as money, by “…suspending itself between life and death. The work of art seems full of vital energy, but is no more than an inanimate object. The mystery of art is how black marks on a page, or pigments on a canvas, or the scraping of a bow on a catgut, can be so richly evocative of life”(Eagleton, 2010, p. 71).”

I have quoted this from: http://www.artandeducation.net/paper/art-as-an-autonomous-commodity-within-the-global-market/

(Art as an Autonomous Commodity within the Global Market
Dan Zimmerman)

Other interesting thoughts:

“It’s cold logic then to think of art as a commodity, but what you are really seeing is a whole generation of peers and people older and wealthier than you deciding whether art history is going to remember you or not,’ said Crow” ( Kelly Crow, The Wall Street Journal’s art market journalist)

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

Also interesting:

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

from which comes:  “Todd Levin, Director of Levin Art Group, told me, “Art fairs are not places where aesthetic or intellectual fields of value are created. Art fairs are competitive fields where the destruction of aesthetic and intellectual values takes place for the benefit of consumptive value.”

and:

Some artists prefer to see themselves as pilgrims rather than as stock commodities. Regarding the art market, Amy Ragus states: “If possible, make your money elsewhere, so your art isn’t compromised to forces that often seek to exploit and codify your message.”

(My thought,  not inevitable, and not terrible,  (one artist can have more than one single “art” and it doesn’t have to be kept in a protective environment)  however, worth being aware of what is happening and if it is exactly what you want.)

Kingston Artists Open Studios is still on this year:  

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

Follow the link to view the 2016 Kingston Artists Open Studios catalogue

There are  many different KAOS (Kingston Artists’ Open Studios) artists showing this year.

Below an image of the Cass Art Kingston Artists Open Studios Taster Exhibition.

Lovely private view, very much enjoyed. Even with my stick.

Exhibition open to all so do come and see it.  Free. Cass Art, 103 Clarence Street, KT1 1 QY in “The Art Space” above the shop.  Just go in the shop and ask to be directed in the right direction!

 

cass art taster exhibition wall 2016 with gentle leaves Kingston Artists' Open Studios

cass art taster exhibition wall 2016 with gentle leaves Kingston Artists’ Open Studios

 

The quotes  below come from Living Within .  (Copyright Living Within).

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

KINGSTON ARTISTS PREPARE FOR OPEN STUDIOS WEEKENDS IN JUNE
Friday 20 May 2016 – Kingston

“This year there will be over 70 painters, printmakers, photographers, sculptors, ceramicists, textile artists, glass artists, and many others, taking part. Open Studios is a growing national movement, with towns all over the UK taking part at different points in the year, and is an opportunity for the artists to share what they do with each other – and of course the general public. Often working alone in their studios for most of the year, it’s great to spend two relaxing weekends sharing ideas and meeting people. It is also an opportunity to show a wider range of work than they can in fairs and galleries, where space is limited.”

 

“2016 is the biggest event yet, with 13 different venues opening their doors, including a ‘taster exhibition’ throughout the week of June 11th, held in the upstairs art space at Cass Art, in Kingston town centre. Providing you live in the area, you will receive a flyer through your door, or alternatively you can pick up a catalogue at Kingston museum, the library, Cass Art, Pullingers or one of the many cafes around town. A trail map is included, or can be downloaded from http://www.kingstonartistsopenstudios.co.uk/show”

Not forgetting the Anagrams Kingston Museum Exhibition.. Wheatfield Way, KT1 2PS runs till 2nd July.

So much to see!

 

Yoga and the Devoted Christian

Sadly, for the last two weeks I have been unable to do my local Our Parks Yoga class, due to my right knee becoming very unstable, and difficulty walking/pain just meaning I need to give it a bit of a rest.  Still doing a bit of Yoga at home and planning a return soon, but waiting till I have seen a specialist as rather worried about what is happening with it  right now.

Despite my current limitations, I am LOVING Yoga, and find it quite a revelation!

Wishing I had discovered it earlier in life, however, there is a time for things, so it being now is just fine!

Reflecting back on how my faith and views have changed… I am now in the second half of life.

There would have been a time, twenty years ago, when I would have viewed the practice of Yoga with suspicion and a certain amount of what can only be called paranoia and fear.

Maybe a feeling of somehow betraying my religion.

However, what has changed?

I think my experience with psychotherapy has changed rather a lot for me.  Because the tendency of all people is to try and avoid that which makes us feel uncomfortable.  Natural.  Understandable.

But our fears are rooted deep within.  We attach them to things.  Fear is good when there is a good reason for it.

A “good reason” for fear with vary a lot, depending on one’s life experience.

Every person has their own sense of integrity, and for some Christians, to practice something like Yoga is something they cannot allow themselves to do.  Others won’t even think about philosophical or religious ideas or possible conflicts and will just worry about if they are “doing it properly”.

I feel that the practice of Yoga is pretty much like anything else, what it means, represents, and promotes varies hugely depending on who is teaching it, how they are teaching it, and what the intentions and objectives are behind it.  As is the case in the vast area of what might be termed Christianity, or in a more expressed in ritual/religious sense “the Christian Church” What is actually going on, being taught and expressed, and how this is being done, varies immensely.    There are all kinds of things going on!

“Nowhere’s Safe” comes to mind…. words I remember from a Graham Greene book I read. Cannot remember which one!

Might seem negative, but for me, not so.

There is a place of refuge in our Creator God.  Yes.  But it is easy to allocate “safe” and “unsafe” places in our life.  We are not always right.

If someone feels they are betraying themselves, their particular religious affiliation, or their innermost being, in some way by practising Yoga, then they should not do it.  It is as simple as that.  If it doesn’t feel “safe” somehow, then it doesn’t feel right.

However, if it seems in accordance with what God and the Holy Spirit are doing in their life, and indeed,  then it may be for them a gift, and a  wonderful thing, liberating, helpful, and definitely in the service of Christ and others.  In my humble opinion.

For me, it is a gift, and I am grateful to receive it.  I see my Yoga teacher’s work as an act of service, which I am grateful to receive.

I don’t feel any obligation to believe what I do not believe, or change what I believe, because of a variances and differences in philosophy  in the context of a Yoga Class, any more than I would in any other setting.  However, it is the case that I feel no imposition or pressure to do so, and this is probably something which varies a lot depending on the individual teacher of Yoga.  There are more religious and ritualistic ways of Yoga, I am sure.  It is doubtful that I would feel comfortable with that, just as someone who wasn’t a committed Christian believer and used to taking Communion at Church wouldn’t feel very right at all about taking Communion!

I am a big fan of Mindfulness as a practice, and I think that probably my appreciation of Yoga is the working together  of the mind and body in what I view as a prayerful discipline, and the whole matter of body awareness and opening myself up to God, (God awareness) which I really love a lot.  I do experience very good  sense of communion with God when doing Yoga, and invite the Holy Spirit into the whole of my being in a very intentional and focused way.

I can see that some folk would  worry about what they were opening themselves up to, if they felt that it was not actually in their own control and that their personal boundaries might somehow be infiltrated by “something else” spiritually without their awareness or consent.  Or if they felt pressured or imposed upon in some way.  But I think a good Yoga teacher is one, like any other kind of teacher, who doesn’t seek to impose anything, but instead, trusts, TRUSTS, in the Spirit of God.

I guess the problem for many devoted Christians with Yoga might be in a belief that there is more than one God and that actually the “God” or “Spirit” of Yoga is a different one to the one that they believe in.  My own belief is that there is only one God, but lots of different ways and approaches, or paths, which people negotiate their way along in their quest for spiritual truth and freedom.  I don’t believe God is an impersonal force,  and I hold passionately to the uniqueness of Christianity in relation to other religions.  Christ is God, and is Saviour.  The ultimate truth. The light of the world.  The point at which all points converge.  I don’t need to argue any kind of case about what I believe being better, or more right, or “the only way”.  Because quite clearly, it is not the only way to experiencing God’s truth, Spirit, and working in the world. God works in people who are not calling themselves Christians.  He worked in me, throughout my life, long before I committed myself to Christ, in many significant ways.

 The fact that I believe the SOURCE of all truth and revelation is indeed bedded in the work of the Lord Jesus Christ, is something I pray I hope to simply live out and testify to, in whatever ways I am given to. The way, it is a way of Love.  So I aim to love, as I am loved by my Creator.    I can express what about Christ, being a Christian, and knowing God through Christ, means, and how it matters, and have open eyes to the wonderful working of the Holy Spirit. In my own experience, I see the Holy Spirit manifest in my practice of Yoga.  It is as simple as that.

It’s not that I don’t believe that there are harmful spiritual influences in the world… because actually, I do believe they exist.   I don’t think a recognition of such is Medieval or delusional.  But I draw my attention to what is good, and orientate myself to  the workings on the Holy Spirit.  And God is using my practice of Yoga in a wonderful and exciting way. Which I am very grateful for.

Suspicions about yoga are shared by many Muslims, Christians and Jews around the world and relate to yoga’s history as an ancient spiritual practice with connections to Hinduism and Buddhism.  It is a spiritual exercise, to be sure, but what it means to someone is what it means to them.   All the things in our lives mean something different to what they mean to someone else, I think.   It is more OUR intention and purpose, which makes things what they are.

And as I mentioned earlier, the variety and differences, the various schools and approaches, the diversity of what Yoga “is” is rather hard to pop into one big lump.    Just because Yoga is ancient, and a bit mysterious, doesn’t make it evil.   You don’t have to agree with philosophies, theories and ideas about how and why it “works” or is beneficial to experience it as beneficial.  God does work in mysterious ways, as that familiar saying goes!  And, if Yoga is a “way” to God, then it doesn’t follow that this somehow supplants Christ, or that it is and “either” “or” situation.  Or that it is in itself some kind of salvation by works. (I am sure it might be practised in this way by some, but that doesn’t mean that it needs to be).  Deep down, we all struggle with the sense that we need to earn favour, approval and acceptance.  This is lived out in our lives in many different kinds of way.  Grace, pure grace, is always a challenge.

Even if yoga is, fundamentally, a religious activity, our yoga practice is OUR YOGA PRACTICE.  It does not belong to anyone else.  Therefore, if we are religious, then it will be, as we are.

