“Sacred Spaces”  Exhibition Text Done… (Not proof read yet, so apologies for errors!)  

Rather than have the task hang over me over Easter, I have done, but not dusted, the text for the Leatherhead Art Exhibition in May.

Now I can eat my Easter Egg in peace.

Here it is:

“Sacred Spaces” – Exhibition Introduction

Welcome to this exhibition, which we hope you will enjoy.  On show are examples of work from seven members of Kingston Artists’ Open Studios: Chris Birch, Emily Limna, Jenny Meehan,  Richard Tomlin,  Derek Turner,  Hilary Walker, and Jude Wild. The exhibition has been curated by Jenny Meehan.

The exhibition’s focus is on each artist’s “sacred space” in the sense that in creating, responding to the sensations and images around us, processing our thoughts and emotions  and exploring ourselves and  our experiences through the method of making art works we are discovering a means of creating for ourselves a  “sacred space”.

The title of the exhibition “Sacred Spaces” references the inner lives of the artists , the process of creating artworks,  and evidence  expressed  physically  in the artworks themselves.  In our creation we bring body and substance from our own inner contemplation, reflection and response to life and all we experience,  both internal and external.

“The imagination is fundamental to all human activity; indeed, exercising imagination is the creative and critical, intuitive and integrative process central to human becoming.  It gives us the power to remember the past, to shape our desires, and to project possibilities for the future.” Christine Valters Paintner

 We hope that by investing your time in viewing the exhibition, you too will experience some “Sacred Space” of your own.  Please feel free to contact the artists and offer your feedback if you find the experience of looking helpful.  It is always an encouragement!  All the art work is available to buy.  Please use the purchase form in order to reserve a piece.

 

 

“Sacred Spaces”  –  Exhibition Development Discussion  Summary

Responding to an invitation to exhibit with the theme of contemplation, seven artists from Kingston Artists’ Open Studios met together to discuss their submitted art work and discuss their creative practice and process.  The idea of our working space  (both interior and exterior) being a sacred space was discussed in relation to this.

The word “sacred” descends from the Latin “sacrum” of which “sanctum” is related.  We noted that  the “creative zone”  is akin to the idea of a set apart and, in this sense,  holy, space.  It is a place of playful exploration and experimentation, and one which proves both therapeutic and enlightening.

Engagement with the natural environment, music and silence, intra personal intelligence, and relationship and communication with people are important aspects of our lives which feed into our capacity to create art.  Making space for art working  is an investment in ourselves, and is a means of self expression and self realisation, as we bring form to feeling and thought  in a tangible and material way.  

We all found the task of defining our own creative journeys challenging in the light of the huge amount of distractions and the amount of imagery we are bombarded with in today’s current culture. Some of us work with very regular studio times and others in a more piecemeal fashion. By being intentional, and creating space in our lives through the cultivation of our imaginations and our creative impulses, we can meet our need and desire to make space.  In this space, we find it easier to listen to the depths of experience which call us beyond ourselves.  It may be that this is part of a search for  a greater fullness and sense of meaning, regardless of our particular religious beliefs (or not, if none).  We all value feedback on other peoples responses to our work, recognising that what it can mean in the world will vary according to the viewer and context.  

 The above text has been tweaked and improved but I won’t swop it round… it’s pretty much the same!

Rambling Onwards…

Yes, I am still rambling on about Clyde Hopkins paintings, the reason being it is a good discipline for myself to help identify what and why I like something.  Identifying things in other people’s work which you resonate with and taking the time to mull things over is a very important part of an artist’s working processes.  If you like collecting fine art it will also reward you to take the time to do more looking, in depth, at all kinds of art forms. Your time, so invested, will pay you back in the joy of selecting  pieces of art work which will continue to give something meaningful to you very generously  over a long period of time.   If an art collector looks only to money, they are being robbed!

Clyde Hopkins continues…

I like Clyde’s paintings because they have a balance, which I nearly always go for in my own painting, of both structure and a loss of structure.  What do I mean?  I could use the words geometric and lyrical, or maybe geometric and organic would be better?  Not sure. But simply naturally balanced, as we see in nature… This is pleasing to the eye, more than one or the other.  A lily has strong structure, and also soft and gentle undulations.  Beauty has both.  I always fall for beauty.  I am a romantic, expressive, even though it isn’t  very “clever” to be so.   I just love it!  And, as I said in my last post, painting should be pleasing to the eye, as well as challenging and stimulating.

600px_clyde-hopkins-fiveacre-2011

 

Copyright Clyde Hopkins.  Reproduced with the permission of the artist, Clyde Hopkins

Above is is another stunning example,  “Five Acre” and below is “Gastropodus”, 2012  Oil on Linen, 70 x 55cm

With “Five Acre” I am thinking of cracking and breaking up, (sometimes in real life we do a bit!!!)  but balanced with growth potential in those bean-like tree-like shapes.   Old trees and little seeds.  And there is a bit of an aerial view of some fields going on in my imagination, if I need to be literal and start applying the words of the title to my own way of seeing the painting.   Those colours just bring me joy.  That’s a great thing to get from a painting for those in the world that don’t see the point of painting, or at least, don’t value it.  (That’s a little “grump” of mine,  I guess!)

 

Gastropodus Clyde Hopkins

Gastropodus Clyde Hopkins

Gastropodus Clyde Hopkins detail

Gastropodus Clyde Hopkins detail

 

Both images above are copyright Clyde Hopkins.  Permission was granted from the artist Clyde Hopkins for the use of this image.

I am very pleased to have an image of the detail.  It shows you how that mesh of friendly edged dots is made.   It does irritate the eyes I think, but I don’t use the word “irritate” in a negative sense.  It is maybe more in that the brokenness draws attention to the unbroken areas of colour.  It’s the same material; paint. Of course it is!  But takes on a completely different nature from the flowing substance which floods into the other painted areas.  I like the contrast very much.  Note to self:  Experiment with perceived textures!

