Screenshots of some Recent Galaxies!

 

 

Each Galaxy started with a bucket of Keim Mineral Paint!  I then took the initial image and worked my magic digitally!

 

Buy the “Keim Galaxies” as printed products on the print-on-demand website “Redbubble.com”

 

Yes, I am gradually putting up the rather large series of work on my Artist’s page on Redbubble!  It takes some time so they are not all up there.  I am basically adding them at the same time as I have Skype meetings with my fellow artists at Kingston Artists’ Open Studios each week.  We cannot meet in person, but Skype is just fine, with the added advantage of being able to work on the computer, or whatever we are currently working on at the same time!

This is my  WordPress Artist’s Journal, so I am going to ramble on on my usual meandering course for the rest of this post.  If you would like to see the beautiful “Keim Galaxies” I put most of them up in a previous post, so either skim down to that, or follow the link to my Artist’s Page on Redubble.com where I have posted some of them already!

Here is the link to the “Explore” designs section at Redbubble.com.  It displays the image as a simple, flat, square, as the example below. When you find a design you like and want to see products in the shop, there’s another link to follow! Then another whole world opens.  Maybe quite a useful one at the moment, with the shops being in the situation they are in.  There is stationery, soft furnishings, wall art, greetings cards, prints, posters, home furnishings, accessories, and much more.

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

 

“Kind of Colossal” ©Jenny Meehan

Note: images are low resolution and don’t reflect full sized image quality.

jenny meehan surrey artist london contemporary female artist

jenny meehan surrey artist london contemporary female artist

About Jenny Meehan

I’m a British fine and applied artist, painter and poet creating original exciting artwork.

This artwork is an evolution of the beautiful mineral pigments used in Keim Mineral paints and part of an extensive portfolio of lyrically abstract/geometric abstract designs created from my love of painting, colour, and a focus on the environment through raising awareness that we have a choice to use alternatives to film forming synthetic paint.

This strand of my work allows me to offer accessible and affordable art to a wide range of people. My original fine paintings are also available to by, contact me on Instagram via link in bio or through my Artist’s Journal:

https://jennymeehan.wordpress.com/jenny-meehan-jennifer-meehan-how-to-contact-me

All art ©Jenny Meehan image licensing via DACS only but initial proposed fee often negotiable.

……

..You can buy my work as prints, posters, soft furnishings, stationery, cloth face masks, bedding, accessories, bags, headscarves, wall hangings, clothing, designer clothing, plus more… on redbubble.com.

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

 

 

 

 

 

 

 

 

 

(video doesn’t seem to work on my phone…sorry! looking into why!)

“Timetable” by Jenny Meehan 2020 to music by Kevin MacLeod “Screen Saver” (sourced from freepd.com. CC0 1.0 Universal (CC0 1.0)
Public Domain Dedication)

I made this video a while back, before the Covid-19, Coronavirus, UK lock down and all that has brought many more people to a situation of working from home. It seems odd looking at it now!

The video was made last year, in 2019. At the end of last year I was experimenting with making short video clips, just for a change. My very short piece “Time Table” was selected for screening at an event in Manchester. Info below:

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

My statement:

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

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

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

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

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

 

Made in the Pre-Covid 19 era…!!! Since making it, a HUGE number of people previously working in buildings which are not their domestic setting, currently work from home. It’s so odd looking back at this video I made now!

I hope that one of the outcomes of this challenging time is that the work of those so-called “economically inactive” (mainly women, and anyone involved in various unpaid caring activities) has a stronger sense of presence in our awareness of work activities, and even in the way we think about what makes us valuable human beings. The equation of money and status with worth is being shaken at the roots right now.

I’m so glad we have drawn our attention to appreciating the caring profession. And let’s remember, that “professions” are not professions due to the amount of money someone earns, but are an expression of a person’s values, investment, and focus. So many activities, not formally recognised as “professions”, though low paid, unpaid, and regardless of relative status in society, are ALL work, all valuable, and all vital to a healthy society.

Sculpture at Morley College

I find working with three dimensions very interesting and it makes a nice change from working on paintings, drawings, and prints. I was pleased to have my sculpture “Articulation” accepted for exhibition at this year’s MADE at Menier Gallery. It’s an exhibition for students at Morley College. HOWEVER…  then this email arrived… Not a surprise in the current Coronavirus Pandemic!

Dear all,

Due to the escalation of the Coronavirus pandemic in the UK, we regret to inform you that we have made the very difficult decision to postpone this year’s Made exhibition at Menier Gallery. We are very sorry about this, but there is nothing else we can do. In this unusual situation it is also hard to say when Made will happen, but we hope that we will be able to host it in a brand new Morley Gallery next year.

We appreciate the effort you have made to create all this lovely artwork and hope the effects of the Coronavirus are minimal for you and your loved ones.

More information about this will follow shortly.

Not a surprise.

Indeed, though signed up for a six week term, in the end I only attended two sessions of the course in the second half of the Spring Term.  Morley College is based in Southwark, which was at that time the London Borough with the second highest number of confirmed cases of Covid 19.  As I watched the figures rise – from 8 in Southwark on the 10th March  and then 28 confirmed cases of Covid 19 on the 16th March – I grew uncomfortable with travelling to Southwark on the train.  The journey there wasn’t too bad, but on the way back on the jam packed train… It was obviously a bad idea to continue.  The last time I went up to London was 10th March, and then on the way home in the rush hour I wore a specially made scarf… made by myself!  It was lightweight woven fabric with a couple of layers of polypropylene folded inside it.  Perfect!  Polypropylene is actually the main component in the manufacture of surgical face masks.  I really didn’t want to buy myself a surgical face mask… Feeling they should be kept for the settings for which they were designed.  However, I felt very strongly that people travelling in crowded trains should be wearing face coverings of some shape or form.  At that time, no one, well, hardly anyone, was wearing face masks or face coverings. But I felt so much better for doing so.

I wrote and researched quite a lot on the subject.  I used to be a Dental Nurse many years back and wore surgical face masks all day every working day.  We never used them as any more than a hygiene measure.  It was never a defensive, “protect me from this or that” kind of thing to do. They were not respirator masks, of course.  They were there to stop big droplets from the dental procedures and also to stop our breathing from the kind of merging of air which happens when you work very close to patients.  So this past experience informed my decision to cover my face so early on in certain settings.  I also did a bit of research, and while just one example, reading the research below got me thinking that it was better to err on the side of caution.  Though the Covid 19 is not Influenza A,  it is certainly highly infectious and if Influenza A has a way of spreading in very tiny particles (smaller than droplet infection, rather airborne).

Interestingly Scientists have disagreed for years on how exactly Influenza is spread; some saying that its airborne, and others that its only the larger droplets, and nothing smaller. I know which camp I am in.  Yes, we don’t know about Covid 19. Specifically.  However, it seems unwise in the midst of a global pandemic to insist on waiting for the numerous experiments with the specific virus in question to be carried out when such a simple, practical and easy to implement action by members of the public can at least be one small factor in reducing transmission of Covid 19. Its never been a “protect me from the virus” mentality for me.  It’s been; this is a virus which has a huge range of symptoms, (or people asymptomatic)  and basically its really hard to say for the most part if you have it, or have had it. There’s lots of corona-virus’ and probably many co infections happening right now.  So the best mindset is to behave as if you have it, and you carry it with you.  Though you don’t know, it matters not.  What matters is that when you are indoors in busy crowded places (not that we have any at this point in time!) where your exhaled breath will be mixing  with the exhaled breath of others, it seem logical to do what you can to avoid sharing.

I am so relieved we have the social distancing in place now.  Shopping in supermarkets, especially all the panic buying which went on earlier on, was surely one of the rampant and successful ways of spreading Covid 19 around, and I think we may look back and ask ourselves why we didn’t stop that earlier.  I used to wear a loop scarf or snood for shopping way back in Mid March. Still do now.  No reason not to.  I think there is a strand of thought which goes along the line of MASKS = FEAR.  This is a shame.  However, I can see that for some people the idea of a virus being airborne could be something which caused paranoia. Shame really, as it’s not a new idea but maybe in the light of the current situation that might seem unsurprising.  I think the research which I share below was immensely helpful to me, with the proviso of course that it was carried out in an artificial setting and also with a more familiar virus.  However, influenza’s of any kind are  very serious  and the cause of huge numbers of deaths each year.  The novel coronavirus  (Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2)which causes coronavirus disease 2019 (COVID-19),  was previously referred to by its provisional name 2019 novel coronavirus (2019-nCoV) is proving to be illusive and tricky to pin down. It’s very nature is unpredictable.  We will need to get used to the uncertainty and as we accept it and its consequences, doing something simple like covering our faces may make a small contribution to helping reduce and slow the spread. Any small contribution is worth while, and gives us more time. It is going to take a LONG time. I’m sure of that.