No prizes for guessing what “Sun Salutation” is for me!!!!

Basically Yoga is a very broad term and this does cause difficulty.  There are lots of different forms of Yoga and some are more overtly religious than others.  For example, Hare Krishna monks, are adherents of bhaktiyoga, the yoga of devotion. But what most people in the West think of as yoga is properly known as hathayoga – a path towards enlightenment that focuses on building physical and mental strength.  The word “enlightenment” might cause some alarm to some Christians I guess. but what  “enlightenment” means  depends on tradition.  For some Hindus it may be a liberation from the cycle of reincarnation, but it doesn’t have to be.  For many yoga practitioners it is a point where you achieve stillness in your mind, or understand the true nature of the world and your place in it.  In this respect, it appears more to me to be a matter of  Mindfulness. With wonderful physical benefits!

I guess there will always be debate about whether Yoga is  compatible with Christianity, Islam and other religions.  The yogic asanas  might retain elements of their earlier spiritual meanings, however, as I move MY body and use MY mind, in prayer to MY GOD, then I think what is theoretically  “retained” becomes meaningless in my practice, because I do not hold onto it, nor have I even held it.  What Yoga embodies will surely stem from the soul of the person doing it, and no more or less?  It is an art, and like my painting, I use elements of what has gone before, but what I do is not what has gone before, it is what is now.

It is all about intention.

When I take communion, in my local Anglican Church, I take the wine, though I am teetotal.  I do this and it is deeply symbolic and special to me.  It defines the importance of the sacred for me.  I have rejected alcohol in my life, but I receive it in this context, and it deepens the symbolism for me actually, because it is about sufficiency in Christ for me.   Yet I could ,if I wished to, chose to receive wine in other ways, drinking at a party or something.  (Though it would not be a good idea for me!)   It is the intention which is different.  My fallen intention with alcohol was that it was, fundamentally there, as an instrument of destruction for me.  That is what it meant.  But in the rite of Communion, the intention is transformational.  Its meaning is blessedly transformed for me.  It is life, and life through the blood of Christ.

I mention this because taking that communion is not like drinking alcohol, even though it is drinking alcohol.  That is the best way I can think of describing it, and I also believe that kneeling, for example in an asana, is kneeling in whatever way the intention is focused.

Religion is not installed in a person through repetition of outward rituals or practices.  That is quite simply, rather empty. In my opinion.

Faith comes from the inside out, and from an inward working of God’s Grace.  As a sacrament is an outward sign of an inward grace, Yoga practice can be that too.  If you want it to be.

I won’t be chanting Hindu sutras, but I am happy to use “namaste” because I do acknowledge the meeting of God in each other.  I don’t understand God as just an impersonal force, but I do recognise very much, especially as an artist, the creative spirit at work in the world, as it says “In Him we live and move and have our being”.  There is something of the breath of God, which is very wonderfully engaged with by focus on the breath!

I view Yoga as a philosophy and approach, and one which can be very usefully engaged by Christians, without causing sudden destruction to their faith or adversely affecting them in any other way,  as indeed much can be gained from the many rich areas of life and experience, which happen to be new or different to us, in some way.

Quote from Rebecca Ffrench:

“People say that yoga is Hindu, but “Hinduism” is a problematic term, coined by outsiders for everything they saw going on in India.

Yoga stems from the Vedas – the Indian holy texts that were composed from around 1900BC. Besides yoga, three major religions came from those texts – Hinduism, Jainism and Buddhism.

Around 200-400AD, a sage called Patanjali composed the Yoga Sutras. His “eight limbs” of yoga still inform practice today and discuss posture, breathing, meditation and correct living.

For many centuries yoga was all about meditation and austerity practices, such as standing on one leg for weeks or hanging upside-down from a tree. There were only 14 yoga asanas or postures.

The big explosion in hatha yoga didn’t come until the early 1900s in Mysore, India – now there are over 100 postures.”

Well, that’s enough of that for now.

Apart from… Yoga has helped me deal in all respects with my ongoing experience of osteoarthritis, and been a fantastic tool and resource in so many ways.  It seems  a shame to dismiss something  or even prohibit something which is so beneficial to so  many just because of irrational fears…

It is, I think, what comes OUT of us, which is normally the problem.  So much inner trash!

Discernment with respect to our own inner brokenness and our faulty strategies of dealing with it, is probably more useful than avoiding this or that, in case of “pollution”.  However, each should only do what they feel comfortable with, this is the main thing.

Art at the Bridge#7

This exhibition is still up.  Wonderful to see my work in such a prominent place.  Tower Bridge! I never would have thought!    So pleased to be part of it.  “Drawn Together”  my piece of work can be brought as a print on Redbubble.com .  Here is the link;

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

Artist Notes for Drawn Together:

“Building Bridges, the Female Perspective”.
This artwork expresses some of my female emotional experience: the emotion of two parts of my sense of self being pulled together. A feeling of balance and unity, which holds, even when the two sides are different in some respects. The suspended purple and yellow contrasting colours create stasis and tension. Yet, there is also a mirroring of the same essential structure in my composition, drawn together in a pivotal centre, which may suggest movement. This piece also resonates in relation to the Tower Bridge; an engineering achievement involving among other things, precision, balance, and design. Creative energy, both within and without, in both engineering and art.

 

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan, all female art exhibition london, contemporary women artists british, jenny meehan jamartlondon, all woman art exhibition,

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

My friend Denise and me had a great day out!  Loved the glass walkway and the Engine Rooms were amazing!

 

drawn together by jenny meehan, art at tower bridge, abstract art female artist, feminist artist, contemporary women artists, contemporary female artists, jamartlondon,building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan  Jenny’s work “Drawn Together”

 

Here is one of the reviews:

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

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

8 March to 31 July 2016

Reviewed by Amanda Hayes

“I was privileged to be invited to the press night of Art at the Bridge #7 – Building Bridges: The Female Perspective last night, held in the fantastic setting of the Victorian engine rooms at the iconic Tower Bridge site it was the perfect backdrop to display art works. The engine rooms are very much an industrial setting with uncluttered bare brick walls and this lets the art speak for itself showing off the different genres with clarity.

Tower Bridge work with a range of community partners such as Variety & Southwark Young Pilgrims and has partnered with the Southwark Arts forum since 2011 to provide an annual exhibition at the Engine Rooms. This year’s exhibition is entitled Building Bridges: the Female Perspective and showcases the very different art forms from a network of local artists, 15 of which have gone through a judging process to exhibit at this prestigious venue. The works are a selection of paintings, photographs, mixed media, drawings and lino cut prints each showing their unique view, either literally or metaphorically of what building bridges in a modern world means to them.

Whilst the moody photograph Momentary Flight by Ana Katrina Giles-Myers, and the lino cut Albatross from Charlotte Tymms portray bridges in a more literal sense Donna Leighton’s etching entitled The New Baby explores building bridges in a completely different way by portraying the bond between mother and baby. A particular favourite of mine was Bound to Remember by Victoria Coster, a collage on canvas layering paper that would typically be discarded such as receipts for food and travel from 2006-2011 bridging together the space between those times.

Running from International Women’s Day on 8 March until 31 July 2016, Building Bridges: The Female Perspective is a must see exhibition set in an atmospheric setting. Art being a truly personal taste I highly recommend you go along and find your own personal favourite.” 

Bits and Bobs

This is a nice little run down of exhibitions by British female artists happening in 2016:

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

More interesting reading from Gresham College:

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

 

That’s it for now….

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

Jenny Meehan is a painter, poet, and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  If you read and enjoy it, this would be an added bonus! 

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

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details as availability depends on other commitments.    

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

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:  www.jamartlondon.com

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

Note About Following Jenny Meehan Contemporary Artist’s Journal 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

You tube video with examples of photography, drawing and painting

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

Website Link for jamartlondon:  www.jamartlondon.com 

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

 

Art at the Bridge #7 Photographs and Visit

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

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan, all female art exhibition london, contemporary women artists british, jenny meehan jamartlondon, all woman art exhibition,

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

 

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

drawn together by jenny meehan, art at tower bridge, abstract art female artist, feminist artist, contemporary women artists, contemporary female artists, jamartlondon,building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

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

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

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

jenny meehan drawn together art tower bridge

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

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

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

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

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

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

 

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

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

 

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

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

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

Launching on International Women’s day,’Art at the Bridge #7′, showcases the talents of 15 local, female artists.

8 March – 31 July
Celebrate female artistic endeavour this spring with Tower Bridges new ‘Art at the Bridge’exhibition. Now in its seventh iteration, this long running exhibition in partnership with Southwark Arts Forum will display the works of 15 female artists as they explore the theme of ‘Building Bridges: The Female Perspective’.

The exhibition aims to reflect upon female perspectives in the community, providing a platform for artists to express their ideas through a variety of media including paintings, etchings, video, photography and drawing.

Each of the artists have drawn inspiration from their own experiences and these artworks offer a striking contrast to the huge and beautifully maintained steam engines that surround them.

Tower Bridge is committed to engaging with, and acknowledging, the talents of the local community. Through its regular exhibitions in partnership with Southwark Arts Forum, we are delighted to provide an opportunity for artists to gain exposure to an international audience of approximately 2,500 visitors daily.

 

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

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

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

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

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

 

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

 

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

 

British Female Contemporary Artists – Painter Rose Wylie

Very interesting read.

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

My particular favourite quotes:

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

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

Something to remember next time someone slags off your painting!

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

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

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

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

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

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

 

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

 

Very interesting read here also:

 

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

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

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

 

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

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

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

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

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

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

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

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

 

Nice quote:

 

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

Creativity and Divergent Thinking…

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

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

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

 

Ah, how I love long never ending titles!  And meandering discourse.

As per usual, skim as fast or slow as you need…I always pack lots of too much of everything in!

 

From: ‘In No Strange Land’ by Francis Thompson

 

O world invisible, we view thee,
O world intangible, we touch thee,
O world unknowable we know thee,
Inapprehensible, we clutch thee.