Thinking: Water.  Solids.  Flux and Stasis.

“Stasis”  “A state of stability, in which all forces are equal and opposing, therefore they cancel out each other”

But we can experience stasis without the cancellation.  It’s all there, thankfully.

I have a bit of a “thing” in my own painting with rocks and water.  Maybe it’s a similar kind of interest?

It’s an interesting area there on the lower left.  Maybe a kind of assertive, “I can do what I want”  or maybe an earlier state in the process which is allowed to be?  It’s less formalised, but has enough in common to not look out of place, though it is different.

Flicking From One Painting to Another…

I am always flicking from one thing to another… Sometimes  when I am talking, I have to make myself remember I have this bad habit!  Writing, I have just warned you of it!

I am finding myself remembering some paintings by Willi Baumeister which |I looked at years ago and found most significant and helped me to think about a change in direction in my own painting from realist and very tied to the external environment to the more symbolic and internal.

Here is some information from the useful wikipedia:

“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.”

A good link here also:  http://www.archiv-baumeister.org/index.php?getlang=en&menuid=66&reporeid=383&template=

There’s lots more of interest to be found regarding Wili Baumeister on Wikipedia,  but I l hone in on this as I mentally relate the memory of Bluxao V  to those of Clyde Hopkin’s paintings I have come across recently.  I can also, and indeed to some of my own painting experiments.   Many of my hidden  paintings which I have never shown publicly or on the internet,  are very bare boned in the symbolic…but because they took so little time to paint, I tend to keep them to myself, as they help me somehow in reminding me not to get too complicated!

I digress, most purposefully, to my most favourite Baumeister painting…  Willi Baumeister “Bluxao V”, 1955

Willi Baumeister Bluxao V 1955

Willi Baumeister Bluxao V 1955

 

I am unable to locate the source of the image, so..my rationale for using here follows:

fair use rationale
There is no alternative, public domain or free-copyrighted replacement image available.
Its inclusion in the article(s) adds significantly to the article(s) because it shows the subject (or the work of the subject) of the article(s).
Inclusion is for information, education and analysis only. The text discussing the significance of this art work is enhanced by inclusion of the image.
The image is a low resolution copy of the original work of such low quality that it will not affect potential sales of the art work.

I love this painting.  It set me free.  It resonated in all the right places!  It seems to bring me to the core of myself.  I like the way the edges of some of the paint areas look torn. I love the shadow pool of darker blue that floats below the definition.  This painting told me I could do what I wanted with paint!

Yes, this painting  helped me immensely.  I did not participate in any Fine Art Degree course,  which I think would have muddled my mind with words and concepts more than anything else (though, to be fair, as I have not been, I do not know!)  This means that I do not assume any interest in my own painting beyond immediate response, which is a personal matter.  I have not been taught that people should be able to access my work without any need for me to attempt to make it more accessible, and it is partly for this reason I write my journal.   I have had to develop my own inner determination without the validation of others around me, however, I have had some key people who I respect very much  affirm  that there is something rather worthwhile at work in me in the painting department, and this has helped me to go with the flow of painting as a focus.  It has kind of just happened anyway, I don’t think it could be any other way.  As well as some good short courses at West Dean College along the way, it is my encounters with the  paintings and artworks of others which have ended up being some of my most helpful travelling companions.  Bluxao V is one of those which stands out from the crowd, and waved me on at a key moment.  This is the painting which told me that my inner determination could take me a long way if I let it!  It taught me that  painting in anyway you want is completely legitimate  It was  a liberation to stumble across Bluxao V on the internet and see that colour arrangement and composition without any explicit or obvious external references could offer the viewer  and carry  the viewer,  into an experience through the eyes,  straight down to the soul.  An elemental matter.

My own degree being taken later in life, and in Literature, rather than painting, is a good thing.  Apart from the fellowship of other painters,  which is always a good thing,  because we need to learn from each other,  I wonder if I would have taken away more confusion, rather than clarity, from study at degree level in Fine Art.   Too much theory maybe.  Too much Science.  One needs to locate oneself  in the making.  This is not something which can be taught.

Back to the Clyde Hopkins paintings.   Which I like because they resonate with me.

Only the artist themselves hold the essence of their painting,  in their hearts.  We should never forget this, when we talk about painting, particularly if we are talking about what it might “mean” and it if “matters”.   I read the paintings with my eyes and my experiences colouring the work.  They are transformed and re created in my own eyes.  I feel I have almost trespassed over them by passing comment.  I wonder if I ought to be passing comment at all.   But some paintings are generous in their giving… and do possess an authority.  This makes me want to comment.  It makes it worth taking the risk of using words.   I always have strong reactions to the paintings I come across.  I am certain, to the core, if something is strong or weak.  I am unashamedly subjective, and cannot see how anyone else cannot see how fantastic something is when I see it clearly.  So,  while I will not apologise for this, I must just insert that of course I do realise that I may be temporarily blinded by my own enthusiastic response.  It’s a great way to get blinded though.  And if it rings “true” then it has done its work for me.

I also like very much the comparison of music and painting.    Things can be in tune, and out.  Things make nice sounds, unusual sounds, random and jazzy sounds, but you can tell if something comes together or not.  I will always be traditional in my liking for balance, order, and things which are pleasing to the eye.  Challenging, not completely comfortable, necessarily, but have a sense of some hard working behind them.  You sense there is an inner logic working away.  But there is enough mystery to keep you interested.   I think also that I appreciate these paintings because I have started to experiment with colour more, and so I appreciate the particular process of balancing one against the other.  I can appreciate the achievement.  I can recognise the delivery, and admire them for that.