So with the following research, I think the key points are it’s prolonged face to face which is the mainstay of the awareness regarding spread.  The percentage is high in the experiment.  It logically would be less in a real life situation. And this is only one factor in spread.  One factor among many. Dose and duration all make big differences.  Something like this is helpful for increasing awareness and doesn’t need to result in paranoia, or in people ignoring the other methods of transmission.  Just the same as wearing a face covering doesn’t mean suddenly people are going to touch their faces more, not bother with other methods of reducing transmission, and become complacent!

https://www.virology.ws/2018/02/08/a-breath-of-fresh-influenza-virus/?fbclid=IwAR0CtmkP_OP93U7oOZfs03dRIrLkZJJX2JDeW40e8T548ycPONrJpW2rBoI

 

Ah, I have meandered.

Where was I? Morley College.

Yes, the exhibition cancelled, and then later this email:

“We are pleased to announce that we will present your work in a first-ever online MADE exhibition in May 2020!

As you already know, Morley has taken the difficult decision to cancel MADE at Menier Gallery (previously scheduled for 29 April – 7 May 2020). Although the physical show has been postponed, we are excited to inform you that we will present the exhibition digitally and we are currently working on a new Instagram account for MADE 2020 (@MadeAtMorley) that will feature all the selected works of art for each of the four disciplines involved – please, start following!

MADE 2020 ONLINE: The Instagram exhibition will feature your objects as well as interviews and films of production behind the scene. This is a great opportunity to show the hard work that you have been undertaking in this period and to offer viewers the chance to see your superb work online and get to know your art better. All the selected works will also be shown in the new Gallery website and will remain accessible in the future. We aim to launch the online exhibition on May 11th, 2020.

-> Please, note: Morley Gallery is expected to reopen in March 2021 and we hope to host the exhibition there as well in March/April 2021.

INSTAGRAM ACCOUNT The new Instagram account @MadeAtMorley is now live. Please start following now!

HASHTAGS
#MorleyGallery
#Morley_College
#Made2020

Well, that will be one way of seeing the work.  I am looking forward to it.

Here is the selected work “Articulation”.  Also the accompanying text.  Like a lot of my work, it was started some time ago, and then I have reflected and reviewed, refined and developed it. I value the process and value contemplation. A contemplative practice is the backbone to any art works I produce.  I don’t stick to a time schedule, unless I am producing something which is a commission for someone else.  It’s finished now, and I am very happy with it.

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist,

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

 

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

 

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

articulation sculpture, jenny meehan, wire and paper sculpture, psychotherapy, art therapy, subconscious, healing art, trauma recovery, british artist, ©jenny meehan

Above; Various images taken during the process of making “Articulation”.

Below; Information/text submitted to the Morley Online exhibition.

 

“Articulation” What is it?

So here is a bit more about this work, which I have been working on for several years.  I believe its a great mistake to rush a piece of artwork.  They have their own timing, and something like this will be taken out, worked on for a while, and then put away again.  The process continues.  The work is not just the artefact; it is the thinking and feeling it represents.  It needs to evolve.  Like all my work, it comes into being in a piecemeal fashion, bit by bit.  I like the way that the form of this work reflects this.  It’s a very accurate expression of my working process, which I like very much for that very reason.  For this reason, I would call this a signature piece. It includes a poem which can be read if you look closely around the rim.

Untitled

Words are power;
this is why
I stumble and trip.
I try to find them.

For mine are hiding;
cowardly.
They left me helpless;
stuck themselves all over a tree –
becoming harder -soft tissue
into paper

Then,
as you see…

A wooden bark
which
soundless sits
in its own
quiet
dignity.

 

To find your voice as a person sounds easy, but it’s one of the hardest things in life.  Maybe for me, with a lot of childhood trauma and adversity, those formative experiences make “articulation” more a a challenge?  I’m not sure, but I do know that in my second half of life, I have needed to do a lot of personal work through ongoing psychotherapy. This has proved transformative, and vital in locating a stronger sense of myself, and in finding my voice.  As an artist and creative, this “Articulation” expresses the heart of why I work with materials in the way that I do.  It’s part of a regeneration and growth; An expansion and exploration.

On the materials and making dimension of “Articulation”

Process
I took some digital photographs of trees/branches in my garden. Photocopies of these were used as the final layer of papier-mâché. They were the beginning, and end of this process led, instinctive piece.

The galvanised steel wire framework took off nicely. I wanted a sense of control/structure but also spontaneity. Playful rings in the centre invite a childlike exploration. I included suggestions of fluidity/water flow in the outer form using parallel areas of curved wire. I wanted activity and life suggested in what was gradually emerging as a tree stump type form.

The paper parts skim around the form, almost as if being blown by wind; a metaphor for the Holy Spirit of God. My acknowledgement of a life giving, creative, divine influence; inspiration; is key.

The negative spaces and shapes are there to unify the sculpture as a whole; they let you into its structure and in doing that, present a sense of unity to the superficial brokenness. The newspaper and photocopied paper “bark” was sprayed brown paint, then varnished. In one section there is an inner and outer wire wall which have separated from each other. The inner energy of the trunk is pushing the old bark away.

My experience of psychotherapy is integral to my creative output.

 

Kalo

Here are some of my Kalo series which I started experimenting with at the end of last year.

 

 

jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist

jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist

 

 

jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist

jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist

 

“Keim Galaxies” Available to Buy on Redbubble.com

 

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

II am currently putting many of the “Keim Galaxies” art/design up on my Redbubble.com account.  Redbubble.com is a print-on-demand website which artists can post their work on and have it printed on merchandise of many kinds if any customer requests it.  This is a great way to make ones art and design accessible and the artist gets a royalty payment for each time their design is used.   I don’t have the time to print my own work very much anymore, so making prints available on Redbubble.com works well.  If someone doesn’t particularly want a signed print, then they can just get a print through the website.  Conversely, I do produce a very small number of signed prints myself, but the number is very small.  I don’t limit them in number.  I do number them, for my own records.  But it seems silly to artificially limit them.  They are limited simply by virtue that the numbers I produce are very small.

jenny meehan london surrey contemporary artist blog

jenny meehan london surrey contemporary artist blog

 

jenny meehan art for sale british contemporary artist

jenny meehan art for sale british contemporary artist

 

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

 

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

This is my main portfolio on redbubble.com. My focus isn’t on selling online, but accessible and affordable art prints enable people to own and view selected examples of my work and its a great way to share it.

Follow the links to take a peek, or simply put in your browser the words redbubble jennyjimjams (skip the main site advert) , and pages from my profile will come up. Scroll down any page until you get to “View Jenny Meehan’s shop” if you want to look at a range of products they offer with my designs on. Or there’s another option to “shop” called “explore”. (More on navigating the redbubble.com site below)

There are thousands of artists work up on redbubble.com! All with their own “shop” and profile. If you want to buy prints and merchandise from redbubble.com with my work on, ensure you have found the right shopfront. It should be showing on a page with my profile image on.

There is only a limited selection of work I’ve posted on redbubble.com. It’s a “print on demand” site. If you purchase something with my art/design on it, I get a royalty payment while redbubble.com manufacture the product or print.

Any art prints are unsigned. It’s an excellent way for me to make my work more affordable and available. And easy to buy.

Take a look! If there is something you have seen on Instagram, LinkedIn, or my Jenny Meehan Contemporary Artist’s Journal and you would like it available on redbubble, just contact me directly and I can put it up on redbubble.com.

 

 

Navigating the redbubble.com website to locate art/design by Jenny Meehan

Navigating the site can be a bit confusing, and it’s easy to end up looking at work by other artists, rather than just mine, because of the way the website is organised.  If you specifically want to purchase products and prints with my art/design on, the following might help you.

Link to the SHOP section is:

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

The SHOP section shows my work on different products.  When you start clicking around it also offers an option “See Similar Designs” but this will show designs by ALL artists on redbubble.com which are similar.  I mention because this can be confusing.  If you just want to see additional designs by me on the shop section, then you need to make sure you scroll down to my profile picture and name and look there.  It’s further down.

 

Link to the EXPLORE section is

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

The EXPLORE section is the best section to navigate to if you want to take a quick look at the whole range of designs I have in my redbubble.com portfolio.  It just shows the designs as a flat image.  When you locate one you like you can then select to see it on various products.  It’s a better way of navigating to my work, as less confusing.

Something you want me to put up on redbubble.com, but I haven’t put it up yet?

No problem!  Contact me via the contact page here on my blog/artist’s journal and I will put it up within three days, normally.

I am able to locate the artwork from my extensive digital archive and put it up on redbubble.com within 3 days. Once it’s up there, you purchase the print or product online and your order is fulfilled by redbubble.com

Other options for buying are you contact me and I can get a print made elsewhere, but generally this often tends to work out more expensive and does take longer.

However. If you require a signed art print, or redbubble.com do not offer the substrate or format you need, this is a better option for you.

Interior designers looking for specific formats and substrates for large scale artwork for corporate, office and business environments or other public spaces may wish to contact me directly for custom made, large scale, interior wall art, prints, etc. Enquiries most welcome.

 

Geometric Abstraction/Geometric Patterns/Repeating Patterns and Surface Design Focus

I have an additional redbubble.com profile with only geometric patterned designs:

https://www.redbubble.com/people/JennyMeehan/explore

 

Which “Keim Galaxies” have I put up on Redbubble.com so far?

Here are some images of the “Keim Galaxies” up at the present time.  I will be adding to them, of course.