Does the fish soar to find the ocean,
The eagle plunge to find the air –
That we ask of the stars in motion
If they have rumour of thee there?
From ‘In No Strange Land’ by Francis Thompson

 

Willi Baumeister

What a delightful poem… indeed, “world unknowable”  is so attractive to the painter, particularly one as myself.   I recal “The Unknown in Art” by Willi Baumeister suddenly, though I have not read it yet..not yet.    I have been looking on the net again at the work of Willi Baumeister, who is one of my favourite influences, and was reminded again of his use of sand in painting.  I started using sand a while back, but now use very tiny glass beads as they have little colour and reflect light very consistently.  Recently while painting, I pressed some of the smallest micron beads into the surface of some very full bodied paint and the effect was very pleasing indeed.  I think if I put any kind of varnish on top (I normally put a very thin layer of varnish on my acrylic paintings in order to protect them) the effect will be ruined, but with the thickness of the paint I have pressed the tiny glass pieces into, thankfully there is plenty of grip there, so I should think there will be no need for any further application, certainly on the fixing front, at least.

I always try to try something new when I start a group of paintings.  While I wouldn’t say that I work in a series, at all, the various paintings sessions normally leave their mark in terms of the colour groupings I use, or new experiments tried out.  And I am finding myself rather attracted to working on paintings in pairs…though their relationship won’t stay intimate I don’t think, somehow working on two at a time works well for me, at least in the initial stages.

Back to Willi Baumeister..

https://en.wikipedia.org/wiki/Willi_Baumeister

And here, some quotation from the wiki information on his work, which is of particular interest to me:

“Baumeister took part in his first exhibition in 1910, showing figurative works inspired by impressionism. His chief interest was even at this time already in cubism and Paul Cézanne, whose work remained important to him throughout his life. These influences of impressionism and cubism that shaped Baumeister’s early paintings played an essential role in his work until the end of the 1920s. On the one hand, his representational painting was increasingly reduced (abstracting and geometric) as it gained form and lost depth. Parallel to the paintings of his friend Oskar Schlemmer, Baumeister’s independent exploration of form and color emerged. Already around 1919, his teacher Adolf Hölzel wrote to him: “Out of all of us, you will be the one who will achieve the most.” Also worth noticing is that the idiosyncratic German path into modernism, expressionism, barely resonates at all in Baumeister’s work, even though he had met, for instance, Franz Marc earlier on, and was certainly acquainted with the works of the Brücke (Bridge) artists and those of the Blaue Reiter (Blue Rider).

After his return from the First World War, Baumeister rigorously developed his work further. Although one still finds figurative elements in his paintings, the forms grew increasingly geometric and took on a dynamic of their own, and Baumeister broke the traditional connection between form and color. Various work groups emerged at this time, including the relief-like wall pictures, and paintings with sports theme (as a symbol for modernity). In his painting, the grappling with shapes and material of the painting as well as the relationship between reality and representation became visible. Parallel to this development, nonrepresentational painting began to gain a foothold in works that centered on geometric shapes and their relationships to one another in the picture (e.g. Planar Relation of 1920). Baumeister’s lively exchange with other German and foreign artists must also be seen as vitally important in the consequent development of his work. Indeed, as it was for many of his fellow artists, posing such questions was part of the agenda of the modern age (for example, El Lissitzky, Kazimir Malevich, Wassily Kandinsky, Fernand Léger, Amédée Ozenfant, Le Corbusier, Paul Klee).

Towards the end of the 1920s, the shapes in Baumeister’s pictures grew softer. His paintings moved away from being oriented by the elementary shapes of the circle, triangle, and square towards organic forms. Although this development could also be observed concurrently in the work of other artists of his time, in Baumeister’s case, it was tied to his fascination for the prehistoric and archaic paintings. Baumeister intensely explored artifacts of early paintings and integrated this pictorial experience into his own painting. He identified the symbols, signs, and figures of cave painting as components of a valid archaic pictorial language that he used in his works. These included his increasing number of paintings in “oil on sand on canvas” that, in their materials, also approached the cave painting that Baumeister so admired (beg. ca. 1933). He himself collected examples of prehistoric findings, small sculptures, and tools, and occupied himself with cliff drawings that had been discovered in Rhodesia. This experience was undoubtedly important for Baumeister’s artistic disposition since he, evidently inspired by this rich store of prehistoric works, ultimately used extraordinarily reduced organic shapes for his “ideograms” (beg. ca. 1937). In these works he used a unique world of signs, which he saw as symbols for the laws of nature, their evolution, and human existence.

Baumeister’s artistic development was not interrupted when he lost his professorship at the Städel in Frankfurt in 1933. He continued to paint despite political persecution and economic difficulties. His work and its development are correspondingly diverse, even for the period after 1941, when he was imposed with an exhibition prohibition. While on the one hand his employment at the Dr. Kurt Herberts & Co. varnish factory in Wuppertal to research antique and modern painting techniques protected him politically, it also on the other hand gave him the opportunity to explore the fundamentals of painting, so that he could further his knowledge on the prehistoric cave painting techniques. At the same time, he tuned to Goethe’s theory of plant morphology. Out of this study the “eidos pictures” (eidos: idea) emerged: paintings that, unlike Baumeister’s ideograms, are rich in their variety and coloration. Moreover, the forms are organic, but seem to be less of symbols or signs, than images of simple plantlike and animal life forms. The pictures bear titles such as Rock Garden, Eidos, or Primordial Vegetable.

As an indefatigable researcher and collector, Baumeister also owned examples of African sculpture, in which he, as in the case of the prehistorical artifacts, saw universal images for life, development, and human existence. Correspondingly, their formal language entered Baumeister’s work in the early 1940s—highly abstracted, at first chromatically restrained (African Tale, 1942), and with time, became increasingly colorful and in part very complex in their formal design (Owambo 1944–1948). Both the titles and formal language reveal Baumeister’s preoccupation with other old (Latin American) cultures (Peruvian Wall, 1946, and Aztec Couple, 1948).

Another example of his search for the “foundations of art” is Baumeister’s transposition of the Gilgamesh Epic, one of the oldest surviving literary works. Therefore, Baumeister used his personal pictorial and sign language in his illustration of the narrative (beg. 1943), which resulted in an astonishingly unified cycle, which with his pictorial language came strikingly close to depicting the literary and linguistic effects(impression) of the epic. He also produced illustrations to texts from the Bible—Saul, Esther, Salome—as well as to William Shakespeare’s The Tempest.

In this way, Baumeister single-mindedly and successfully developed a very personal and impressive visual language that was and still is unique in the German art immediately after 1945. The national and international recognition that Willi Baumeister received in the postwar period was correspondingly high. But his artistic development did not stop there. On the one hand, he developed his painting further in a virtuosic manner and, what is more, combined the variety of his formation phases in many other pictures—in part into “overalls structures” that nonetheless still possessed a fundamental that was reminiscent of landscape imageries (Blue Movement, 1950). On the other hand, Baumeister also produced densely packed abstractions that, proceeding from a central form, characterized him as an outstanding “nonrepresentationalist.” These paintings became quite possibly the most famous of his works, and were immediately associated by a broad public with Baumeister (e.g. ARU 2, 1955). Even so, Baumeister did not limit himself to this late “trademark.” Multiform and multicoloured pictures emerged as well in the year of his death.”

quoted from: https://en.wikipedia.org/wiki/Willi_Baumeister

What a brilliant inspiration Baumeister is… and how grateful I am to both read and see with such ease the paths trodden down so well…!!!  As said, I haven’t yet read his “The Unknown in Art” but it is on my reading list, which, as ever is extremely long!!!!!  I do have some German blood in me…my mother was German-Swiss (Eleanor Rosa Eicher) ( or “Norli Rosa Eicher…informally called!).  My mother’s father is recorded as “unknown” (which is very annoying, as it would be nice to try and trace my ancestory!)  and I have little information available to me now, about him, apart from a photo of her standing at a grave (which I imagine must be her father’s, as she has drew a big question mark on it!!!  I went to Basel as a child, just once, to visit my Granny Josephina Bohlmer (I imagine that my mother’s mother must have remarried and therefore taken the surname Bohlmer??? Or that my mother had taken her Father’s name Eicher, and therefore he was not as unknown as suggested in her marriage documents??? But this is forever going to remain unknown, for me…So more unknown material, also remaining….  (How I just wish I had spoken more to both my parents when they were alive!)  However, I am sure, my parents being who they were, that there would be a lot unsaid that would be unsaid even if I did ask about it!

I have photographs.. including of my great grandmother, who was located in the black forest area of Germany…and that, is pretty much where I need to leave it I think!  To leave it with a felt affinity with several German artists, will probably serve me as well as any other knowledge, and maybe better!  However, worth a mention in reference to my paintings, I see now, is the impression of visiting the Glacier Garden in Lucerne, during that childhood visit to Switzerland (Basel…to see Granny, and to Lucerne, to visit my Uncle Herman, who was a very well renowned chef, and my Auntie, who I think was called Marie:

http://www.gletschergarten.ch/Glacial-potholes.11.0.html?&L=2

Seeing the glacial potholes had a HUGE impression on me… I can remember it so well, and I am quite sure that this experience is seeping into my interests right now with, well, basically rock and water!….  The solid like areas in my paintings, related to my own life/experience, are metaphors for rock and the rest increasingly resonates of water/fluidity of various kinds, emotional as well as physical.

“These impressive potholes were formed at the bottom of the glacier by the sheer force of the water. As is still the case in alpine glaciers today, the melt water initially flowed on the surface of the ice before seeping into the glacier through fissures. At the bottom of the glacier the water was under tremendous pressure. As the flow of water gathered speed, vortices with speeds of up to 200 km/h began to form. Within a few years, potholes had been eroded out of the rock. Most of the erosion was created by sand and gravel that was transported with the cloudy melt-water.”

 

I also remember a very exciting trip up Mount Pilatus,  and a boat ride on the Lake.  It was a completely “out of the world” or the usual world, at least, experience for me, and so I am not surprised that it has such a lasting impression!

 

Afterthoughts…. 