Baker Tilly in Guildford.

I need to sort these prints out soon.  The prints which will be on show at Baker Tilly are signed on reverse with both my signatures.  I have two signatures, one is a combination of my initials and the other my usual signature which I use in daily life.  I tend to sign paintings just with the combination of my initials and prints with both.  But it depends on the work.  I always use my initials signature, for all my work now.  I like the way it can be used on any material, for example, clay and even stone, quite easily.

Here is another one of the “Signs of the Times” Series for you to see:

Put Your Point Across by Jenny Meehan, Signs of the times series abstract prints geometric, jenny meehan fine artist print, uk female 21st century artist,

Put Your Point Across by Jenny Meehan

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

Here is the link to my Photobox Gallery:

http://www.photoboxgallery.com/19507

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

Researching

I have found lots of interest in my time spent looking at the idea of Susanne Langer.  What interesting ideas…  She argued that man is basically a symbol-using animal and that symbolic thought is deeply rooted in human nature.  Kind of flows in with my love of the symbolic right now!  She thought that symbolic thought is the keynote to questions of life and consciousness:  “Art is the creation of forms symbolic of human feeling,” (Susanne Langer). In her thinking works of art don’t directly express the experienced emotions but do express and “idea” of emotion. Susanne Langer thought  that “music articulates forms which language cannot set forth”.  It shows what cannot be said. Well indeed.  It is always so good to hear it again though!

Artists create virtual objects, illusions. For example,  music creates an auditory apparition of time, “virtual time,” and  in painting “virtual space” is the primary illusion.  Poets (and fiction writers) create appearances of events, persons, emotional reactions and places: they are  “poetic semblances.” She notes that  musical forms bear a close logical resemblance to the forms of human feelings.  So music is a “presentational symbol” of psychic process.  Its tonal structures bear a close logical similarity to the forms of feeling, “forms of growth and of attenuation, flowing and stowing, conflict and resolution, speed, arrest, terrific excitement, calm, or subtle activation and dreamy lapses.”  (Now… That IS interesting, I was thinking along those lines with the Signs of the Times when I was working on them).   The symbol and the object symbolized have a common logical form.  Susanne Langer distinguishes art as symbol – the work of art as an indivisible whole – from symbols in art, which are elements of the work and often have a literal meaning.  This is an  unconventional use of the term “symbol”  maybe, but I like it a lot!

Some Recent Paintings by Jenny Meehan 2014

 

 

Bright and Breezy" Jenny Meehan Acrylic and Oil Painting, jenny meehan abstract colourist expressionistic, modernist lyrical abstraction,female british uk 21st century artist jenny meehan, contemporary painters in uk,

Bright and Breezy” Jenny Meehan Acrylic and Oil Painting
There’s a little memory from childhood of a tuft of a tree growing on the edge of a cliff

 

 

Well, just one for now.  And here is the tuft which I placed.  (The little red and blue areas on the top left).  The resilience of which is astounding and admirable!  This made me think of a childhood visit to  Combe Martin Bay.  On the rocks around the bay is some tufty kind of tree or bush growing in a place where you think nothing would grow or be able to stand the elements.  But I was amazed last year when I saw it was still there.  I remember it as a child, and it is STILL there!  It was rather moving to see the amazing tuft in it’s impossible place.

combe martin bay tuft devon jenny meehan

combe martin bay tuft devon jenny meehan

 

There it is!

 

Acrylic Paint used with Oil Paint on the same painting – Technical Considerations

I have previously rejected the whole idea of combining an acrylic under painting with oils on top.  Somehow the two materials seem to cry out against each other, oil being so forgiving and flexible, so oily and natural feeling, and acrylics being so plastic!  But having spent several years experimenting with the qualities of both, I guess it was inevitable that the day would come when I would seek to reconcile these two opposing forces.  Just out of curiosity as much as anything else!  I don’t plan to do this long term but believe it good to try out new things from time to time.

Experiments so far have been very pleasing.  I would not use an acrylic under painting for an oil on any large canvas, but all mine are 50 x 70cm and under right now.   There are several advantages in using an under painting of acrylic paint and then using oil paint on top. It’s not always possible for me to paint in long, uninterrupted sessions, due to the nature of my studio space, (kitchen studio!) so getting some initial painting done with acrylics is much easier as it can be done in a more piecemeal fashion with less mess.  But the quick drying of acrylics, while sometimes a blessing, is a pain when it comes to having time to mull over the painting and a pain also when mixing colours…I like to leave colours I have mixed around both on the mixing board and the painting itself, in order to think about them, and adjust in slow and gradual stages, but unless I want to spend the day with a water sprayer in hand, this just cannot happen with acrylics. I also like to use the same colour over several days, and this is much easier to do with oils.  You can get slow drying acrylics and retarders, and also “stay wet” palettes,  but I think it’s best to go with the nature of the paints you are using, and not try and make them something they naturally are not.

Using oils for  some  of the uppermost layer  also brings some gloss to parts of the painting surface which with abstract paintings can be utilised in an interesting way.   I don’t use the oils for a complete covering of the acrylic, just for some parts of the painting.   I might decide to even over the finished painting with a thin picture or retouching varnish suitable for both oils and acrylics, or maybe just leave some of the matt or semi-matt acrylic as it is and let the oil, with it’s rather more glossy surface, sing along in variation.  Using medium (turps and linseed) with the oil makes it heavenly to apply and ensures it is well bound.  Using the oil paint undiluted brings some nice buttery texture into the work and is so much lovelier to use and probably works out cheaper too than heavy body acrylics.  I only use small areas of thicker undiluted oil paint on top of the acrylic.