 

 jenny meehan british contemporary artist ©jenny meehan "keim galaxies" geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

 jenny meehan british contemporary artist ©jenny meehan "keim galaxies" geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

 jenny meehan british contemporary artist ©jenny meehan "keim galaxies" geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

 jenny meehan british contemporary artist ©jenny meehan "keim galaxies" geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

jenny meehan british contemporary artist ©jenny meehan “keim galaxies” geometric and lyrical abstract digital prints, jennyjimjams redbubble.com prints, jenny meehan art design on redbubble.com,

Images are low resolution on the internet.  On Redbubble.com it’s possible to have them printed on prints and furnishing, and many different types of merchandise at a very large scale.  This is perfect for interior designers, for both domestic and home settings and is quick, safe, and affordable.

Note: The edges where colours meet are diffused, giving a gentle, organic feel when viewed at very close range. This softening is deliberate, and not a printing fault. The combination of flat solid colours and softened edges on printed substrate is part of my aesthetic and characteristic of all of my flat colour designs.

 

 

Jenny Meehan Contemporary Fine Artist Original Fine Art Paintings for Sale

If you prefer to buy affordable, original paintings, directly from me, I have plenty available and do please contact me letting me know what you are looking for.

The majority of my original fine art paintings can be described as following the style of abstract expressionism and lyrical abstraction. I paint in either oils or acrylics mostly.

A rough price guide for my original fine paintings is between £200 and £600 if purchased directly from me. When you buy a painting or any art work from a gallery setting, there is normally a commission of between 30% and 50% added to the price due to gallery costs and the purchase being made through a business. I am not formally  represented by any one gallery at the current time.

I  regularly exhibits my art working (paintings, prints, and poetry) in the United Kingdom. This is normally as a result of being selected in Open Submission Artist’s Call Outs. My work has been exhibited in many notable galleries, including Pallant House Gallery, Dulwich Picture Gallery, Stanley Picker Gallery, and Kingston Museum Gallery. My  work is featured/included in many publications, University and Hospital projects/settings.

 

Kingston Artists’ Open Studios 2020 Cancelled!

Yes, another cancelled exhibition.  Here are some images from last year to look at instead!

 

 

 

kingston artists open studios , jenny meehan artist designer art gallery, art work, art exhibition, surrey artists, surrey artists studios, jenny meehan british contemporary artist ©jenny meehanevents in surrey, artists open studios london, outer london artists studios, lyrical abstractions, geometric abstraction, fine paintings, prints,

kingston artists open studios 2019 jenny meehan artist designer artists open studios events in surrey, artists open studios london, outer london artists studios, lyrical abstractions, geometric abstraction, fine paintings, prints,

 

 

 

kingston artists open studios , jenny meehan artist designer art gallery, art work, art exhibition, surrey artists, surrey artists studios, jenny meehan british contemporary artist ©jenny meehan

kingston artists open studios , jenny meehan artist designer art gallery, art work, art exhibition, surrey artists, surrey artists studios, jenny meehan british contemporary artist ©jenny meehan

 

“With great reluctance we have decided to cancel #OpenStudios 2020 because of the #coronavirus situation. We will be back as soon as we can. In the meantime do look at our website & links to our artists’ websites. Do support them by ordering online!”

http://kingstonartistsopenstudios.co.uk

The Garden Gate Oil Painting by Jenny Meehan

 

the garden gate oil painting by Jenny jenny meehan british contemporary artist©jenny meehan

the garden gate oil painting by Jenny jenny meehan british contemporary artist©jenny meehan

This is an early painting of mine when I was first experimenting with representational painting. I’ve picked this to share because of the “Staying at Home” message we are all hearing. The painting is my neighbours front garden. The tree isn’t there anymore, as it was sadly cut down.  The pathway leading to the shut gate evokes some kind of memory for me from my childhood.  You shut gates in gardens to stop children from wandering out, in to possible danger. The paintings has shade, on the right hand side, from the walls of the house, and also sunlight which catches the bushes on the left. Young flowering plants grow in the shade, enjoying the protection of the wall from the early morning frosts no doubt.  The strong branches of the tree outside the garden are quite a contrast.

I am finding great enjoyment from my garden at this challenging time, and it is certainly therapeutic!  A good way of relaxing.  Nature is very comforting at times.  I said to myself recently, as I looked at my small tomato plant growing “As long as the plants keep growing, we are OK!”.

 

 

 

 

jenny meehan Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist©jenny meehan

jenny meehan Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist©jenny meehan

 

 

©jenny meehan jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist

jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist©jenny meehan

 

 

The Art of Caring

Well, ANOTHER cancelled exhibition. Which has become an online exhibition for the time being.

Here is some information about it, copied and pasted from the “Art of Caring” website. http://www.artofcaring.org.uk/

 

“Introduction to “The Art of Caring” Online Exhibition

“We are delighted to participate in the Art of Caring 2020 exhibition, the year which the World Health Organisation designated as the International Year of the Nurse and Midwife and the bicentennial year of Florence Nightingale’s birth. Any year would have been timely to celebrate the attributes of our highly skilled, multi faceted professions, which make up the largest proportion of the NHS workforce. But with the world facing a global pandemic, it is apposite that in this, of all years, we pay tribute to the contribution and sacrifice made by our colleagues worldwide and offer them our sincere thanks and gratitude.

The theme for this year’s exhibition, ‘Ingredients for a healthy life’ takes on new meaning and poignancy in such unprecedented times. Many images in our exhibition reflect this, appreciating the gifts of comfort and kindness which bind us together. We are indebted to our Artist In Residence, Alban Low in organising our first ever ‘Virtual’ exhibition and hope you enjoy it as much as we have.

Keep safe (and wash your hands),

Prof Karen Norman (On behalf of the School of Nursing, Kingston University and St George’s, University of London).

Karen Norman is Non Executive Director, Queen Victoria Hospital NHS Foundation Trust and Visiting Professor, Business School, University of Hertfordshire

This exhibition is supported by the School of Nursing, Kingston University and St George’s, University of London. Thank you to the arts team at St George’s Hospital and our long term artist partners The Arts Project (Peter Herbert/Marius Els) at St Pancras Hospital.”

“The Art of Caring” Online Exhibition will be running over May 2020. Each day there will be the work of four artists on the Art of Caring blog/website, and on some social media platforms too.  Here is the rundown!

Art of Caring Online exhibition 2020
Aaron J Little 20/05/2020
Aasiri Wickremage 15/05/2020
Adam Drouet 07/05/2020
Alan Carlyon Smith 31/05/2020
Alban Low 25/05/2020
Alexandre Santacruz 21/05/2020
Ally Zlatar 20/05/2020
Amanda Van Der Zant 07/05/2020
Amna Walayat 28/05/2020
Ana Miljkovac 26/05/2020
Ann Froggatt 28/05/2020
Ann Kopka 10/05/2020
Anna Bulgakova 18/05/2020
Anna O’Doherty 05/05/2020
Aran Illingworth 20/05/2020
Ayşegül Altunok 19/05/2020
B a r b a r a   Schneider 23/05/2020
Beatrice Bromley 09/05/2020
Beth Barlow 11/05/2020
Bryan Benge 08/05/2020
Carole Loeffler 28/05/2020
Catherine Jack 15/05/2020
Catriona Smith 25/05/2020
Charlotte W Stubbs 08/05/2020
Chiara Cavarzan 29/05/2020
Chloe Ann Munday 12/05/2020
Chloe Laurence and Tom Francome 24/05/2020
Chris Brown 30/05/2020
Chris Holley 27/05/2020
CJ Crosland 18/05/2020
Clare Owen 27/05/2020
Collette Costello 14/05/2020
Corinne Perry 06/05/2020
Cotidad 28/05/2020
Dacc e Dukjan 12/05/2020
Daniel Zlota 05/05/2020
Daniele Bongiovanni 02/05/2020
Danny Mooney 19/05/2020
David Robinson 26/05/2020
Dean Reddick 21/05/2020
Durre Sameen 23/05/2020
Emily Naine 27/05/2020
Gabriella Ranito 04/05/2020
George Mavrikos 18/05/2020
Gerrard Lindley 01/05/2020
GIDEON CONN 30/05/2020
Giovanna Iorio 14/05/2020
Grant Radford & Zoe Maslen. Accent 16/05/2020
Hamish Young 30/05/2020
Hannah Lehane 01/05/2020
Helen Grundy 02/05/2020
Helen Roeten 13/05/2020
Helen Tate 17/05/2020
Henry Kenyon 29/05/2020
Jade Atkinson 02/05/2020
Jane Walker 26/05/2020
Janet Stafford 09/05/2020
Jean Mooney 19/05/2020
Jeff Hunter 25/05/2020
Jennifer Weston 10/05/2020
Jenny Meehan 06/05/2020
Jina Wallwork 01/05/2020
Jon Halls 05/05/2020
Julie Bennett 04/05/2020
Jura Brian Joyce 17/05/2020
Karen Winship 12/05/2020
Kath Lovett 07/05/2020
Katie Frost 22/05/2020
Katy Sayers 21/05/2020
Klaus Pinter 07/05/2020
Laura Atkinson 02/05/2020
Laura Parker 04/05/2020
Laura Scull 14/05/2020
Laurence Morgan 10/05/2020
Lieske Weenink 03/05/2020
Lily Mooney 31/05/2020
Lotta Barlach 27/05/2020
Louisa Pankhurst Johnson 15/05/2020
Lucy Clayton 20/05/2020
Lucy Oates 24/05/2020
Lydia Fernandez-Arias 08/05/2020
Mahlia Amatina 13/05/2020
Maria Lezon 08/05/2020
Marina Medef 23/05/2020
Marius Els 12/05/2020
Mark Carr 03/05/2020
Martin Hill 26/05/2020
Martina Scott 04/05/2020
Mary Conway 24/05/2020
Melanie Honebone 06/05/2020
Mia-Jane Harris 29/05/2020
Misty Athena Stokes 11/05/2020
Monique Martin 03/05/2020
Nadia Uppal 31/05/2020
Nicholas Sweet 14/05/2020
Nicky Chubb 18/05/2020
Nicole Lyster 05/05/2020
Paul March 11/05/2020
Paula De Sousa 15/05/2020
Poppy Field 24/05/2020
Rachael Murray – Created by family carers in Suffolk 17/05/2020
Rakhee Shah 05/05/2020
Raul Moya Mula 16/05/2020
Rebecca Sainsot-Reynolds 22/05/2020
Richard Young 06/05/2020
Ryoko Minamitani 19/05/2020
Sam M Harley 25/05/2020
Sara Jayne Harris 11/05/2020
Sarah Foque 16/05/2020
SEAN WORRALL 03/05/2020
Shannon Amey 22/05/2020
Simon Richardson 29/05/2020
Sonia Ben Achoura 23/05/2020
Stella Tripp 09/05/2020
Sue Thompson 16/05/2020
Susan Plover 30/05/2020
Teri Anderson 22/05/2020
Tracy Ferriss 31/05/2020
Trevor Coopersmith 10/05/2020
Vaiva Kovieraitė 21/05/2020
William Stok 17/05/2020
Yvonne Vignes 13/05/2020
Zelga Miller 09/05/2020