There are plenty of reasons to look back,  and with the wonders of digital image manipulation software, I can play with past paintings in a way that previous generations of artists have not had at their disposal.  While I don’t see my experiments with past paintings combined with digital image manipulation as works in their own right, they are, however valuable “Afterthoughts” and I have taken to calling them that.  For they must have some kind of name, even though they don’t express anything different from the paintings which brought them into being.   To take some sections, to make alterations…Sometimes something new, in it’s own right, does emerge, and it will be named accordingly, because I discovered something within it.   In the end, my main objective is to experiment, and so, this is just another way to do so.   In the process of re-examining the painting, it’s surface, and the colours, I am also currently informing the original paintings which I carry out.  So it is “win win”.

Working on some smaller works… prints… very colourist/expressionist/textural… An interesting development for me…

christian faith painting jenny meehan, abstract expressionist, textural colourful  god  divine religion religious abstract painting,jamartlondon,lyrical abstraction,father son holy spirit,blessing painting,contemplative spirituality,christian mysticism,art to license,book covers christian books,visual art to license,modern contemporary uk british artist,colourist,book cover images,digital images to license;

jenny meehan textural colourful abstract painting afterthoughts into the ocean deep series

© Jenny Meehan. All Rights Reserved, DACS  To license this  work contact jenny via her website www.jamartlondon.com

Afterthoughts Prints...Into the Ocean Deep Series   textural expressionistic abstract painting print lyrical abstraction Christian spirituality theme of water christian faith painting jenny meehan, abstract expressionist, textural colourful  god  divine religion religious abstract painting,jamartlondon,lyrical abstraction,father son holy spirit,blessing painting,contemplative spirituality,christian mysticism,art to license,book covers christian books,visual art to license,modern contemporary uk british artist,colourist,book cover images,digital images to license;

jenny meehan textural colourful abstract painting afterthoughts

 

© Jenny Meehan. All Rights Reserved, DACS To license this work contact jenny via her website www.jamartlondon.com

 

Afterthoughts Prints...Into the Ocean Deep Series   textural expressionistic abstract painting print lyrical abstraction Christian spirituality theme of water christian faith painting jenny meehan, abstract expressionist, textural colourful  god  divine religion religious abstract painting,jamartlondon,lyrical abstraction,father son holy spirit,blessing painting,contemplative spirituality,christian mysticism,art to license,book covers christian books,visual art to license,modern contemporary uk british artist,colourist,book cover images,digital images to license; inner life spiritual development,faith focused,subconscious depth,

jenny meehan textural colourful abstract painting afterthoughts

© Jenny Meehan. All Rights Reserved, DACS To license this work contact jenny via her website www.jamartlondon.com

 

 

Afterthoughts Prints...Into the Ocean Deep Series   textural expressionistic abstract painting print lyrical abstraction Christian spirituality theme of water christian faith painting jenny meehan, abstract expressionist, textural colourful  god  divine religion religious abstract painting,jamartlondon,lyrical abstraction,father son holy spirit,blessing painting,contemplative spirituality,christian mysticism,art to license,book covers christian books,visual art to license,modern contemporary uk british artist,colourist,book cover images,digital images to license; book cover images christian themes

jenny meehan textural colourful abstract painting afterthoughts

 

© Jenny Meehan. All Rights Reserved, DACS To license this work contact jenny via her website www.jamartlondon.com

Afterthoughts Prints...Into the Ocean Deep Series   textural expressionistic abstract painting print lyrical abstraction Christian spirituality theme of water christian faith painting jenny meehan, abstract expressionist, textural colourful  god  divine religion religious abstract painting,jamartlondon,lyrical abstraction,father son holy spirit,blessing painting,contemplative spirituality,christian mysticism,art to license,book covers christian books,visual art to license,modern contemporary uk british artist,colourist,book cover images,digital images to license;

jenny meehan textural colourful abstract painting afterthoughts

 

© Jenny Meehan. All Rights Reserved, DACS To license this work contact jenny via her website www.jamartlondon.com

I might well title them in the future, but often ideas take time to emerge, and I don’t push it.

 

A Letter in Mind is running again this year.  

I was very pleased that my work was purchased last year….So good to know it did some worthwhile good, as well as being what it was.  I am entering again this year, and hopefully the work will also come to good use!

http://www.aplaceforcreation.com/a-letter-in-mind/#!

 

“Pushing the Boat out into the Sun”

 fine painting using silica sol mineral paints (soldalit) Keim Soldalit  silica sol mineral paint soldalit, pushing the boat out into the sun by jenny meehan© Jenny Meehan. All Rights Reserved, DACS

© Jenny Meehan. All Rights Reserved, DACS

 

“Pushing the Boat out into the Sun” is painted with Silica Sol Mineral Paint (Keim Soldalit, to be exact) on primed board.  It works well… reflects light beautifully.    The style of my painting varies according to medium… this is only right and fitting, and I like what happens with the mineral paints.  I love the metal oxide colours which are needful with working with this type of very alkaline paint.  I love mixing the pigments into the paint, which is very creamy and highly light reflective. And this one certainly has a German Expressionist flavour to it!!!(I suspect when I revisit representational painting more in the future, that this painting might well indicate the type of approach and style I take!)    It brings memories of the mural I produced several years ago.  See here for a You Tube video of the process I used.  Gosh, that was a while back.  It was great to work on a larger scale, and lovely working outside.

https://www.youtube.com/watch?v=Je8SouQNIs0

The design for this was more planned in advance than my current methods of painting, but that was a necessity…I couldn’t afford to waste paint or time…

school playground mural painted with silicate mineral paints  Beeck and also Keim Soldalit, silica sol  jenny meehan project led, jamartlondon.

school playground mural painted with silicate mineral paints (Beeck and also Keim Soldalit, silica sol )

John T Freeman led some excellent cartooning workshops, and then transferred (exactly as the children had drawn them) the figures onto the mural, deciding on a pleasing placement.   The underlying Mondrian-ish style design was created by me, and the children helped me with a lot of the painting.

jenny meehan jamartlondon,school mural silicate mineral painting,trafalgar junior school twickenham playground mural project.

Children at Trafalgar Junior School working very hard on the bridging primer application for the mural!

 

That was a few years back,  2011!    I haven’t done a mural since, but that’s simply just the way it goes.  I was very pleased with the result and it still looks great.  It’s pretty hard to get one’s head around working with such a different type of paint, but I learnt a lot.  Now I continue using Keim Soldalit and Keim Optil on smaller scale paintings… mixing into them the slaked pigments, and continuing the journey I started all those years ago.

Photobox Gallery for Poster Prints by Jenny Meehan 

It is rather a slow process, but I am planning to put up more imagery on my Photobox Gallery.  For now, take a look at some of what is already there:

http://www.photoboxgallery.com/gallery/collection?album_id=94169746

Festival surface pattern design by uk fine artist designer,colourful multicoloured surface pattern striped design,

Festival surface pattern design by uk fine artist designer jenny meehan© Jenny Meehan. All Rights Reserved, DACS To license this work contact jenny via her website http://www.jamartlondon.com

To buy a “Festival Pattern Print”  from the Jenny Meehan Photobox Gallery.  This is a poster print, and is ordered directly through Photoboxgallery,  and therefore is unsigned.   © Jenny Meehan. All Rights Reserved  2009.  This “Festival” design was one of my earliest experiments with surface pattern design and I had it printed on a nice tablecloth which I still have.  It is certainly eye catching!.  It’s washed well too.  It was a dye sublimation print on poly cotton.  Looks as good as the day it was printed.

Gosh, my output is very eclectic….However it works in generating new ideas and I am never, ever bored or uninspired!

 

Sorting Out and Looking Back

Never under rate time spent reviewing past work.  I have been sorting through some drawers and boxes and finding all kinds of things which have been “in process” for some considerable time!   I take some encouragement from finding things which still interest me, and let them influence me afresh, making suggestions into what I am working on at the present time.  It’s great fun.

 

block peace mono type jenny meehan blue printing, print making, mono print, blue, pink, markmaking jenny meehan all rights reserved DACS

Block Peace Mono type jenny meehan

 

This piece has already influenced several of the textural acrylic works I am in the midst of, so “thank you very much…my long lost monoprint”.

 

 

 

 

 

Surrey Artists’ Open Studios June 2015.

This was my first time being part of the Surrey Artists’ Open Studios and I enjoyed it very much indeed.  Here are some images of the work I had on show, plus some from the Cass Art “Selfies” Exhibition too:

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

jenny meehan kingston artists open studios events

 

Thoughts on the Open Studios… 

Well,  it was lovely in lots of ways.. I like meeting people and talking about my work, so there was a lot of pleasure there.  I was disappointed that I did not sell one of the paintings… £250 isn’t bad at all for a large painting, and they take a long time to paint… However, I guess one needs the wall space and also an interest in abstraction, plus the ability to engage with abstract painting, which not everyone has.    I sold one print for £20 and that was it…however, I was very pleased about the sale because the person who brought it was taking in the work in a very appreciative way, which is a great pleasure to me.

However, one print isn’t enough to even cover the costs of taking part…I needed to join Surrey Artists’ Open Studios for the year and then also pay to take part in the event on top… I don’t like the idea of paying to simply show what I do, as I have often  said before.  But it seems this is the norm…    On a more positive note, it was wonderful to spend time with some of the other ladies from KAOS!   That was brilliant, and the investment of time, at least was certainly worth it.  I am just not so sure about the money aspect!

I do plan to take part next year, and I will prepare some smaller work on paper, around the £20, £30, £40 £50  mark… these may have more chance of being brought.   My hopes for a collector of fine paintings who didn’t mind investing in one of mine did not materialise.  It has happened before, but it seems that it was not to happen this year.  My disappointment has had a good effect though.  After the initial slough of despond, I have been painting away today (16th June) in the Sun, and have hurled myself full swing into painting as I do…  without much reservation, well, at least at this early stage in the process.  Later come painstaking meditation and contemplation, reflection and consideration…it is very slow in the latter stages, very slow indeed.