I don’t use the oil diluted with white spirit on top of the acrylic as I feel there would be too much risk of the paint not being sufficiently bound, and therefore loose.   It would be different if painting just with oils…A slightly loose under painting would soon be resolved by the layers above it and by a final application of varnish if need be.  Also, my abstract paintings when painted with an acrylic bottom layer, often have a great variety of surfaces, thickness, and finish, (even sometimes glossy areas) and the use of medium in the oil paint makes a great deal of difference to the success of combining the acrylic layer with the oil paint on top.    I’ve just done a few for the time being, as experiments, but so far they are looking good.   I don’t think I would feel happy about using lots of oil paint over the acrylic paints on a flexible canvas of a large size.   I think it far better to stick to using a rigid support if working larger than 50 x 70 cm because of the difference between the two types of paint.   I have found so far that smaller canvas’  are easy to keep firmly stretched and I am thinking that if any problems did arise (which I don’t think will be the case, but I still consider the possibility) it would be easy to remove the canvas from the stretcher bars and simply bond onto a rigid board backing.

Technical considerations when using acrylic paint and oil paint in one painting are important and should always be born in mind.  My philosophy is do what you want but know what you are doing and what the possible consequences might be.  While I am not imagining conservators working on any of my paintings in the times to come, I do certainly want to be sure that people buying my paintings will have something which is technically sound.   If my paintings change a bit over time, that’s fine.  There is a kind of beauty in that anyway.  If bits start falling off and the whole thing endures some kind of painting personality change, then this is not good, and disappointing for everyone!  I am very strict about my pigments… The colours really do need to stand the test of time.   I also spend a great deal of time (probably far too much) testing out different combinations of layers of materials, different mixtures and different proportions of binders, fillers, textural materials and pigments…I just love it!  I find some useful things out  through it too!  One of the most useful things is that you need to test out the qualities of your materials for yourself, because proportions of ingredients are not usually stated and different brands make quite different products with the same or similar names!

The most important point about using acrylics and oils in one painting is of course that you won’t be mixing the two together!  And the other major point is that the  acrylic paint must go on the bottom, and not be placed over the top of the oil paint.   Oil paint oxidises as it dries and when fully dry is very hard and rigid.  Acrylic paints  are  softer by nature, but the extent of  this would vary depending on the quality of the acrylic paint.  Acrylic paint with a lot of filler is logically  not going to be as hard as one which has a greater percentage of acrylic binder. Generally the higher quality the acrylic paint the glossier it looks, because acrylic binder is glossy by nature.   High quality acrylic will still be sufficiently hard to make a good base for the oil paint.  It is worth noting that emulsion paints with a high proportion of acrylic resin are used in exterior decorating applications, and this is because the acrylic resin is tough and makes the paint harder and more durable.  It’s also worth noting that paints labelled  “Acrylic paint” should be just that, but I have found, (through testing,) that with some products,  the dried so called “acrylic” medium or paint sometimes actually makes rather a soft and flexible layer, which suggests that the proportion of acrylic in the paint is questionable.

All the commercially made so called modern “gessos” nowadays are acrylic based…Think along the lines of acrylic resin based medium plus chalk or a similar filler and that’s a good enough idea of what you are getting.   The more chalk (calcium carbonate) in the “gesso” the more absorbent your ground is.  (The softer too, though also more matt)  It is now a standard practice for painters to use canvas coated in layers of acrylic modern type gesso and then paint on the top of it with oil paints.  So another layer of thin high quality acrylic paint on the bottom layer is not going to make a great deal of difference.  It won’t be so absorbent, but this may be what you want.  Even neat acrylic is micro-porous and I have not experienced any problems with adhesion of oil paints on top so far.

What IS important is that the acrylic is totally dry  I mean dry and cured!  I play it  safe and wait  two weeks even for a thin acrylic under painting.  For a painting with  slightly thicker areas and textures, I wait at least four months.  If I don’t want to wait, then I just stick to using either acrylics OR oils…It is easier to paint layers over existing layers of the SAME kind of paint as you know you will retain the integrity of layers more easily.  Sometimes  I will use an isolating layer of acrylic based varnish over the acrylic painting and then use the oil on top. Varnishes tend to be of a more reliable quality with respect to the amount of acrylic in them than many paints do, because they are specifically made to be hard and protective.  Logically they would make a better match with the oil paint in terms of rigidity, and I have not found any problems with the oil adhesion to the acrylic based varnishing products I have used, as yet.   This is useful if I have been using loose acrylics (which I do deliberately sometimes!) and/or I want the surface well sealed, maybe because I don’t intend to varnish the painting at all when it is completed with the final areas in oil.  I have done this with paintings using acrylics and oils on both rigid substrates and canvas, with no complications, though all of them have been under 50 x 70 cm.  They had some textured areas and because I had used a variety of different textures and quantities of filler, I felt it best to provide a surface which was a little more uniform to receive the oil paint.  So one or two layers of a quality matt or satin acrylic varnish makes a great isolating layer between the acrylic paint and the oil paint.  I have not found this to be a problem at all.

You read a lot on the internet that a rigid surface  is always  preferable for doing a painting with an acrylic bottom layer and an oil top one, because of the need to reduce any flexibility in the acrylic layer, but I have found no issues arising with my own acrylic paintings on canvas, though I do keep the top oil layer fairly thin, use plenty of medium and don’t use great slathers of thick oil paint on large areas of the painting. I tend to use the oil paint for parts of the painting, rather than one continuous layer, and I find this makes for a very exciting surface on abstract paintings.  It is certainly worth a try and I think opens up some interesting experiences as a painter, and I am glad personally that I have stepped out in this direction with my abstract paintings, as it utilises the fine qualities of both the types of paint very well indeed.