Zoe Douglas-Cain 13/05/2020

As May has started already on publishing this blog post, I have already started to look at some of the artworks and statements online, and they are amazing! Can’t wait to see more!
My contribution:
Here is my submission. Title “Eating Greens” 🤣
Sometimes self care is difficult! It feels unpleasant when we are not used to it!
The thinking behind this submission is that for those in the caring professions, or anyone fulfilling a caring role, it’s so easy to neglect ourselves. Neglecting to eat healthily is one obvious way to neglect yourself, but there are many others. The model in the photo is my daughter, who loves cabbage now… It just took some getting used to.  Often self care feels hard… It doesn’t feel right, but it gives us nourishment which we need.
Jenny (I need to remind myself of this all the time!)
eating greens for art of caring ©jenny meehan print for http://collectconnect.blogspot.com/ and art of caring online exhibition

eating greens for art of caring ©jenny meehan print for http://collectconnect.blogspot.com/ and art of caring online exhibition

And instagram is
jamartlondon_jennymeehan

 

Kingston Museum Exhibition

One of my prints has been shortlisted for this art exhibition at Kingston Museum.  Another one which will have to wait, at this Covid 19 Time we inhibit. No online exhibition happening for this one. It will be titled: Climate KAOS: Kingston Artists Open Studios present works about climate change. Was due to happen in June..

My artwork was one of the shortlisted, and we won’t know what exactly gets hung in the museum gallery until the massive task of hanging the work takes place, whenever that is.  It might be that depending on how the hanging goes, my work might not be in the final exhibition, but the intention at the present time is that it is.

Here is info on my work and the thinking, as submitted in the Artists’ Exhibition Call Out

 

“Artwork title: “Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.”
Medium: digital print on 3 mm panel
Year created: 2019
Overall dimensions: (including frame where applicable) 400 mm x 400 mm
Price: ( including 30% commission) £150

Title: “Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.”

My response to the exhibition Mandalas at White Cube Mason’s Yard.

This mandala started with waste in the form of printed wrapping paper.

I was brought up with the phrase “Waste not want not”, which is said to advise someone not to waste anything, because they might need it in the future. This seems a timely message humankind in the present era especially, and regardless of perceived value, in art or anything else, we should all be using the resources we have wisely, however much or little they cost.

Jenny Meehan is an artist based in Chessington Surrey working with painting, digital imagery and writing..”

 

Other thoughts on this.

The artwork started as something I posted on instagram with the following text:

 

"Poor art" parody; A Damien Hirst "style" Mandala created from waste and without assistants." ©jenny meehan print for Kingston Museum KAOS exhibition

“Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.” ©jenny meehan print for Kingston Museum KAOS exhibition

 

 

"Poor art" parody; A Damien Hirst "style" Mandala created from waste and without assistants." ©jenny meehan print for Kingston Museum KAOS exhibition

“Poor art” parody; A Damien Hirst “style” Mandala created from waste and without assistants.” ©jenny meehan print for Kingston Museum KAOS exhibition

 

About Jenny Meehan

Jenny Meehan – UK based painter-poet artist-author

Specialism: Geometric and Lyrical Abstraction

Artist Journal: https://jennymeehan.wordpress.com/

Image licensing via DACS Designer and Artists Copyright Society (DACS proposed fees are negotiable contact me in first instance)

https://www.youtube.com/user/jennyjimjams

https://www.instagram.com/jamartlondon_jennymeehan/

 

 

Copyright Information – Jenny Meehan

©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 licences 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. It can be done online through their request form:

https://dacs.secure.force.com/enquiry/

For an overview on image licensing on the DACS website, look here.

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

Please NOTE: the “Quote” suggested is a proposed fee in line with the industry standard.  While I do stick broadly to the industry standard with respect to fees, I appreciate the need to stick to a budget in publishing, and the quote is a proposed amount. I normally have some flexibility! 

 

DACS will automatically propose a licensing fee in line with the industry standard.  However, please note, this is a negotiable fee. I am happy to be flexible about the initial fee proposed, and it’s not a problem if the initially proposed fee is outside your budget.  Administration of the licensing process is facilitated through DACS, who liaise between us with respect to the exact fee agreed. Depending on circumstances and the nature of your project, I can offer fee reductions for a certain percentage of licensing arrangements.

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

So, feel free to contact me if you are looking for a particular type of artwork image, as I have a large archive of images. 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.

Sample Price Guide for book cover image: £350, as below:
For this kind of use:
Distribution: Worldwide all languages
Print run: 5,000 printed copies plus 500 e-books
Proposed licensing fee: £270 +vat
This was below the proposed licencing fee initially suggested to the client by DACS, which was (in that year) £382 +vat, but I had a personal interest in the project therefore was happy to reduce the fee accordingly.
I request three complimentary copies of the book for myself, but I make no fee for the supply of the image.
My images can be licensed for use easily and quickly.  DACS have price lists on their website for different types of use, which should be used only a guide for a proposed fee.  It’s a starting point. I can normally be flexible.

 

 

 

 

 

 

Kingston Artists’ Open Studios 2020

 

 

 

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

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

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

spring will come digital image jenny meehan

spring will come digital image jenny meehan ©jenny meehan

And this, because Spring Will Come!  ©jenny meehan

 

 

 

 

jenny meehan surrey artist london contemporary female artist

jenny meehan surrey artist london contemporary female artist

 

It is very casual, but I find posting screenshots very convenient! Here’s a photo of me at last year’s Kingston Artists’ Open Studios.  Which reminds me to flag up we now have the dates for this year’s Kingston Artists’ Open Studios! The 2020 Kingston Artist’s Open Studios with be on June 6/7th and 13/14th! Kingston Upon Thames artists open their homes and studios.  Open to all.  Come and meet us!

More info on the Kingston Artists’ Open Studios website here;  http://www.kingstonartistsopenstudios.co.uk/open-studios/

The catalogue is not out yet… too early, but you can see previous Kingston Artists’ Open Studios Catalogues on the Kingston Artists’ Open Studios website and also sign up to receive more detailed information for this year’s Kingston Artists’ Open Studios when it comes out.

 

Time Table

 

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

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

My statement:

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

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

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

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

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

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

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

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

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

Time Table isn’t on You Tube at the moment.  I think I will wait till I have sorted out my new website and put it on there.

 

New Website for Jenny Meehan

I am going to create a new website which will be a little more broad in the mediums it shows.  The existing one has it’s main focus on paintings and some digital prints, but I find that my practice is far more eclectic now as time has gone on.  Now I am on instagram too, and my writing focus rests a little more securely on this Artist’s Journal, I think I can make the website a little more compact.

 

Coventry Cathedral

There was a very interesting “Open Call” for the commissioning of new vestments and a banner for Coventry Cathedral before Christmas, but the practicalities of it didn’t seem realistic to me in terms of financial recompense.  I think if I was both a designer and maker of banners and vestments then it wouldn’t be  such an issue, but for someone like me, who is a designer more than a maker (well, of vestments and banners, at least!) the making would need to be contracted out to someone else, with massive financial implications…at least, if it was to be done to a high professional standard, for sure.  The actual banner design has significant value, and the copyright matter wasn’t touched on at all.  I did contact the relevant person and put my view/perspective forward, but haven’t heard anything back.  The value of the actual design, and subsequent images of it, is very important, as is the project management, (time wise) and I had an excellent idea to explore with it, but I simply cannot afford to spend hours on something which is basically speculative.  It’s certainly speculative if I wouldn’t consider carrying out the project due to insufficient funds if I was fortunate enough to be selected, so I have just left it.