The problem with abstraction is that it is very hard for the general public to appreciate the skill which goes into it, whereas when they see a horse which looks like a horse, they are bowled over with admiration.  I realise I just need to accept this, but it can be hard to stomach at times.    I have thought of a few ways that I can continue with my painting and yet still produce little novelties for those that need to see something and know what it is, without needing to invest my time too much in that direction.   I do appreciate that there is a huge need for security when looking at art, that means that a lot of head-knowing, and object recognition needs to take place.  I myself love looking at pictures…indeed, my favourite kind of pictures to look at are miniatures… which may be rather surprising…  One of my favourite occupations which I do from time to time is to pop into Llewllyn Alexander (Fine Paintings) near Waterloo Station.

The Not the Royal Academy Exhibition is on at the moment.     I had something in that a couple of years back, but  my work is too abstract right now…  Again, I would need to make it a little project to paint a few more representational pieces I think if I want to do that again.

LLEWELLYN ALEXANDER (Fine Paintings) LTD
London Gallery Selling Original Paintings in Oil, Watercolour and Pastel by Living ArtistsGallery Open 10am – 7.30pm Tuesday – Saturday inclusive:
124 -126 The Cut, Waterloo, London SE1 8LN UK
(Opposite the Old Vic Theatre)
Tel: 0207 620 1322/1324 Fax: 0207 928 9469

 

Photobox Gallery 

 

http://www.photoboxgallery.com/gallery/collection?album_id=404896014

To buy a “Bruised Reed” poster print, directly from the facility on Photoboxgallery.  This digital artwork..© Jenny Meehan. All Rights Reserved  2008

 

Photography

 

As I have rather a lot of photography in my archives, and I find it helpful to dig it  up from time to time to remember what inspired me enough to take a photograph in the first place, here are some more images from the archives!  A very suitable start, I think, therefore with this rusted old spade!

rusty spade with leaves in the woods mono image jenny meehan all rights reserved DACS,jamartlondon british female contemporary fine artist surrey south west london,

jenny meehan jamartlondon photography

© Jenny Meehan. All Rights Reserved, DACS

temperate house kew gardens structure building,painted metal image with plants, jenny meehan fine art photography,fine artist female contemporary,monochrome image

jenny meehan jamartlondon photography metal structure  in the temperate house at Kew Gardens

© Jenny Meehan. All Rights Reserved, DACS

 

jenny meehan jamartlondon photography monochrome, mini revolution wheel, polished chrome mini part,shiny metal car part,

jenny meehan jamartlondon photography monochrome

© Jenny Meehan. All Rights Reserved, DACS

 

While I don’t focus on photography in the way that I used to, it’s still an important part of my work and I often draw on past imagery to inform what I do in the present.    I often say that my abstract work is not really  “abstract”…I don’t think such a thing exists… it may be mostly non-objective, but the reality is that it is informed by all my looking, thinking and being, and therefore does have subject matter, even though it is not clear what that is, in an exact way.  My eye is informed by all it sees, and any painting I paint, even if no subject is clear, comes from the world and from natural and man made forms, which have impressed themselves into my subconscious, leaving impressions which are deep and often drawn upon to influence any artistic activities I do.  Looking at these images here, reminds me of some of the visual matter which has impressed me.  The interest in surfaces of all kinds, metal (which as a material, has always held a strong interest) and naturally occurring textures and patterns, plus the extensive experimentation with composition which always becomes a necessary part of picture taking/making,  resound through the images of my past art working endeavours, and remind me  not just of where I was, but where my present interests and occupations come from.  The past is very important indeed in art.  I don’t think we pay enough attention to it.  The novelty factor is very transient.  (Though fun to have…of course).

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 from DACS…They simply have a very limited sample selection of work in their “Artimage” page!) If you use their online form and attach the low resolution image of my artwork which you have found on the internet, they will know which image you seek permission for.

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, 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.

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.

 

 

Fifty Names for Jesus

May 30, 2015

As always, skim down and stop when your interest is caught!  Too lengthy for a “blog”  this is rather more a journal, and I post once a month only, so end up squishing too much together!  If you are wanting just a quick look over some images, it’s easy to scroll down.  The wonders of mobile phones!

I have sown various seeds in the garden, and the snails are eating the little shoots as they shoot!

But I like snails…

I don’t like slug pellets and I don’t use them.

Hopefully something will survive!

Sunflowers

Well, it’s not quite the sunflower stage of the year, but oh how generous is the bloom and how strong the stalk of the sunflower, and how it lifts my spirit to even think of a sunflower. I love the motif of a sunflower, and use it in a lot of my painting and drawing.

Here are some of my sunflower explorations:

 

sunflower digital image by jenny meehan jamartlondon  colourful flowerhead

sunflower digital image by jenny meehan jamartlondon colourful flowerhead

 

 

sunflower digital image by jenny meehan jamartlondon  colourful flowerhead yellow  art to license uk

sunflower digital image by jenny meehan jamartlondon colourful flowerhead

 

art to license uk sunflower digital image by jenny meehan jamartlondon  colourful flowerhead

sunflower digital image by jenny meehan jamartlondon colourful flowerhead

 

 

The Sunflower image below is one I have used for several experiments, including using the sunflower for a surface pattern design.  Nothing very clever, but sometimes the simple things can be most effective, and it is rather exciting to see more of something that you like splattered all over an item of some kind!  I love creating patterns with various adaptations of my paintings and photographs.  There’s something very satisfying about bringing a strong pattern into play…While my painting with it’s rich colours and textures, the interplay between the two, and the subtle nuances of light and surface, which take me into the realm of the unknown and the unpredictable, there is something very reassuring to be found in a repetitive pattern! It’s a completely different experience, but very enjoyable.  I am hoping that in time, more of my art work will be licensed, because I like to see it used.

 

sunflower digital image by jenny meehan jamartlondon  colourful flowerhead

sunflower digital image by jenny meehan jamartlondon colourful flowerhead

 

 

I have posted some products with this “Sunflower” Design on Redbubble, here is one, so take a peek:

http://www.redbubble.com/people/jennyjimjams/works/13937496-sunflower-surface-pattern-design-by-jenny-meehan?grid_pos=53&p=iphone-case

Looking at this page, I think if you go to the portfolio link, you will then arrive at my main Jenny Meehan Redbubble Page and if you click on the Sunflower image you will see all the other products which can be purchased via Redbubble with this Sunflower design on them!

http://www.redbubble.com/people/jennyjimjams/portfolio?ref=breadcrumb

The sunflower as a symbol has often been used to represent the unwavering faith that guides a soul to higher spiritual attainment, though what the sunflower symbolises is different depending on which culture you are looking at.  However, I rather like the faith version!  Sunflowers have been in existence since ancient times .A carbon dating was done to some clay found in  North America, which seemed to have some kind of seeds in it, and the dating showed both that the seeds were sunflower seeds, and also that they dated back to a period of time approximately  3,000 years ago.

The shape of the sunflower—the large disk in the centre and the ray-like petals emanating from it—resembles the sun. The florets in the centre of the sunflower,  that later become seeds, are arranged in a complex pattern of left and right spirals and are placed according to the Fibonocci mathematical formula.  The resulting pattern is not only beautiful, but it is practical too, being the most compact way that the florets can be fitted. It is just one of the many marvellous details in nature that point to the goodness and wisdom of God.  Though you cannot see the seed pattern in this design, I hope that the bright, fresh, boldness of the design will strike you with its flash of uncompromising yellow.

The  flowering time for sunflowers is from around May to October,  so some of them do flower much earlier than I have in my mind…They always make me think of the late Summer.  Another name for sunflower is Helianthus, and in the Greek, the meaning of “helios” is sun and “anthos” means flower.  The way that the Sunflower faces the direction of the sun is something that a lot of flowers do, but I guess because it is rather a big flower, we notice this fact about it more vividly.

I have a drawing here, which I have called “Sunflower and Rose Bowl”

sunflower and rose bowl drawing jenny meehan graphite on cartridge paper

sunflower and rose bowl drawing jenny meehan

 

This drawing was one of the results of a spontaneous quick drawing session.  I armed myself with a large pile of paper and drew quickly and without any preconceived ideas about subject matter.  I was interested to see what would come from my subconscious.  What did come were several landscapes, loose and flowing, which I will share another time.  But “Sunflower and Rose Bowl” was the one which interested me most.   There are rays of light indicated as coming from the left of the drawing.  The Sunflower springs up from a distant point far below and it’s centre echoes some random, rather creative,  patterns at the top right of the drawing.  Below the Sunflower is a bowl which contains just one empty and thin stalk, and that alone.  To my thinking the drawing shows a contrast between life, and the life force, like powerful light pushing upwards and radiating outwards, and, in contrast, the grid like pattern of the wires on the restrictive rose bowl, holding that one thin and flowerless stalk,which  though more dimensional, is more static and less promising.  I wondered at one point if the sunflower was foolishly looking at the rose bowl and wishing to be contained, but finding itself too big and not in fitting with the rose bowl.  Why is it looking there?  Is the ordered pattern of the grid an alternative to the free flowing patterns within its own seed head? Is there a wish for order, in the chaos of creativity?  Possible.  Certainly, there is a need for containment, for my self, which I do feel quite acutely at times.  So it could be the wishful thinking of a sun loving flower!

 Nice Quote from William Blake, which is rather relating to the Sunflower and Rose Bowl

“Shall painting be confined to the sordid drudgery of facsimile representations of merely mortal and perishing substances and not be, as poetry and music are, elevated to its own proper sphere of invention and visionary conception? No, it shall not be so! Painting, as well as poetry and music, exists and exults in immortal thoughts.” William Blake

Yes, indeed, and yet, as high as it goes, like the Sunflower, still looking down to the sordid drudgery!  (I personally feel that in the routine and everyday, much rooting and grounding takes place, needful for even the most aspiring Sunflowers!)

 

Fifty Names for Jesus

This is based on an exercise that my spiritual guide on a recent (February 2015)  retreat gave me.   It comes under the heading of “A Thousand Names for God”, but that is rather a lot.  So, bearing in mind “Fifty Shades of Grey”…But, I hasten to add, having nothing to do with it!, here is my “Fifty Names for Jesus”  (there ended up more than fifty in the end)

Passion flower,
Silver Snail Trail,
Sunlight Falling, Moonlight rising,
Sound of footsteps…Coming…

Breeze of moving.