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

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

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

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

Jenny Meehan exhibits around the United Kingdom.  To be placed on Jenny Meehan’s bi-annual  mailing list please email j.meehan@tesco.net requesting to be kept up to date.

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

Note About Following Jenny Meehan Contemporary Artist’s Journal 

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

You tube video with examples of photography, drawing and painting

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

Website Link for jamartlondon:  www.jamartlondon.com 

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

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

coast photograph image,jenny meehan photograph for church website st paul's hook surrey

The photograph (NOT from Portland!) above is one I prepared for the St Paul’s Church of England, Hook, Surrey website.    I don’t take so many photographs now as more focused on painting and drawing, but there is still a certain pleasure in “finding” pictures and they serve as a useful reference for myself in terms of tracking and recording my own visual interests.  It is also of course nice to share them and good if they serve some useful purpose for others, ie, being used on the church website!  With all the rocks to follow, I thought a bit of sand would be nice.

More Past Digital Photographs

portland stone portland bill portland sussex, jenny meehan digital photography image, black and white image portland bill, monochrome photograph of portland bill sussex uk,  portland bill portland bill portland sussex, jenny meehan digital photography image, black and white image portland bill, monochrome photograph of portland bill sussex uk,   portland bill portland bill portland sussex, jenny meehan digital photography image, black and white image portland bill, monochrome photograph of portland bill sussex uk,

portland bill portland sussex, jenny meehan digital photography image, black and white image portland bill, monochrome photograph of portland bill sussex uk,

Floating Stone – Portland Bill, Portland, Sussex – Jenny Meehan

portland bill portland sussex, jenny meehan digital photography image, black and white image portland bill, monochrome photograph of portland bill sussex uk,

Crevice – Portland Bill, Portland, Sussex – Jenny Meehan

Verne High Angle Battery on Portland

This year I am  looking forward to a return trip to Verne High Angle Battery…A historic monument which our children had immense fun exploring.  Standing at one opening and shouting and speaking in a haunting voice so that it runs along the passageways and comes out the other way is excellent fun and it is an interesting walk around that part of Portland.  The battery was built as part of Britain’s Coastal Defences in 1892 and is located in a disused Portland Stone quarry at the northern end of the island.  It is built of Portland stone, concrete and brick.

Note About Following Jenny Meehan Contemporary Artist’s Journal 

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

Exploring Stone Carving

Well, now I can no longer afford to grace the gardens of West Dean College,  I had been thinking for some time of how I can continue my training.   I think it very important to try different materials, whichever one you tend to prefer to use, and after using clay during an adult education class a couple of years ago, I realised that I do enjoy working very much in three dimensions, and, even as a painter, this is very important to develop.  To work with space and the tensions between parts possible with sculpture, and to work with light in a different way to that of colour, has worked its appeal into my mind quite well, and after toying with this and that, I decided to try out stone carving.   I found that Simon Keeley  http://www.simonkeeley.co.uk/ holds  stone carving classes, both in Surrey and also in the London area.  This year he will be running a  one week stone carving course in Umbria, in Italy.  It runs from 30th July for one week.   For details of this take a look at his teaching page and follow the link.  http://www.simonkeeley.co.uk/teaching.asp

Having made my fish in clay,  I now realise I have made quite a substantial commitment to stone carving, as I did not make things easy for myself by choosing a small block of stone to work on!  Thankfully, I do like working with the stone; in this instance, it is Portland Stone which is a limestone, so not very hard compared with some.    So, I have started, and will I finish?  I plan to!  Simon is a good teacher… This cannot be taken for granted with art classes, as there are many fine artists who are good at what they do, but not good at teaching it.   The group is fun and  I will post progress as it slowly happens up on this journal.    Simon does also teach at West Dean College,  and more information on his teaching can be located on his website http://www.simonkeeley.co.uk/

Portland Stone Surrounds Us

While when I think of Portland Stone I think of Portland,  I  realise that I am encountering Portland Stone all the time when I go into London.  When I took photographs of St Giles in the Fields last year,  I was curious as to why some of the stone work was black and other blocks white.  I asked The Reverend Alan Carr (Associate Rector The Parish Church of St Giles-in-the-Fields and Director of Ordinands, Two Cities Area) about this and he explained:

“Some years ago the stones on the north side of the church were cleaned, but not elsewhere. As a result the north side now has a slightly creamy colour, whereas the remainder of the church has retained the stark and original black and white colouring, much-loved by conservation architects. When left to itself Portland Stone will age and mature as we see on the south side, but when cleaned the colour composition is altered.  Individual stones which stand out brightly may have been cleaned separately, or be of a different density. The colouring of the north side of the church is also affected by the bright yellow colouring of Renzo Piano’s Central St Giles building opposite.’

After the Great Fire of London in 1666 Portland Stone was used to rebuild many buildings, some of which I often visit, for example, the British Museum and Somerset House.  The facade of Waterloo Station is also Portland Stone, and it was used by Sir Christopher Wren in St. Paul’s Cathedral too.  These are just a few of the buildings in London  built of Stone from Portland!

Baker Tilly Exhibition 

It is always nice to be invited to exhibit, and this has happened to me for the first time ever this year!  I will show four paintings  and four digital prints.  The paintings are from a flurry of painting activity over 2012 (I won’t say, a “series” of paintings, because it is more of an explosion of paintings!).  The digital prints are from a series, as I worked on them with a more predetermined aim right from the outset, and are examples of an intense period of experimenting over the Christmas period at the end of 2012/the Spring of 2013.  I called the series “Signs of the Times”.