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

I am normally pretty flexible, and open to negotiation of licensing fees.  As a member of DACS, there are the industry standard fees which are of course recommended, but it is the artist who has the final say, and for projects with limited budgets, charitable, religious organisations,  particular uses which I have a particular interest and passion about, then flexibility is appropriate.   Something like a banner for Coventry Cathedral would be exactly the kind of thing I would be flexible about, but I do value my work and though I try not to, I cannot help but feel irritated by no mention of copyright and of a task of such massive scale with insufficient funds to cover the costs.  I could be wrong…It’s been known…but we will see.  Someone will do it, possibly very happily.  It doesn’t fit in with the way I value my work to ignore copyright matters and while it would have been a nice project to submit something to, what is the point, when I wouldn’t deliver for the money offered?

Coventry Cathedral

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

The animation was rather more fast than I ideally wanted but I am going to make a slower version.  It needed to be short for the screening, so I went with it moving very fast, rather than somewhere in between.  Both the poem in written form and as word and image animation are titled: “Wonder”.   The poem is below.

 

Wonder

 

Both soft and clear

Beautiful and broken

 

Light is transformation

Colouring the soul

Endless pattern

Radiating

 

Ever differing

Yet completely

Whole

 

by Jenny Meehan 2019

 

This  is a silent video of word and image. 2.26 duration, in this version. In square aspect ratio.  No punctuation in this version.

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

Text from the Artist’s Call Out:

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

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

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

 

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

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

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

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

 

Kalos – Jenny Meehan

 

Before Christmas I created a few more in my “Kalo” series.  The idea for creating these came initially from a dream/vision.  I think I have written previously about this, so I won’t go into it again.  Having an instagram account is very good for me as it encourages me to post online regularly and it makes me share my work in an quick and accessible form, which is great!

 

https://www.instagram.com/jamartlondon_jennymeehan/

 

 

jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist

jenny meehan jamartlondon Kalo Kaleidoscope art design geometric abstract surface pattern on redbubble to buy affordable british contemporary artist

 

 

Poetry and Traumatic Brain Injury

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

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

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

I experienced much complex traumatic stress myself, partly as a result of my family member’s brain injury. This was, I think, accentuated because I had many early life adverse childhood experiences, and the experience of having the one relationship which previously brought some sense of sanity into my early years of life, torn apart and altered by such an injury, was beyond my own capacity to cope with.

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

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

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

Sometimes I think I have had a silly amount of trauma in my life, but it’s not a competition, this stress and suffering matter.  We just cannot judge what people go through and don’t go through.  Often it’s mostly unseen.  I’m glad I can touch on some of mine a bit from time to time. I do this because I am able to articulate it and it’s helpful to me to do so sometimes.  I have been surprised at what I have learnt through my experiences of being a relative of a person with a traumatic brain injury. I would never have appreciated previously how much and to what extent one person’s injury can also affect another person.  There is a corporate damage which happens when one person is hurt, and often the relatives and others around a person with a traumatic brain injury need help and support in a way which is easy to under appreciate. Survivor’s guilt is complicated. 

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

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

 

I found the following a very heartening read:

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

I think for myself, (though I haven’t previously put the two together), that my increased involvement in visual arts and writing which started to emerge initially from around 2005, may well have begun as a helpful coping mechanism.  I know it was the case a bit later on; It was immensely beneficial for me… just the physicality of it, the contact with materials, and the way it helped me to be in the present moment. My earlier life aspirations of being an artist were something I had left behind years back; I wasn’t in a position to put my energies into the visual arts direction in the first half of my life.  That’s not a bad thing.  I think it was good to have the maturity I had later on.  It’s important to have a sense of direction as a fine artist.  It can’t come from anywhere but yourself.  It means facing yourself, and that’s not an easy thing to do.

Below a bit of blossom.  Hopefully soon I will see some in Chessington and enjoy the colour and scent. Time spent looking at nature is very well spent.

 

 

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Knee Replacement Surgery

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

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

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

“17 Jan 2019

Robot revolution for knee replacement patients
Surgeons performing knee replacements at the South West London Orthopaedic Centre (SWLEOC), which is based at Epsom Hospital, have a new cutting edge assistant in the operating theatre – a robotics-assisted surgical system called NAVIO that helps improve accuracy during surgery.

The NAVIO surgical system (which is a hand held tool attached to a computer) uses infrared signals to produce a detailed computer model of the patient’s knee before and during the procedure. The software also helps the surgical team to work out how the knee will move after surgery, and gives real time feedback on alignment and positioning of the implants. The system can also show the surgeon a 3D image of how much bone needs to be removed before the implant is put in and improves the overall accuracy of the position.

Chief Executive Daniel Elkeles, who was given the chance to trial the new tool on a prosthetic femur bone, said: “The NAVIO surgical system is a fantastic piece of equipment and will have huge benefits for our patients. It will assist our surgeons with further improving the accuracy of placement of knee replacements, with the aim of improving their recovery. In fact, with NAVIO, we expect that patients who do not have any complications or other health conditions should be well enough to go home the day after their surgery.

“Nationally, 20% of patients are dissatisfied following their knee replacement surgery, which can often be attributed to the alignment of the replacement joint. Our SWLEOC surgeons and the theatre teams are some of the best in the world, but our new NAVIO will make this process even better, and every new knee joint will be aligned to each individual.”

Mr Feroz Dinah, Consultant Orthopaedic Surgeon at SWLEOC, who has been leading the introduction of the NAVIO robot to the teams, said: “This is an exciting development for us. The surgeon still does the operation, but the robotic-assisted technology is a reliable way of getting the cuts to the bone exactly to where the surgeon intends. Using infra-red tracking technology, the computer creates a virtual 3-D model of the patient’s knee on the computer screen in front of the surgeon. Although the operation takes a bit longer initially as we get used to the system, early experience has shown that some patients are able to go home the following day due to reduced pain and swelling. This is a team effort, with everyone from pre-op assessment to theatre and recovery staff, as well as physiotherapy playing essential parts in this improved patient experience.”

 

Quoted from: https://www.epsom-sthelier.nhs.uk/news-and-events/robot-revolution-for-knee-replacement-patients-2436

 

WOW!  That’s amazing!

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

I’m just grateful I can walk around… I will never take that for granted again!  I had many intentions of continuing to work on my writing from the knee replacement time of my life, hoping to narrow things down and bit, cutting it down to size and maybe making some kind of e-book or similar, but I don’t have the time to do that at the moment.  However, it’s on the internet so it’s nice to know it might prove useful to people even if it is in rather a massive textual glob!

 

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

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

 

 

holocaust memorial jenny meehan

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

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

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

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

Quoted from above:

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

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

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

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

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

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

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

It is vital to remember the Holocaust. Vital.

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

 

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

 

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

Finally found a title for this painting!

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

 

Jenny Meehan – General Information

 

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

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

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. I do need support in order to continue my artworking.

 

Signing up as a follower on my WordPress blog ( https://jennymeehan.wordpress.com) also helps, as does sharing the posts when you receive them.  Anything you can do to help me is much appreciated!

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

All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance.

 

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

 

 

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I ran out of time in my last post to tell you more about a project I was pleased to be part of.  So better late than never!

Collect Connects’ Artwork for the Tate Modern

This was a Collect Connect project (Alban Low) with Harvey Wells, Kevin Acott and the team at
Queen Mary University of London

From the Collect Connect site:

“In 2016 we created our Relationship Map for Mental Health Awareness Week. It was a large scale artwork that charted people’s life connections using the London Tube map. After its success we’re back in 2019 with a new interactive map that will be exhibited at the Tate Modern from 11th-16th June. It will be part of the Ideas in Motion: borders, bodies, and the universe exhibition at the Tate Modern, Blavatnik Building, Level 5, Bankside, London SE1 9TG.
More info at https://www.tate.org.uk/whats-on/tate-modern/tate-exchange/workshop/ideas-motion-borders-bodies-and-universe”

https://collectconnect.blogspot.com/2019/05/emotion-at-tate-modern.html?fbclid=IwAR1jDo_JkBBElxSUvrJPaFjcIs8FpLoEd31M2BZIEy3JzBqsWOsG62uzyLU

 

Our artwork is eMotion: Emotional Transitions in Healthcare. Ill-health requires us to make transitions: to move emotionally, spiritually, socially, physically. We adjust from being ‘healthy’ to being ‘ill’, from ‘independence’ to ‘dependence’ and back again. The project highlights the joys and fear of impermanence, of the changes that occur every second, minute and hour of our lives. It embraces movement as normal, as part of the flow of life – something that should neither be resisted nor forced.