Wonder in a child’s eyes,
rustle of leaves and falling snow.
Smile of God,
Laughter of God,
Tears of God,
Sorrow of God.

Stray Note.

Sound in Silence, Silence in Sound.

Generous hearted.

Concerned one,
Compassionate one,
Flamboyant one,
Sense of humour one,
Contented one.
Holy One, Holy Two, Holy Three…

Further than far, nearer than near.

Companion Jesus,
Leader Jesus,
Surgeon Jesus.
Maybe, mother Jesus.  Maybe mother Jesus?
Therapist Jesus
Teacher Jesus,
Dancer Jesus.  Leaper, Prancer Jesus!
Pigeon Jesus and Rock Dove Jesus…(Because the same, but not in name)

Moon and Sun Jesus,

Ultimate Christmas Jumper Jesus,
Healing Jesus,
Kind Jesus.

Perceptive Jesus,
Searching Jesus,
Knowing Jesus,
Discerning Jesus.

Suffering Jesus
Bright Star Jesus.
Ultimate Vision Glasses Jesus.
Tender Jesus, Loving Jesus
Listener Jesus.
Listen Jesus.

Listen, Jesus.

 

It was very enjoyable to do this!

 

 

The Studio Tent

Jenny Meehan's Studio Tent for Painting

Jenny Meehan’s Studio Tent for Painting

Oh, it’s just great to have the Studio Tent!  The image up here is a bit out of date…It’s in action now, and I use it just for painting in acrylics, and drinking tea and praying in!  The sound of the birds is lovely, and the flapping sides of the tent as the wind blows is pretty relaxing too.  It’s great to have all the acrylics, pigments, glass beads and fillers, inks, and all the rest all together under one roof, even if it is a tarpaulin roof!  Though not a mobile studio, as Emily Carr’s “Elephant” caravan was, I know I am going to get some interesting painting done within it’s confines!  I will post a more up to date image soon.  One side of it has become a palette of sorts. Well, not for mixing, but just some examples of the contents of some of the containers, so jolly useful to have up there on the wall.

The kitchen/studio is better for oil painting because I cannot store all my paints in one place as I have too many, so I will keep the kitchen table for painting oils I think.  Flitting back to Emily Carr, what a wonderful exhibition at the Dulwich Picture Gallery that was earlier on this year, and what an interesting lady! I found this:

She experienced everything with uncommon intensity, a factor which fuelled her frenzied periods of enormous output, yet contributed to her self-doubt which led to a lengthy and marked slowdown–some would call it a regenerative hiatus–in her painting. Nevertheless, she pulled herself up out of depression, came to ignore public disregard, surrounded herself with pets, sang hymns to her half-finished paintings out in the forest, and, at fifty-seven, won her way to her most productive and original period of painting, producing the works for which she is most known. And always, always, she was seeking.

Carr looked for answers to questions of life, soul and God from many sources–the Bible, despite her early intolerance of scripture readings being forced upon her in a pious household; the essays of Ralph Waldo Emerson, particularly striving to emulate his thoughts in “Self Reliance;” the poetry of Walt Whitman in Leaves of Grass, which encouraged her to see a universal God in all life; works of Theosophy and Buddhism, as introduced to her by the painter Lawren Harris of the Group of Seven, though she ultimately rejected them as too abstract in not incorporating God and Christ; Science and Health with Key to the Scriptures, the textbook of Christian Science, by Mary Baker Eddy; and the teachings of Raja Singh. All of these sources, together with what she observed from Native cultures, combined to help her define her own personal spiritual foundation which served as the basis for her mature work, and as the source of her strength.”

I THINK this quote is the writing of Susan Vreeland, but I am not quite sure, as it appears on the net on several blogs, but I am doing my best here to credit it.   Here is the site link: http://www.svreeland.com/  and see here:  http://www.svreeland.com/real-ec.html  This is just a small snippet of some very interesting reading, and it is well worth a look at the rest of what Susan Vreeland has written about Emily Carr.

I am rather encouraged that it was at fifty-seven Emily Carr experienced her most productive and original period of painting!  I have time!!!  And, yes, we must always be seeking.. Seeing and seeking!   I do think that to have a personal spiritual foundation IS indeed very helpful, and certainly a source of strength.  Many creative s and artists find this, and benefit from the continual refreshment and focus that a spiritual direction offers them. Well, one thing is for sure, all the encouragement you can get is needed in order to carry on.

 

Advance Notice:

This year you can meet me and some of my fellow artists from Kingston Artists’ Open Studios… Studio KAOS 2, at 14, Liverpool Road, Kingston Upon Thames Surrey KT2 7SZ on the following weekends: Saturday 6th and Sunday 7th June and Saturday 13th and Sunday 14th June from 11am until 5pm. This is within walking distance of Kingston Town Centre, and also near Richmond Park. Come along! If you have time, follow the whole Kingston Artists’ Open Studios trail.

Kingston Artists’ Open Studios is a voluntary group of artists, and there are many studios open in and around Kingston Upon Thames… A whole trail! The Open Studios event is part of the bigger Surrey Artists Open Studios network event.

I cannot decide what to bring along to this.  I was going to bring some drawings, but I think I might just stick with some paintings and some prints.  I haven’t done the Surrey Artists’ Open Studios before, so I am looking forward to taking part.  You need to join Surrey Artists Open Studios first, and then pay more to take part in the event itself, so I certainly hope I do sell some things in order to recoup the costs!  I will probably bring along just acrylic paintings, as my oil painting style is quite different to the work I produce when using acrylics and it will all be placed pretty close together.  And some digital prints.  Take a look at my website for a taster:

www.jamartlondon.com 

Silence in the City 

Here is some information from the Silence in the City website:

About Silence in the City
This series of talks on silent prayer and the Christian contemplative life has been running since 2007 in London’s Westminster Cathedral Hall. We invite a range of speakers, each of whom is committed to the contemplative life; each meeting includes one or more talks, and at least one period devoted to silent prayer.

The speakers are invited to concentrate on the value of silence and the possibilities of silent prayer, but they are also encouraged to discuss any or all of the other monastic values of solitude, simplicity and contemplative service. The series is ecumenical in nature; we may in due course include representatives of other faiths.

Silence in the City is organised by lay members of the World Community for Christian Meditation and Contemplative Outreach. Our inspiration is the practice of silent prayer itself, and while we hope that this series of talks will continue, its real success will be measured by individuals’ discovery of a method of silent prayer that is right for them.

See the website here: http://www.silenceinthecity.org.uk/index.html

I’m looking forward to two forthcoming events:

Wednesday, 17 June 2015 (10a.m.- 4 p.m.)

James Finley PhD: Transforming Trauma: Exploring the Healing Power of Spirituality (A one day healing retreat)

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.

The Seven Steps of Spiritual Healing Explored in the Retreat Are:

Be grounded in your experience of who you are as a human being in relationship with others. Take responsibility for the healing that needs to occur there.
Have faith in the subtle flashes of spiritual awakening that occur each day. Trust these moments reveal that although you are ego, you are not just ego. You are a spiritual being created in the image and likeness of God who is spirit.
Realize that the root of suffering is estrangement from spiritual experience. The root of happiness is spiritual experience.
Follow the mystics on the path of prayer and meditation that heals the root of suffering in its origin.
Follow the path of the saints in compassionate love that heals the suffering that has found its way into our minds and hearts (facing and working through bodily and psychological suffering in a spiritually grounded way).
Learn to live in the axial moment that transcends suffering in the midst of suffering, that transcends death in the midst of death.
Devote yourself in prayer, meditation and compassionate love to the lifelong process of learning to be a healing presence in the midst of the world. Be resolved to continue living in this way until the last traces of suffering dissolve in love and only love is left.
Venue: Westminster Cathedral Hall, Ambrosden Avenue, London SW1P 0QJ.

Refreshments provided. Suggested donation £20.

Text from the Silence in the City website.

And also, I will be attending:

Wednesday 1 July 2015 (10a.m.-4 p.m.)

Rev Dr Cynthia Bourgeault: Harnessing the Power of Love – Unveiling the New Breed of Trinity (one day seminar)

Venue: Westminster Cathedral Hall, Ambrosden Avenue, London SW1P 0QJ.

Refreshments provided. Suggested donation £20.

Rethinkyourmind 2015

It was lovely last year to have “Well Spring” chosen to be included in the Rethinkyourmind Yellow Book.  Anything positive related to mental health matters a great deal to me.  My mother was seriously mentally ill for the majority of her life, and my sister also.  Though pretty psychologically resilient myself, I do know what it is like to experience  anxiety and depression,  and also what it means to engage in the processes of recovery from  trauma.  It’s hard work; long, often painful, and very challenging.  Without my engagement in psychotherapy, I know that I wouldn’t have  been able to move forward personally myself, at all.  So I am eternally grateful for the place I am in now, and feel passionately that projects like Rethinkyourmind have lasting value and influence, and do make a significant difference to many people.

This year I entered a couple of photographic images in, and was delighted to once more find my art work selected!  The selected photograph was  “I Feel Better When Walking by Trees and Water”  (this also has  it’s previous title which is “High Water Thames”).

Here it is!

jenny meehan copyright DACS all rights reserved highwater, i feel better when walking near trees and water

highwater, i feel better when walking near trees and water

 

A lot of my artwork has more than one title…It is not a matter of changing the title, I find, but of having further thinking time on the work and realising more about the motivations I had,  in slightly more depth.  Normally I find this happens quite naturally over time.  I have always been quite conscious of the correspondence between the patterns of nerves in the brain and the patterns of branches of trees, and when contemplating the scene before taking the photograph, the reflection of the branches in the water spoke an additional  sense of connection (with the water, the life-source) to me which I liked very much, along with the patterning of the branches.  I have discovered through reading an extract from  “Fractal Brains: Fractal Thoughts by David Pincus Ph.D. lots of fascinating things about fractals!  The brain has a fractal organization, as indeed do many natural systems.  A fractal is a branchlike structure, and when you think about natural structures like trees,  rivers, snow-flakes,  the circulatory system, and such like, an awareness of the beauty of fractal organisation is certainly highlighted.  Interestingly, researchers in psychology have been finding many examples of fractal patterns, for example in visual search and speech patterns. They have even found that interpersonal relationships are organised as fractals and that the self-concept is a fractal, with complexity being associated with health.  I found this all wonderful reading:

“Essentially, fractal systems have many opportunities for growth, change and re-organization. Yet they also are very robust. They maintain their coherence; they hold together well, even under tough circumstances. They are balanced in this respect, between order and chaos. They are simple, yet also very complex. This balance is often referred to as “criticality,” thus the title of the article: “Broadband Criticality.” And the term “self-organized” is often added because systems tend to become fractal on their own, simply by putting a lot of system components together and allowing them to exchange information. Think of a party. All you need to do is come up with enough people at the same place and time and they will start to form complex patterns of connection with one another.