Here is one of the prints:

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

The prints which will be on show at Baker Tilly are signed on reverse with both my signatures.  I have two signatures, one is a combination of my initials and the other my usual signature which I use in daily life.  I tend to sign paintings just with the combination of my initials and prints with both.  But it depends on the work.  I always use my initials signature, for all my work now.  I like the way it can be used on any material, for example, clay and even stone, quite easily.

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

http://www.photoboxgallery.com/19507

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

The “Signs of the Times” series is composed of completed works in their own right, but I also view several of them as foundational, and I will be drawing from them in the future, probably for the composition and colour combinations…Not to be directly transferred to another medium, but to inform and influence  other works. Maybe to become in quite a different form?  Who knows?  I am always tempted by three dimensions…

Leatherhead Theatre Exhibition 2014 

Wanting a chance to show you some of (Not all!  You will need to come along to the exhibition to see all the work on show!) the wonderful artwork which will be on display at Leatherhead Theatre this May.

If you are interested in this exhibition and are willing to help me promote it, then contact me at j.meehan@tesco.net, or through LinkedIn or through my website contact form at www.jamartlondon.com  and I will send you a high resolution image of the flyer below to print out. Just displaying it may mean that someone gets the opportunity to enjoy it.  Anyone with an interest in art and creativity, spirituality and contemplation would enjoy it very much indeed.

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

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

 Below is are some examples from some of the participating artists and I will post some more up on the next blog entry also.  I enclose the text which is written by the artists themselves about their work and has been combined into an Artists Information document which will be displayed with the work when the exhibition runs.

Richard Tomlin - Lula, sacred spaces exhibition leatherhead  surrey

Richard Tomlin – Lula

  Richard Tomlin

Lula – this charcoal study of Lula was produced one autumn Monday morning. Perhaps she is reflecting on the weekend just past, or her sister and family in far away Venezuela. There’s a sadness to her mood, a far away-ness that is made more poignant by her pale skin against her lustrous, long black hair.

The search for emotion – the reflection of the interior life – is the aspect of portraiture that I find so fascinating and equally illusive. To me she seems melancholy, but as so often with portraiture, the portrait says as much about the artist’s state of mind that is reflected in the image created.

Richard studied graphics at Portsmouth College of Art and practiced as a graphic designer in London. During 2013 he decided to refresh lost skills in drawing and painting. Inspired by the work of Lucian Freud, Andrew Wyeth and Alison Lambert, led him to focus on the human figure and portraiture. 

 Richard’s work is often the result of long periods of observation, the images gradually edging towards realisation. The discovery of charcoal has been a joy, black is one of the most important colours in his palette. His current work is focused on the search to express emotion through the image. 

Richard’s work can be found on his website: http://www.richardtomlin.co.uk

 

 

Still Waters 1- Jude Wild, sacred spaces exhibition leatherhead theatre

Still Waters 1- Jude Wild

Jude Wild

The two examples of my work on show are from a strand of my practice that is inspired by place. I don’t set out to record a specific scene, but to capture a memory, a feeling and a sense of place.  I aim to express my emotional response to this place.

The places that inspire me in this way most often include still, or slowly drifting water that gives scope for reflection.  Often they also include a symbolic feature such as a jetty or temple. Subconsciously I am seeking a place of contemplation or meditation – my inner sea of calm. I think that subsequently my work does very often have an ethereal and contemplative quality.

I originally trained at art school as a theatre designer and spent many years as a professional designer of both sets and costumes. An important aspect of this work was to produce a series of visuals to express the atmospheric lighting changes of the different scenes. Now that I paint fulltime, I find that it is the light and atmosphere that provides the starting point for my work. I use a limited colour scheme to intensify the image and bring a heightened sense of atmosphere.

Committee member and Art History lecture organiser for Richmond Art Society.

Training

Art & Design Foundation Course
Canterbury College of Art, Kent

Dip AD Stage Design
Birmingham College of Art

Short Course Drawing & Painting
Slade School of Fine Art, UCL

Post Graduate Certificate, History of Art & Architecture
Birkbeck, University of London

Part of the exhibition process will be a meeting between the artists through which we are able to discuss how our art working and creativity relates to spirituality and the idea of a “sacred space”.  Hence the exhibition title “Sacred Spaces”.  I will be posting more information about the artists taking part, including what they have to say about the work they are showing in the exhibition, over the next couple of months.  I also plan to use what we have discovered through our discussion and thinking in the formation of the text which will accompany the visual art.  I have found when organising exhibitions in the past, that the last couple of months need to be devoted to publicity as much as possible, but with most of the other admin tasks mostly done, I should have time to promote the exhibition as well as doing the rather more interesting and rewarding task of researching and writing, assimilating and reflecting on the whole process so far.

All this activity for this project has meant my own painting,  plus rather too many domestic tasks, have been left for a while.  Running the household, being a mother and seeking progression as an artist, plus organising an exhibition in between everything else, means I progress with my painting rather more slowly than might otherwise be the case.  But at least I have plenty of variety!  I also feel that it is important to recognise that all we do feeds into our work, and the life and vitality of what one does as a painter comes mainly from the richness of our life experiences.  We tend to put the different parts of our life into boxes, and rate some of more worth than others, but I think this is a mistake.  For example, if it has money attached then it is “worth” something.  If not, it tends to be overlooked.  Ask any parent and home-maker who works unpaid, or anyone involved in work with less tangible and measurable results than those determined by money, and I think, at this present time in our society, they  may be liable to finding their self-worth rather battered by our present government, who seem to equate working for cash and being conventionally “successful” in an economic sense as the only sign of value of anything.  (Moan over.  Shouldn’t really moan on my blog, but so hard to resist!)