We’ve built a huge interactive floor map, in the style of a tube map, which has ‘end stations’ labelled with key points of ‘stasis’. The ‘station stops’ in between are open for people to explore how they navigate these transitions. We would like your help in creating a map so that visitors at the Tate can navigate a path along these routes of transition.”

quoted from the Collect Connect website

Connections on the interactive floor map reflected journeys between two poles;

Health – Illness

Dependence – Independence

Home – Hospital

Life – Death

Young – Old

Hope – Fear

Certainty – Uncertainty

Me – You

Doctor – Patient

There were three blank “stops” for each line.  Artists, including myself, made our contributions concept wise and these were made into options for people to arrange so they could connect the concepts in the way they felt meaningful. (For example: what does it feel like to be in the middle between Hope to Fear, or closer to Hope, or closer to Fear. You could write something like: Hope – Last Minute Corner – First Game of Season – One Nil Up – Fear.)

Some of my ideas were used and it was lovely to contribute.

 

Here were my submissions:

Life – Death

Grateful Reception – Intimate Connection – Anxious Separation

and

Me – You

Expecting – Meeting – Expecting

 

Doctor – Patient

Controlling – Enquiring – Seeking

 

Hope – Fear

Holding Wonder Lightly – Trying to Grasp All – Losing Sense of Self

 

Dependence – Independence

Vulnerability and Need – Gathering Resources – Freedom to Be

 

Certainty – Uncertainty

Really? – Faith – Trust

 

Young – Old

Tender in Expectations – Placid Pivotal Places – Facing the Realities

 

Home – Hospital

Where it Starts – Where it Happens –  Where it Ends

 

Health – Illness

Moving and Being – Maintaining Momentum – Slipping Down Stagnantly

 

 

eMotion: Emotional Transitions in Healthcare
Ill-health requires us to make transitions: to move emotionally, spiritually, socially, physically. We adjust from being ‘healthy’ to being ‘ill’, from ‘independence’ to ‘dependence’ and back again. Track your personal route from illness to wellbeing on an interactive map of the healthcare system.

Tate Modern also have this, which looks interesting.  As someone with osteoarthritis….(and a nice new total knee replacement to go with it!) impaired mobility has been part of my own experience.  Thankfully at present, I am fully mobile, but I did have a two year period when that was not the case.

Creating without Constraint: Arthritis and Art
Experience this interactive workshop exploring the relationship between impaired mobility and artistic expression. Our researchers will guide you in a ‘journey’ inside the joints with activities simulating the restriction of movement. The display will include the work of Renoir and Pickering, two artists who lived with arthritis, to explore how art can overcome disability. Also, emerging painter Rebecca Ivatts will give a talk about her collaboration with Pickering.”

I looked around and chatted, having excellent conversations and learning lots, as well as sharing my own perspectives and experience of osteoarthritis.  I’m particularly interested in chronic pain management, as this is something I studied a fair bit over the two years before my knee replacement surgery out of necessity.  I don’t have pain in my knee anymore, but my elbows, wrists and hands have decided to sometimes advertise themselves in the pain department. I’m getting pretty experienced at moving my mind in other directions now!

 

Big and Small Names at the Tate Modern

The novel thing is, I can now say my name has been present at the Tate Modern!  Yes, printed, and there for all to see.  Only because of a small contribution, but there all the same.  And names mean a lot to us, so just the little printed presence of my name at the Tate Modern can bring me at least a little smile!

People like their names in places…Yes they do. It’s interesting that the now Blavatnik extension/building at Tate Modern was named the “Switch House” when it was opened in June 2016. I do prefer the original name. It holds some relevance to the history of the building which I think is always a good thing.  The now Blavatnik Building was originally named the Switch House to reflect the previous use of the site for a power station.  It’s very interesting that you can see two circular terrace areas when you look downwards.  You can see the Oil Tank Wall, which is an interesting element of design.  The Oil Tank Wall encloses two large circular terraces, to the south and east of the building right in front of the new gallery entrance and café. The Oil Tank wall is an above-grade extrusion of the existing below ground Oil Tanks.  I love it.  It’s a strong feature which heightens your awareness of the past.  I think the building was always meant to strongly echo its past as well as its future…because it has an interesting history.

Tate Modern’s The Turbine Hall is housed in the former Bankside Power Station, designed originally by Sir Giles Gilbert Scott (He was the architect of Battersea Power Station too!). It was built between 1947 and 1963. Before it was developed the steel framed brick clad building with it’s 99m chimney was divided into three main areas: the Turbine Hall, the Boiler House to the north, and the switch house to the south.

So you see, bearing in mind the Turbine Hall, the Boiler House and the Switch House…yes, a nice trio.  It is a bit sad that the Switch House was renamed.  I guess when someone donates a lot of money, they like to have their name included.  And it’s kind of understandable.  Because I got a tiny bit of a kick out of my little name being in the Tate Modern, so I am sure the same kind of kick, but a little bit larger, applies!  So the name was changed, a year after the opening, and reflected Blavatnik’s wishes. Bearing in mind the size of the donation, I think it was probably diplomatic to reflect Blavatnik’s wishes.  Nicholas Serota, who stepped down as the Tate director at the end of May 2017 said he was “delighted the new building now bears his name”. Blavatnik made the Tate pledge in 2011 and the Blavatnik Family Foundation’s donation made up a substantial amount of the £260m needed to complete it.

So I do wonder if the name “Switch House” was meant to be it’s proper name… I’m sure it was… It would be in accordance with the other buildings.  Yet Len Blavatnik, (an industrialist born in Ukraine) came up with the cash in 2017 when Tate Modern found that the new Switch House extension had left it with a £30m funding shortfall. So I shouldn’t be surprised that a year after it opened, the Switch House was renamed the Blavatnik Building.  And I’m quite happy with my own name in very small print on an super contribution to the “Ideas in Motion: borders, bodies, and the universe exhibition”.

https://www.ft.com/content/449ad16e-20dd-11e6-aa98-db1e01fabc0c

USSR-born billionaire made one of largest donations in Tate’s history to help fund building temporarily named Switch House

What Style is that Painting?

This was one of the questions I was asked at this year’s Kingston Artists’ Open Studios.

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

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

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

Yet “style” can be a trap.  I believe a consistency can be found which comes from the person themselves. Styles may change but the interactions between mediums and styles are what keep an artist’s work dynamic.  I don’t need to stick to one style… It’s  more a matter of honing my focus and being reflective and innovative. Sometimes that makes an artist’s work rather an eclectic mix.  Diverse at times. That’s good, not bad.  Don’t worry about how your work would look on a supermarket shelf.  Don’t worry about if you are consistent enough.  Do your work for your self, unless you particularly want to do it for other people.  That’s fine too.  But exploration, discovery, experimentation, and going beyond what you can see or anticipate or plan…. These keep things exciting imo.

Do you need exciting, engaging, images for a book cover design?

Do you need exciting, engaging, images for a book cover design? If so, then take a look at my website jamartlondon.com, for a start.

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

Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.

From the lyrical abstraction of some of abstract expressionist style textured paintings, to the geometric abstraction clear edged imagery, which I also produce, the value of non representational imagery in book cover design which is both colourful and interesting, and stimulates the eye with colour and striking composition, cannot be under estimated.

If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.

DACS administrate my licensing agreements and organise the use of my art work images quickly and conveniently. They are very helpful and can guide you through the process if you are unfamiliar with it. I normally follow their guidelines with respect to the fees for licensing, as these are set in line with the industry standard.

DACS do offer a good reduction in fees for registered charities. Occasionally it may be possible for slightly reduced rates to be negotiated in other circumstances.

To find out more about how you can arrange to use my imagery, see here:

https://www.dacs.org.uk/licensing-works/frequently-asked-questions#FAQ122

 

 

Artist’s Statement – Jenny Meehan

Artist Statements are funny things…Mine does change over time and circumstances.  Which is in accordance with my priorities and focus at the time of writing. This is no bad thing.  Often it is very helpful as the need to critically assess and evaluate my vision and objectives, as well as look back into the past and reflect on how things are evolving is a useful practice which needing to write an artist statement helps.  Here is an example of an early artist statement I wrote many years back:

I have been creating two and three dimensional art since 2005. Art is about exploration. I view mine as a natural and evolving process which is primarily to do with the emotions and spirit, though I do enjoy playing with concepts too. My Christian faith, relationships, and artistic contemplation and production are the main driving forces in my life.

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

My art is a sacramental practice, and the mystery of faith and its reality beyond our human rational mindset is something which interests me. I also see my work as an articulation of fragmentary experience; it’s how I make sense of the world. Alongside my general fine art practice I am interested in liturgical art using a variety of media. Since 2008 I have put most of my creative energies into developing my skills with paint, which I love. Intensely.”

I quite like this one…It gives a gentle overview, which includes a lot about spirituality and faith and the importance inspiration wise of my religious tradition.  It’s not very focused on any particular current project of the time…I wanted to keep it very broad and tried to cover a large area with it.  Maybe a little too much of an overview I think, looking at it now.  However, the purpose is important, and it was written for my website at the time, so in that sense I think it was a pretty well fitting piece of writing.

 

Lovely West Dean College and West Dean Gardens!

west dean gardens west dean, drawing by jenny meehan

Drawing done in West Dean Gardens

Drawing by Jenny Meehan in West Dean Gardens Sussex.