Self-organizing critical systems are also very good at connecting, both internally and also to other surrounding systems. The branches of a tree are connected in a very lovely way. If you shake one branch, you’ll see broad shaking across the tree. Fractal structures hang together nicely. Yet they branches may be trimmed without affecting the overall structure. Indeed, if you trim them far enough out (above the growth bud, “post-traumatic growth” or “whatever doesn’t kill you makes you stronger”) they will often grow even stronger, with more complex connections in the outer branches. Finally, branchlike patterns easily connect to other systems – a literal web of life. A tree with many fractal branches (and also roots) can better connect to the sun (and soil) to gather and exchange life sustaining nutrients.”

This is a quote from Fractal Brains: Fractal Thoughts
Our Brains are fractal, with far reaching branches; Post published by David Pincus Ph.D. on Sep 05, 2009 in The Chaotic Life   https://www.psychologytoday.com/blog/the-chaotic-life/200909/fractal-brains-fractal-thoughts

Oh wow, well, I hope that my “post-traumatic growth” serves me well…according this the above I may grow even stronger, with more complex connections in my outer branches!!!!

This posting is very photography orientated!  I am painting, but it is all behind the scenes for now, and a lot of ground laying activity is going on which I don’t intend to post on the internet for some time!  I am a very prolific artist, and quite frankly I cannot keep up with bringing an account of what I am doing all the time as well as doing it.  At the moment I am doing a lot of organising, taking images of paintings for the archive, tidying up the studio tent, preparing work for this years Surrey Artists’ Open Studios Event, and preparing some more canvases for future paintings.  Also, very importantly, as ever constantly reviewing my photography, painting and drawing to see how it can inform me right now.  This is probably the most important task.  I’ve stopped fretting about representation (finally) and have jumped into the realm of colour, texture and form most fully, without angst.  It seems right to loose myself in these eternal layers of colour and texture if that is the way things are going.  I enjoy the occasional bit of drawing here and there.  It won’t disappear!

 

Copyright and Licensing Digital Images Information – Jenny Meehan

www.jamartlondon.com 

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.
Any persons discovered to be reproducing, copying or using images by Jenny Meehan without prior consent, authorisation or permission will be put on notice that Jenny Meehan is the copyright owner and asked to immediately cease and desist the infringing activity. If a satisfactory response and / or compliance is not forthcoming promptly, the matter will be pursued. For clarification of the laws of copyright, please contact the Design and Artists Copyright Society (DACS). http://www.dacs.org.uk

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

Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the “Art image” selection on the Design and Artist Copyright “Art Image” page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)

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 license the artwork image, I then refer you to the Design and Artist Copyright Society to arrange the licensing agreement according to your requirements.

Rich, interesting, lyrical abstraction, full of texture, colour, and variations, emotionally expressive and poetically resonant, my expressive paintings are ideal for book cover design and many other design purposes.  Licenses for digital images suitable for cover-art for books are really easy and quick to organise through DACS.  My artwork is unique and having developed my own direction over the last few years it’s ripe to use. I am relatively prolific, and my main current work centres around painting with a lot of  experimentation with layers of colour and texture, though I have a lot of digital photographic (tending towards pictorialism) imagery too.  

 

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.

Jenny Meehan – General Introduction 

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.

A vocational, rather than a professional artist, I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios. I am currently training with SPIDIR as a spiritual guide/mentor. I am a trained teacher and hold occasional small groups in developing painting and drawing skills, and general visual creative expression.

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

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

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

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 uk british contemporary fine artist uk boarded window photo jenny meehan

boarded window photo jenny meehan

Above “Boarded Window” photograph.  One of the Chessington Series.  copyright Jenny Meehan DACS

Kingston Artists’ Open Studios “Selfie” Exhibition at Cass Arts, Kingston Upon Thames

Another task is the self portrait for the KAOS exhibition at Cass Arts, in Kingston Upon Thames.  (103 Clarence Street, Kingston upon Thames KT1 1NW).  The exhibition will be called ‘Selfie’ and Kaos members  will submit at least one self portrait.  It is planned to hang the exhibition on 3rd June, and Cass Art have kindly offered to sponsor a private view on Thursday 4th June.  This will be the official opening exhibition for this year’s open studios.   I have a few photographic works which I might submit, but the most likely one would probably be “Woman and Home” which was one of three digital art prints which where part of the very excellent ” Speaking Out – Women Healing from the Trauma of Violence” project at the University of Leicester (Dr Nicole Fayard and Stella Couloutbanis).  The “Speaking Out” (2014) project involved an exhibition of painters, printmakers, installation artists, sculptors, writers, photographers, and performers coming together because of their particular interest in gender violence.   “Woman and Home” was one of my submitted images.  It is a self portrait I took by holding a camera above me, as I was sorting through a huge pile of washing.   After manipulating the image I then added a layer of headlines taken from the front cover of the “Woman and Home” magazine.  Here is the text from the catalogue regarding the art work which was included in the exhibition “Speaking Out”:

“Jenny Meehan’s photography provides powerful representations of the psychological damage that can be inflicted on children who witness domestic abuse.  Children acquire their positive sense of self and self-esteem from powerful role models, usually their parents or carers.  Trauma occurs when this relationship is broken.  The traumatised individual will incessantly re-experience the suffering caused by the events that shattered their sense of identity, independence or their trust.  Meehan explores such a mother-daughter connection by keeping both subjects separate but connected by their gaze.  In “Pages in my Story Book, It is Hard to Turn the Page”, eight juxtaposed copies of the same image of the artist’s daughter shot in high angle capture the sense of traumatic repetition that affects the child’s sense of self.  This contrasts with the image of the artist herself in a point of view shot in “Woman and Home”. Whilst both subjects are separated by the angle of the shot and the frame of the photograph, their gaze appears to look in the same direction. “Hide and Peep” shuts us out of the scene and offers the view of an insider – the child – looking out, conveying a sense of entrapment.  This oppressive mood is however contrasted as “Woman and Home” is superimposed with empowering messages.  The camera angle and the dialogue between “you” and “me” in the messages, which appear to reflect the survivor’s stream of consciousness, both act to restore her sense of self.  The sharing of the experience of trauma and empowerment might also provide ways of bringing the disempowered together.  By addressing her work to a wider community (“you”) Meehan implies that it is intended to function as a narrative of empowerment for a community of fellow-sufferers in similar positions.”

There is more text, but as usual, this Jenny Meehan Artist’s Journal is longer than it was ever intended to be, so I will skip the rest! The above text credit is as follows: “Speaking Out” University of Leicester 2014

 

Embrace Arts (University of Leicester Art Centre) Speaking Out: Women Healing from the Trauma of Violence Art Exhibition Following then along the same thread, was a decision to submit some work for the forthcoming Embrace Arts (Universityof Leicester’s arts centre) exhibition 2014 which is titled ‘Speaking Out: Women Healing from the Trauma of Violence’. It’s a collaboration of Embrace Arts and the School of Modern Languages.The exhibition will be at Embrace Arts from Monday 13 January through to Friday 28 March 2014. “The aims of Speaking Out are to promote awareness of the processes of healing from the trauma of violence against women and girls; communicate women’s experiences through contemporary art and from their testimonies; foster a dialogue about the connection between violence and mental health; break the secrecy and silence about the prevalence of abuse against the disabled; inspire confidence by speaking out to empower women and girls.” All really worthwhile stuff. And some more of the blurb: “The artworks that will be on display in Speaking Out will demonstrate that art can educate us about the effects of violence perpetrated against women and girls. The exhibition will foster the engagement of survivors with the processes that can help overcome traumatic experiences, and promote a positive view of women’s forms of resistance and empowerment through art.” Jenny Meehan "Woman and Home" photographic imagery submitted accepted for Leicester university

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

 

I need to add, with respect to the following:  “This oppressive mood is however contrasted as “Woman and Home” is superimposed with empowering messages.  The camera angle and the dialogue between “you” and “me” in the messages, which appear to reflect the survivor’s stream of consciousness, both act to restore her sense of self.”   I liked this reading of the work, and so was happy to accept it for the purposes of the catalogue, which, rightfully, had an emphasis on the positives and recovery, rather than just the damage and negative effects of violence and trauma.    It was a pleasing reading, and I always value and appreciate others perspectives, though, the reality of the matter for me, at the time of making the work, was not optimistic.  I was in a place where I was re-experiencing quite strong bouts of emotional distress/flashbacks with respect to some of my own  past traumatic experiences, and the original image (of 2006, before I re-worked it ) was inspired by childhood experience of domestic  violence:  the power of existing within a schema of subjugation, rather than anything positive.  I was  struggling with  low self esteem also, and the work, from my own perspective, was more to do with feeling trapped by the messages from the media with respect to how I should be…A kind of media oppression!   And of feeling the weight of all that was involved in running a household,  and just about managing to do it while in the slough of despond.  I was feeling completely overwhelmed by media communicated expectations and images of what both a “woman” and a “home” should be.  So it was rather an expression of negative, than a positive, experience.  However,  I chose not to input this material into the catalogue, because, as said,  I didn’t dislike the interpretation.  I have always viewed women’s magazines with a lot of cynicism and not personally found them a source of empowerment…I am sure that they work very differently for many other people though.  And I do believe it is important to acknowledge the positive dimensions of having experienced a lot of suffering in one’s life, and to realise that there are many strengths which can be developed through having experienced extreme adversity.  I found a brilliant book on this, which I reference later on in this post.