Discovering Clyde Hopkins Painting

Looking on Abstract Critical, as I do from time to time when I feel like stretching a few of my brain cells, I came across some painting by painter Clyde-Hopkins.  Now his painting is very exciting to me, as it strikes internal chords, which I don’t need to define but just resonate with  some of the things in my current thinking…that kind of under the surface thinking which happens when I grapple with where I might experiment in my own painting.  This website has some examples:

http://www.soco.org.uk/index.php?q=gallery&g2_itemId=1716

Clyde kindly was happy for me to include images of his paintings in my blog, which is helpful, as much easier to comment on individual paintings that way!   I will, over the next few Jenny Meehan Journal posts, draw your attention to some which have caught the little fishes that swim through my mind the most.  I am only using digital images to base my comments on, so my response is limited significantly by the absence of the painting right before me.  I was planning to fit into this post, but I don’t want to do the paintings a disservice by trying to reflect on them in a rush.  Right now things are a bit too hectic for me to do them justice, so better not to write anything in haste.

As ALWAYS  my Jenny Meehan Journal is far too long!  However, I don’t write it just for you to read, (though it is nice to think it may be read, of course!).  I write it to attempt at some kind of narrative which traces and skims playfully along the course of my life.  I like the element of process  of writing a blog.  I chip away in little bits, (even though the end posts are long).  The little fragments come together and somehow my piecemeal life takes on at least a little order.  I worry I will look back in years and cringe.  But never mind. We are all entitled to change, and writing is only writing, after all.  It’s not written in stone!  Even if it was, it would wear down with time.

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

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

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

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

Jenny Meehan exhibits around the United Kingdom and holds regular Open Studio/Studio Sale events.  To be placed on Jenny Meehan’s mailing list please email j.meehan@tesco.net requesting to be kept up to date.  Also, follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way.  Just press the “follow” button and pop in your email address.  You determine how often you get updates and you don’t need a WordPress account to follow Jenny Meehan Contemporary Artist’s Journal.    

You tube video with examples of photography, drawing and painting

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

Website Link for jamartlondon:  www.jamartlondon.com 

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

Getting that pre-exhibition buzz.  Better than the days before it, when you trash your work in your head and wonder what you are doing it for.  Even Picasso has these downs, I understand he didn’t even come to some of the private views of his own work because he felt so awful about it!!!

Today is packing up the work day and I find that corrugated cardboard roll is the best thing, along with bubble wrap if work has glass.   Lots of people have said they are coming, and I am looking forward to meeting new people and catching up with people I already know, but haven’t had the chance to chat with for a while.  Stephanie and myself are leaving the hanging decisions until tomorrow when we hang the work,  and that itself is a very creative process which I enjoy immensely.  I plan to take some images of the exhibition when hung and maybe a video if I get the time.  The work on show is a mix of both non objective and representational paintings and drawings. 

I think this exhibition will be a really good one.  Stephanie, who is better with words than I, has prepared a little intro…

“For this exhibition, the artists Jenny Meehan and Stephanie Greenslade have carefully juxtaposed selected contemporary abstract work with more representational pieces to create an unusual and challenging dynamic that is reflective of the turbulent emotional environments survived by both in childhood.
 
Diverse styles and changing mood are brought together in close contact here, giving rise to an emotionally charged and deliberately tangential display of work that has, at its heart a commonality: between the essential narratives of both artists, their spiritual and artistic journeys and the journeys of everyman.”
 
 So come along if you are free, all ages welcome, and enjoy the work on show.  It’s at Leatherhead Theatre, Leatherhead, Surrey KT22 8DN.  Telephone 01372 365141 for more information or contact me through my website: www.jennymeehan.co.uk or email:  j.meehan@tesco.net.    Opening times are normally between 10am and 10pm, but check with theatre first, as times do vary.  Opening Night event is from 6pm until 9pm on Saturday 28th April.  There will be nibbles available and a bar if you wish to purchase drinks.  

Many thanks to Leatherhead Theatre for hosting this event!

Enjoying the sunshine.   It’s excellent for drying acrylic paint quickly and this has been fantastic for me as I have started working on some non objective paintings in acrylic on canvas to be displayed from September 2012 onwards.  Before that though is the joint exhibition of  painting and drawing at Leatherhead Theatre.  It runs at the same time as the Drama Festival, which means that a lot of people will see it. 

 All are welcome to the Opening Night on Saturday 28th April 2012.  It’s from 6pm until 9pm.  Visiting Information: Leatherhead Theatre 7 Church Street, Leatherhead, Surrey Kt22 8DN Tel 01372 365141.  Email me at j.meehan@tesco.net if you would like  more details of the exhibition and/or visiting information. We have used some representational painting for the flyer, but the exhibition is a mixture of both non-objective and representational work.

 

Enjoyed a lovely opening event. 

 

 

 

 Above “Hello Picasso!” Oil Painting on MDF – Jenny Meehan 2010

Still busy sorting out frames, mountings and fixings ready for my solo exhibition at the Cornerhouse in Surbiton, Surrey.  See:

http://www.thecornerhouse.org/shows/show.aspx?showid=280

The exhibition runs from Tuesday 6th December to Friday 30th December.  The opening night, which is open to all, is Tuesday 6th December 7pm to 9pm.  I will be there to answer any questions about my work and it should be an enjoyable, sociable time too.  Drinks and nibbles will be available, and there is work offered for sale, ranging from £15 for digital C-prints, up to around £300 for framed paintings. 

It is possible to get access to the exhibition during Cornerhouse opening hours, but these do vary depending on what else is going on.  If you cannot make the opening night but would like to come along and view the work at another time, then take a look on the Cornerhouse website to see when the building is open.  Alternatively, feel free to contact me on j.meehan@tesco.net or via my website www.jennymeehan.co.uk .