Another one….

drawing by jenny meehan in West Dean Gardens Sussex

Another one!

I will post some photos at some point.

This year I was experimenting with Collagraphs.   Very nice medium… Right up my street.  I have been working with black a fair bit in my studio tent recently…. experimenting, so the rich black ink was a welcome sight and the textures are always so dynamic in terms of the marks they can make.  So it was a delight.  Take a look on my instagram to see some of what I produced, though as is always, I have taken home a lot of work to do which will keep me on track in that area for some time.  I’m not interested in working large or producing editions…Small unique prints are more interesting and why produce more of the same?

https://www.instagram.com/jamartlondon_jennymeehan/

 

Shape Open 2019

Very please to be taking part in this year’s Shape Open Exhibition.  It’s great my two years of increasing physical disability before a much needed knee replacement proved so fruitful in unexpected ways.  Not easy, but to take part in the Shape Open 2019 with my work “What Does this Symbol Say?” feels very appropriate, because the creation of my artwork is intimately connected with my own experience of disability.

https://www.shapearts.org.uk/Blog/shape-open-2019-artists-announced

Inclusive International Symbol of Access Design by Jenny Meehan

Here is the text I submitted:

“My re-design of the International Symbol of
Access is inspired by my own need to rethink
what disability is due to a period of restricted
mobility prior to knee replacement surgery.
Finding myself in need of using an accessible
toilet, for example, helped me to realise how
inappropriate the existing symbol was.
I’d like people viewing the work to add their
thoughts as to what it expresses to them. If the
ISA was to change, this could have a powerful
impact in many societies and open up
dialogue and awareness in a very beneficial
way.
Opportunities to rethink are intimately linked
with with conversation about disability, and art
is a key player in helping peoples awareness
to increase through engaging with new ways
of seeing and experiencing things. In my
view, the focus for progression in all things
needs to encompass a strong sense of moving
forwards and upwards, and this new icon has this. ”

 

The reason why I think my design is a good option:

It’s got the right angle of what was the seat of the wheelchair and also the round circle which was the wheel.  It has the three main elements of the existing wheelchair symbol but rearranged and reinterpreted. Open arms convey welcome and reception of.

My symbol has also the following strengths:

It retains the circle, helping recognition, as society adjusts from the old to the new
It works in both static and mobile situations (ie previous crit of the dynamic wheelchair version)
It suggests refuge (a circle as something which encompasses and surrounds in a protective way)
It suggests entering into…. key for accessibility…the pointed end of the v shape enters into the inside of the circle
It suggests freedom…. The arms (v shape) are outstretched and open. This is freedom for the disabled person
the feeling of this icon is buoyant and expansive…
the small circle and upturned V shape resemble the top half of a person’s body, meaning it still contains the two key elements from the old symbol, a circle and a human body, just in a slightly more open and abstract way.
The whole icon has a sense of outwards and upwards… things are moving forwards.
The whole icon is more inclusive, and shows inclusion visually too… ie the person goes into and comes out of the circle. Helpful when used to signify that facilities are designed around the person.

Facilities are designed around the person, and the symbol is designed with the person, not the wheelchair, being central which is more appropriate.

Unfortunately the process for getting the International Access Symbol changed is probably near impossible, as there are so many bodies and countries and boards which it would need to go through.  However, this hasn’t stopped me creating this. It’s making it’s debut into the world in the perfect place.

I designed my inclusive international access symbol in February this year.  I later used it to create another different design with a specific emphasis on mental health; “State of the Art”.  State of the Art is an emblem with specific personal links to my own psychological and emotional trauma recovery, while “What Does this Symbol Say?” is a symbol design which relates to my experiences of physical disability, though of course the two are related!

I’m looking forward to the private view!  Info here  (from Shape website):

 

Join us for the Private View of the 2019 Shape Open on Thursday 5th September from 6.30 – 8.30pm.

This event will be BSL interpreted.

The exhibition will be available at Nunnery Gallery until 19th September.

The Shape Open 2019 exhibition explores the theme ‘In Circles’ in the context of disability. Disabled and non-disabled artists were invited to submit work for Shape Arts’ seventh annual Open exhibition that ignites debate and discussion on disability from a wide range of viewpoints.

This year’s exhibition theme ‘In Circles’ questions whether progress for disabled artists is being and can be made within the arts, if our work is counterproductive and a circular argument, or if we can shift institutional thinking.

The exhibition showcases work across a wide range of art forms from artists around the world.

The 2019 Shape Open exhibiting artists are:

Tony Allen, Richard Amm, Faith Bebbington, Coreen Bernard, Lizz Brady, Claire Callow, Sam Castell-Ward, Annie Ho Cooper, Daisy Cowley, Nikki Davidson-Bowman, Catriona Faulkner, Alice Rose Floyd, Steven Fraser, CL Gamble, Laura Graham, Michael Gurhy, Steven Hardy, Jack Haslam, Liam Hassan-Beserekumo, Tzipporah Johnston, Elora Kadir, Nihan Karim, Glynis Lamond, Carrie Mason, Campbell Mcconnell, Andrew McPhail, Jenny Meehan, Charlie J. Meyers, Bella Milroy, Aidan Moesby, Steve Musk, Elfrida Osbert, Alice Partington, Beau Rouse, Amna Sharif, Anne Smith, Mark Tamer, Andrea Vicentini, Aminder Virdee, Ophir Yaron, and Chan Chung Yuen.

A winning artist, selected by a small panel including Shape Open Patron, Yinka Shonibare MBE (RA), will be awarded £1,000 at the Private View; a second artist will receive the People’s Choice Award of £250, as voted for by visitors of the exhibition throughout its duration. The People’s Choice Award is kindly supported by Crucial Colour Ltd, part of L&S Printing Co Ltd in Worthing, West Sussex.

Full details can be found here: https://www.shapearts.org.uk/Event/shape-open-2019

Travel Information
Opening hours: Tues-Sun, 10am to 5pm
Address: Nunnery Gallery, 181 Bow Road, London, E3 2SJ
Nearest station(s): Bow Road (District and Hammersmith and City lines) is a 6-minute walk away, and Bow Church (DLR) is a 3-minute walk away.
Bus: 205, 25, 425, A8, D8, 108, 276, 488 and 8 all service the surrounding area.”

 

Last, but not Least… North Pennines AONB Environmental Conservation Organization Subterraneous Exhibition at Bowlees Visitor Centre

I have my work on show at Bowlees Visitor Centre.  The location of the centre is within the North Pennines Area of Outstanding Natural Beauty/AONB and UNESCO Global Geopark.  It looks like a lovely area.  I cannot visit the exhibition but hopefully they will publish online a lot about it soon.

There’s an article here:

https://www.teesdalemercury.co.uk/art-and-leisure/exhibition-celebrates-dales-secret-world-of-bugs

I am very pleased to have my art work in this art exhibition!

My “Ant Parade” surface pattern design is something I was very pleased with and I like my work to be seen and enjoyed by others as much as possible.

Text from the above:

 

“More than 50 creations are on display in the Subterraneous exhibition at Bowlees Visitor Centre which continues to September 29 as part of the North Pennines AONB Partnership’s Cold-blooded and Spineless project.

Funded by the National Lottery Heritage Fund, the project raises awareness of invertebrates and highlights their importance to our environment and our lives.

Subterraneous will uncover the world of invertebrates, largely hidden from view.

The work has involved artists from the North Pennines and further afield.

Furry creatures will invade the exhibition space at Bowlees Visitor Centre and a variety of sculptures, sound and images will emphasise the importance of invertebrate conservation.

Works include ancient fossils in sandstone, vibrant insects made from recycled silk ties and even a sculpture that functions as a soil ecosystem.

There will also be an “infestation chair”, covered in a screen-printed design, celebrating the beauty and complexity of insect life.”

 

I like the sound of that chair!

 

North Pennines AONB, Environmental Conservation Organization, Subterraneous Exhibition at Bowlees Visitor Centreant parade by jenny meehan , surface pattern design, bugs, insects, ants,

ant parade by jenny meehan ©jenny meehan North Pennines AONB Environmental Conservation Organization Subterraneous Exhibition at Bowlees Visitor Centre

 

I am pleased to be supporting the North Pennines AONB Partnership’s Cold-blooded and Spineless project by exhibiting my work in the  Subterraneous exhibition.

Subterraneous is part of an AONB Partnership project.

Cold-blooded and Spineless is funded by the National Lottery Heritage Fund.

Find out more here:

  • @HeritageFundNOR

And here:

Twitter @NorthPennAONB  @northpennwild

Facebook @NorthPenninesAONB   

Instagram @northpenninesaonb

My text on Ant Parade

Ant Parade 2019

This small square piece of fabric is an example of one strand of my creative practice which involves experimentation with geometric shapes and patterns. The original form of the ants has been obscured and distorted through my visual interpretation, which I developed in order to emphasise the way ants work together.

Ants live and work together in highly organised societies called colonies. In fact, most ant colonies are so united toward the common purposes of survival, growth, and reproduction that they behave like a single organism, or a “superorganism.”

Pattern is an underlying structure that organises surfaces or structures in a consistent, regular manner. Pattern can be described as a repeating unit of shape or form, but it can also be thought of as the “skeleton” that organises the parts of a composition.