 

Healing and Recovering Thoughts…

Even with very helpful experiences of divine healing, thanks to the Holy Spirit, and assisted  by some  influence from John Wimber’s ministry in the eighties,  plus all the other benefits of faith in a Creator God,  since around 2008, the accumulation of unresolved trauma (and lots of damaged ways of operating ) suggested (strongly!) that I seek professional help,  which I did in 2011.  For me personally, psychotherapy and its various approaches have been something which I have (and still find) very complementary to my faith and relations with others and God, and my interest in psychology of many approaches,  frequently brings my way lots of very interesting reading material which I find very useful when I look at my painting and other creative pursuits.  Something I have been reading recently is “The Posttraumatic Self: Restoring Meaning and Wholeness to Personality” Edited by John P Wilson…

“The Posttraumatic Self: Restoring Meaning and Wholeness to Personality” – John P Wilson  Routedge

I have to confess to only having read extracts of it on the internet, as I often do!  I cannot afford to buy all the books I might fancy reading, and I have not enough room to put them in anyway, but I do find my dipping into articles, extracts and papers which are easily found on the internet a great asset to my thinking about things!  I am finding “The Posttraumatic Self: Restoring Meaning and Wholeness to Personality edited by John P. Wilson immensely helpful.  Here is the blurb on it:

“Filling a gap that exists in most traumatology literature, The Posttraumatic Self provides an optimistic analysis of the aftermath of a traumatic event.

This work appreciates the potentially positive effects of trauma and links those effects to the discovery of one’s identity, character, and purpose. Wilson and his distinguished contributors explore the nature and dynamics of the posttraumatic self, emphasising human resilience and prompting continued optimal functioning. While taking into consideration pathological consquences such as posttraumatic stress disorder (PTSD), the authors study the impacts a traumatic event can have on one’s inner self, and they help the victims transform such an event into healthy self-transcendent lifecycles. The Posttraumatic Self will help victims and healers transform the way they deal with the complexities of trauma by making important connections that will allow for healing and growth.”

It is such an excellent book, but even second hand it is quite pricey.  Maybe at Christmas!  (put it on the list!!!)

Trauma certainly is complex, and even more so when you have had lots of it over the years.  I have found reading the parts of this book I have had access to very helpful in balancing out the tendency to be more aware  of the negative impact of having had lots of very traumatic experiences (and the related consequences) than I am (at times) of the positives.  I know the positives are there, and experience them too,  but seeing them outlined has been immensely useful to me.  It’s much more common to be aware of the  pathological consequences as you push on through and forwards in the recovery processes.  It is easy to become discouraged by the physical tension you feel every day,  occasional flashbacks (which always take you by surprise!),  negative expectations, anxieties, etc, even though you know why you have the feelings and expectations you do.  I have come a very long way in the last several years,  and everything is now far more balanced, stable and joyful than it used to be.     I am getting my head around my life, and recovering a sense of meaning which isn’t totally fragmented and broken.  And even, seeing the blessing in it. There is a lot of blessing there for the receiving.   My awareness of my brokenness isn’t a negative.  I have often held onto this. And I have needed to, because I need to accept that I won’t ever recover completely.  Not in the way that you “get over” something.  It is more a matter of acclimatization and adjustment.  Re learning.  Understanding. Getting better at recognising what is happening emotionally and psychologically,  and acting accordingly.  And getting the spiritual sustenance I need.  Which brings me on to this!  …..

Canticle 74 : A Song of Our True Nature (Julian of Norwich)

Christ revealed our frailty and our falling, * our trespasses and our humiliations.

Christ also revealed his blessed power, *

his blessed wisdom and love.

He protects us as tenderly and as sweetly when we are in greatest need; *

he raises us in spirit and turns everything to glory and joy without ending.

God is the ground and the substance, the very essence of nature; *

God is the true father and mother of natures.

We are all bound to God by nature, *

and we are all bound to God by grace.

And this grace is for all the world, *

because it is our precious mother, Christ.

For this fair nature was prepared by Christ

for the honor and nobility of all,

and for the joy and bliss of salvation.

(the little stars are there to indicate that you make a long pause.  This is quite useful, as it stops you reading it aloud too quickly.)

 

I mentioned in a past posting about a very helpful workshop I attended at Mount Street Jesuit Centre,  “Life Before Death” and I was so grateful for this input, as it has been very much in line with my interest in making important connections which will allow for healing and growth.  I have had a chance to review my notes and the material, and while I can offer only a glimmer, putting it here in this Journal is a good way for me to keep a note of it.  I find my paper notes, like my art work, paintings, poems and drawings, tend to float around the house and are very hard to retrieve!  Using this Journal means I have at least one river which flows in a place I can always find it!

Just briefly then,  the day focused on the psychology of flourishing…  Basically, paying attention to “what makes life worth living” and included considerations on analysing what happiness and well-being is.  A recommended read was “Thinking Fast Thinking Slow” by Daniel Kahnemann.  The distinction between the experiencing self and remembering self is something I would like to read more about. (I cannot really give a great account of the content of the day, as so selective is what gets into ones mind and not, but these little scraps will help me!)  Also a couple of books by Martin Seligman will be worth reading, I am sure.   Routes to well being can come through positive emotion, engagement, positive relationships, meaning, and accomplishment, and all these are underpinned by character.

Other notes: (not necessarily particularly accurate…lots of information caught on ear wax on the way in, I think!  )

How important it is to look beyond us, especially the importance of HOPE!!!!!  Pitfalls of the “damage and deficit model of growth”…the idea that if you want to grow and change to be a better person you need to look at what is wrong with you and what you are lacking, and fix it.  The challenge is not solely  to fix and repair, but live with things creatively and work with them.  He wasn’t saying there isn’t a time to sort out mess if people get stuck, and wasn’t anti therapy or anything like that, it was more that it’s really important to look further than just inside ourselves.  (note, in my own reading regarding the pros and cons of psychotherapy, it certainly is a very focused way of working…I rate this and find it very helpful, but like any approach, it does have its pitfalls, and what is it’s strength may also a times be it’s weakness too…)  My notes on Character… Use your strengths to solve problems or to cope with things that cannot be changed.  Build a life around what you are good at.   Point about the way we have ended up with a “victimology”… the character as a moral agent has declined, personal responsibility matters.  Lots of practical ideas to try out, which I won’t go into here, but will try out!  Linked the psychological stuff with growth as a Christian and drew parallels between traditionally recognised virtues and values and positive psychology.

Oh, I cannot do it justice here, but I was most impressed, because I even had some homework to do, which I like immensely!

jenny meehan well spring rethinkyourmind NHS mental health resource art book selected jenny meehan

Well Spring is one of the artworks in the new Rethinkyourmind mental health resource

 

“Well Spring” above is suitable to go with this Journal entry…  It was one of the paintings chosen to be included in last year’s “Rethinkyourmind” Mental Health resource.

A lot of interesting thoughts and ideas regarding Flow.  (Mihaly Csikszentmihalyi) … All good and interesting.    Also, never to be forgotten , the heart.  So much information, great, exciting, super, interesting.  But as well as head, the heart.  Give me grace!

 

Mark Cazalet’s Recent Work

http://www.markcazalet.co.uk/news.html

I love these pastels by Mark Cazalet!

Mark Cazalet was one of several very inspirational teachers who taught me at West Dean College as part of their Short Course Programme, and I am so glad I took these images of students work on the course on colour, all those years ago!

mark cazalet course west dean 2007  students work

mark cazalet course west dean 2007 students work largest image jenny meehan’s painting

mark cazalet course west dean 2007  students work

mark cazalet course west dean 2007 students work early part of course

 

mark cazalet course west dean 2007  students work

mark cazalet course west dean 2007 students work middle part of course

 

mark cazalet course west dean 2007  students work

mark cazalet course west dean 2007 students work final part of course

I hasten to add that no LSD (or any other hallucinogenic drug!)  was given to students as part of the course… The dramatic change in the colours was due to the tremendous confidence and boldness encouraged over  the course, which is testimony to the art of the tutor as much as the students!   It was only a four day course, I think, so a lot happened!

I am recalling this course now I think as I am pretty sure that it was this time of year I took part in it!  Unfortunately I can no longer afford to continue with formal art training,  which is a shame, but I do have many happy memories.   I applied for a residency recently at the London City and Guilds Art School, but didn’t get it.  It was going to be one way of getting into an Art Education Institution, but not successful, sadly.  There is an Artist’s Access Scheme that some Colleges run, so maybe that might be worth looking at in the future.  See:  http://www.aa2a.org/

Well, looking back,   I have just put up one of my drawings which I drew from life during one of my West Dean College stints.

" room for a view" charcoal drawing by jenny meehan jamartlondon.com charcoal drawing landscape west dean college and west dean estate  jenny meehan romantic

” room for a view” charcoal drawing by jenny meehan jamartlondon.com charcoal drawing landscape west dean college and west dean estate jenny meehan romantic

 

This is available currently.  contact me for details via my website www.jamartlondon.com

I look back with fondness on the time when I painted from observation more than I do currently.  However I still draw from observation, in order to keep my eyes keen.  I don’t count out painting from observation, at all, but I have to go with the flow of what I am learning, and trust in the direction I have been carried in through my own process of discovery.  I was saying to someone recently that when I look at nature, I feel it is so wonderful I don’t want to insult the beauty of it by attempting to replicate it in any way.  I think this is why I have immersed myself in abstraction.  I feel that patterns of beauty can still be discovered and experienced but without attempting to copy something already there.  However, I feel that observation is very important indeed, and I spend a lot of time looking, and often drawing from life.  The time I have invested in exploring surfaces and colours, textures and composition, has meant my focus has been  off the external world somewhat.  But though I don’t put it down on paper, I spend a great deal of time looking!

Leatherhead Theatre Flying Colours Exhibition..

Will be hanging this exhibition of fine art prints with Chris Birch on Saturday 2nd May…

We are really grateful to the theatre for hosting the exhibition and hope it brings a lot of pleasure to many!

free art exhibition jenny meehan and chris birch Flying Colours Leatherhead Theatre

free art exhibition jenny meehan and chris birch Flying Colours Leatherhead Theatre

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.

 

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