Preparing for the exhibiton has brought the issues of storage  and transportation of paintings into my mind.  Thankfully I don’t have many to store, but as I get to spend more time painting as the children get older, I will have to think of that.  I understand that I could store acrylics on stretchers in my loft (going on the Golden Acrylics advice page on the net) as long as they are properly packed.   The main issue would be heat and the acrylic softening, but as long as they are not squashed against eachother then that is fine.  Storing vertically is best.  Oil paintings I cannot store in the loft, because of the changes in humidity, so I will just have to tidy up some of the cupboards in the house I guess.  At least it’s an incentive to do some sorting out!

For transporting paintings I tend to use cardboard boxes, and put these inside a large suitcase with wheels.  This is quite handy if the paintings are heavy.  Paintings are cushioned with whatever comes to hand, sheeting, bubblewrap, scrunched up paper, that kind of thing.

 

 

It is very important to spend time looking at a painting in progress and when apparently “finished” because you still learn a lot from it.  If it can speak new ideas and thoughts to you, then it is not finished with its work, and I don’t like to let a painting go until the process is completely finished.  I have technically “finished” it with a couple of coats of Lascaux Fixativ.  This is good because it doesn’t destroy the gloss/matt relationships as some coatings would do.

I often use Clearshield Semi-gloss waterbased UV Protective coating, which is excellent for adding protection to acrylic paintings which you don’t want to mount behind glass.  It’s very heavy duty stuff…They use it on aeroplanes!  However, unless you want a uniform finish, the Lascaux Fixativ is best. It is important to add a protective coating to acrylic paint…though it is only slightly porous, it is porous, and it will get dirty and need to be cleaned.  I normally write on the stretchers what it is painted in and what it is coated with.

Busy sorting out frames, mountings and fixings ready for my solo exhibition at the Cornerhouse in Surbiton, Surrey.  See:

http://www.thecornerhouse.org/shows/show.aspx?showid=280

I have to just be a little bit “picky” and say that the exhibition is not “about” my own personal journey…The writing on the site was put together by someone else and while they did a very good job indeed, I don’t see my art practice as “about” anything, it is an expression which comes through my own personal journey.  Gosh, I am getting particular in my older age! Reading through the blurb, I also wonder if I use too many words, full stop.  I guess I do like writing and would consider myself a writer as well as a visual artist, and maybe I need to keep the two further apart.

The exhibition runs from Tuesday 6th December to Friday 30th December.  The opening night, which is open to all, is Tuesday 6th December 7pm to 9pm.  I will be there to answer any questions about my work and it should be an enjoyable, sociable time too.  Drinks and nibbles will be available, and there is work offered for sale, ranging from £15 for digital C-prints, up to around £300 for framed paintings.

It is possible to get access to the exhibition during Cornerhouse opening hours, but these do vary depending on what else is going on.  If you cannot make the opening night but would like to come along and view the work at another time, then take a look on the Cornerhouse website to see when the building is open.  Alternatively, feel free to contact me on j.meehan@tesco.net or via my website www.jennymeehan.co.uk .

Near The End Of Term!

July 15, 2011

Just a quick entry today, I have too much on to write much, but I will be painting some lines on the mural next week.  I’ve been working on another exterior mural, only around one metre square in a garden, this time very spontaneous…I wanted to try out another approach with the paint and see if it worked.  It is working well, so I will post some images up later on no doubt.  I dropped off some work to The White Gallery in Dorking, and enjoyed seeing other artists work there at the same time.  The White Gallery is located at 17 St Martin’s Walk, Dorking, Surrey, RH4 1UT.  If you are in Dorking, do pop by, there is a nice range of interesting work, and several pleasant places to sit down and enjoy a coffee or whatever nearby.  There are many Surrey artists with work in the gallery, which offers a good price range and work in a variety of different media. 

 

Quite missing the mural, having not painted anything on it for a while.  A bit of a gap now in progress, but more to be done over the Summer holidays.  I am very pleased that Keim Mineral Paints Ltd in the UK have kindly donated some charcoal grey Soldalit, which has solved a problem for me, as the Beeck Full Colour black plus white was a very bluey black, and not exactly what I wanted.  I could have fiddled around with it, but it’s all time.

I have decided to coat the mural, when finished, with  another useful product from Keim Mineral Paints “Keim 694” which is a waterbased semi-permanent anti-graffiti coating, based on acryl co-polymers and waxes.  The advantage for me is that it is not solvent based, which I prefer, and also that it may be applied by brush.  It needs two coats. It also comes with with plenty of information with regard to aftercare. The paint is hydro-phobic without a coating,  and though it takes a while to fully petrify, it will indeed go rock hard.  However, as the mural is in a playground, I felt it wise to use the coating on it.

I have to say, I cannot fault the customer service received from Keim Mineral Paints Ltd, and this is very refreshing, having experienced some dreadful customer service earlier on in the process of the mural.  Unfortunately, I understand from several painters in my locality, that is is common for women not to be treated as professionally as they should be by some suppliers in the construction industry.  This was not something I have come across before, and  it was rather a disappointment, and certainly not something I expected.  Keim Mineral Paints have  delivered excellent customer service, and the range of modern silicates, each with their specific applications, is quite amazing. I’m very pleased, and I hasten to add, this is not because of the donated paint… It’s because of the good and sound business policies clearly in place which treat both the big and small customer with the same amount of respect, treat women professionally, and put the customer first.  Any business which wants to grow in this current economic climate needs to take customer service very seriously, and the intelligent ones will do exactly that.

Well, it’s a great advantage to be able to touch type, and to be able to do so very quickly!  However, I need to get on, so next blog entry will be  a while away now.  I understand that one child put on his end of year review form that working on the mural was the highlight of his year.  That’s why painter’s should be in schools engaging with the next generation of artists.  And, our society does need artists, as much as we need air to breath.

 

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