So these little invertebrates, do share a hidden, less obvious skeleton, of sorts. It’s the case in life that often the structures which hold the body together are not obvious at all, and sometimes completely invisible.

Pattern exists in nature as well as in designed objects; it is interesting to look at the parallels between art and nature, also appreciating the less obvious ones. Some formations are obvious and some are not.

An army of ants may well consist of creatures classified as invertebrate, but it’s certainly not spineless! A spinal column gives the body form and function. There’s a hidden spine in this ant parade, which I have interpreted visually in an abstract manner.

 

 

About Jenny Meehan British Contemporary Fine Artist and Designer

Jenny Meehan jamartlondon.com

I am a painter-poet/visual artist, contemplative/poet/writer, art educator, teacher and spiritual mentor (Progressive Christian faith centred) based in East Surrey/South West London, UK.

Support my art working by buying products of my design on Redbubble.com and also of course, original fine paintings, available direct from me!
Geometric and lyrical abstraction from London/Surrey based female British Contemporary Artist.

I’m interested in spirituality (particularly Christ centred spirituality), creativity, emotional and psychological well-being, trauma recovery, and mindfulness.

I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios (KAOS).

I have trained both with SPIDIR and through a variety of other training bodies as a spiritual guide/mentor.
I am a trained teacher (PGCE) and hold occasional small groups in developing painting and drawing skills, as well as offering occasional individual tuition.

Contact me via the contact form on my website http://www.jamartlondon.com

If you are less interested in original fine art and paintings, but would like to have something with my imagery on it, then go to:
https://www.redbubble.com/people/JennyMeehan/portfolio

and

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

Where you can buy selected art and design.
For the more geometric abstract strand of my art and design:
https://www.redbubble.com/people/JennyMeehan/portfolio has more, and for lyrical abstraction painting-prints I will be putting work up on the other redbubble profile:
https://www.redbubble.com/people/jennyjimjams/portfolio

I gain a small royalty percentage which helps me towards the cost of materials and exhibiting my work. Every little helps.

You can contact me via the contact form on my website jamartlondon.com

Some of my original paintings are available for purchase when no longer required for exhibition, and I am happy to license images of my work via the Designers and Artists Copyright Society (DACS).

All content is © Jenny Meehan.
Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts of writing and links may be used, provided that full and clear credit is given to Jenny Meehan with appropriate and specific direction to the original content. Images may not be used without permission.

Please note that all images of my artwork are subject to copyright law: All rights reserved. In the first instance, contact me, and I will refer, as/if appropriate.

If you are looking for artwork, particularly abstract, colourist, expressionistic lyrical abstraction type painting images suitable for book covers etc, then do contact me as I might have something to suit which will be quick and easy to license via DACS

www.jamartlondon.com

 

https://www.instagram.com/jamartlondon_jennymeehan/

 

 

 

hotstuff golden haze jenny meehan lyrical abstraction affordable print, jamartlondon, lyrical abstraction british, contemporary lyrical abstraction,female painter

Hot Stuff/Golden Haze by Jenny Meehan jamartlondon.com

Hot Stuff!  Golden Haze… Two names for this.   It’s one of my  “painting to print”  series…  Need a bit of warming up at the moment. My hot water bottle is a great friend!  Sorry if the phrase “hot stuff” sounded a bit more exciting than it is!  Lol!

I have had a cold for such a long time, and I have so much mucus never-endingly streaming from my nose, that I think I may be turning into a snail.  If I were a snail I could move very fast indeed, for my amply supply of mucus would have me whizzing around for certain.  At present I am unable to whizz around, so writing must do.

I’ve put this artwork on Redbubble.com, so you can buy it safely, quickly, conveniently!

 

https://www.redbubble.com/people/jennyjimjams/works/35893135-hot-stuff-one-digital-collage-painting-=uprint-by-jenny-meehan?asc

I have one version of it signed by me, and this will be for sale at this years “Kingston Artists’ Open Studios”.

Kingston upon Thames in Surrey has a lovely hub of artists and each year we show our work, dotted around different venues in Kingston Upon Thames.

Open Studios in Kingston is a collaborative public exhibition whereby local artists and makers open their own homes or studios to the public and exhibit their work.

The Open Studio venues are organised into art trails in and around Kingston, featuring a wide range of 2D and 3D work – painting, drawing, printmaking, sculpture, ceramics, glass, photography, digital art, textiles, paper art and mixed media.

This is a perfect opportunity to meet local creators, see their work, talk to them about their techniques and inspirations and buy affordable art direct from the artist.

2019 Open Studios in Kingston will be taking place on 8/9th and 15/16th June
from 11am to 5pm each day.

If you would like up to date information when it comes out, contact me via my website information form and I will send it to you asap! 

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

I plan to display a selection of recent work, both original paintings and prints, and a couple of examples of mosaics I have been working on as well, (though they won’t be for sale).  Working with mosaic is adding some interesting perspectives on my painting, which is much appreciated!  The work I have on offer will mostly be available to buy I should think.  The price range of my original work is £80 to £600.  Most of my original fine art sells for around the £200/£300 mark, making it an affordable buy for any art collector.  I also offer a selection of prints for purchase for under £100.

Visual Art and Poetry Linkage!

One of the aspects of my creative work I am enjoying at the moment is the linkage between my visual art work and my poetry and writing.   The space between the two… between the visual art work and the words I write, is another space, and while it’s fun playing with space visually and also poetically when writing, there is yet another space created between a visual art work and something that the artist writes about it.

I’m pretty possessive about this space, and I guess I can be, at the point I am with my visual art working.  I have contacted people in the past who have used my visual art without permission or payment on their own blogs, and written their own poems about it.  I ask that they remove my artwork from their blog.  Generally they simply just don’t realise that they need to seek permission.  If my visual art practice was not so intimately connected with my own writing, I would maybe be flattered, but as an important part of my own practice, the painting-poetry combination and the integrity of it is something I feel protectively about.  It’s part of what I offer to the world, and my painting and digital work is, with increasing frequency, presented for exhibition and display, very purposefully paired with my own writing.  Indeed I would go as far to say as the visual work and the writing become one art work.

This happens over time.  What tends to happen is I create the visual work… this is one strand. Then, it needs to wait, normally for some time.  This is counter cultural, for in our culture waiting is not generally valued very much at all.  We are all now now now or never.  But I have an ongoing relationship with the paintings and digital imagery I produce, and it continues for several years after I deem the art work visually completed.  Because the visual completion is only one part of the process.  After this time, I need to dwell with the work for a while.  And though I have had a strong sense that the work has achieved something, in terms of emotional expression and I have felt satisfied with it’s state of being, what it means for me is only discovered over time.  And so I will revisit it, and reflect, it will remind me of certain things and I will relate to it over time.  It is maybe like a kind of proving process?  It’s symbolic and metaphorical nature,  still always retaining a sense of the unknown, and subconscious resonance (which is very attractive I think, and shouldn’t ever need to be explicit!).

But like all things in life, there is also the application. And I do like my work to be useful, used, out there. (with permission!) It may be mine for a while, but believe me, I am always pleased to see it go elsewhere, and I don’t hold onto it.  Part of the process is my thinking and critical evaluation of it.  My thoughts, research, interests, and the decisions I make as to how I am going to use it.  I’m delighted when it is used in book cover designs, because these are always very carefully thought about and the relationship between the content of the book and the image on the cover is very exciting, especially when I get to read the book! So there is a relationship between word and image there, and it’s a topic I find of great interest and have done for a while. But in relation to establishing a relationship between my own visual artwork and the words I choose to write, it is when I spot a subject of interest that there becomes an invitation to almost recreate the work.  For it is a recreation and a new artwork, when married to words I write about it.  This is the reason much of my work has two titles.  The first title is generally the first one, when the work stood alone, and then in time, with thought, and often writing, the work develops into something else and has an additional title added to it.  By writing and re-responding to the visual art work, in my view, I recreate the work.

So once my visual art work; be it digital or painting, or sculpture, whatever; once it has it’s poem/writing attached, It’s become something else… More focused, more specific, more applied.  It’s met me in my life, come to be, and then I want it to have a life which has relevance not only for me in that personal way, but has taken on some useful role, which touches shared points of interest, not just emotionally (though this is my main interest, for sure) but which establishes relationships far beyond that which first brought it into being.  It needs some action and reaction in the world, some relevance, some other people, things, ideas, missions, purposes to have a new kind of dynamic existence.  This doesn’t mean it ever needed any justification…It is sufficient to just be, as indeed any person in the world is sufficient just to be.  The value is there, just in existence.  But to have application is always good.

I often describe myself as both a fine and applied artist.  The main thing is, that at the moment, (most of the time), I create what I do with no set purpose in mind.  It’s my working method.  It’s the way that I have totally free reign. It allows me to work on several things at once, in a piecemeal fashion, and with no concern for the end outcome at all.  This is why I like it.  I do enjoy working to specific briefs and for particular purposes; these present their own challenges and that in itself is interesting and enjoyable; but so many of my ideas come from this kind of total free flow possible with a less structured approach.  Being less structured doesn’t mean less disciplined.  Far from it.  The structure has to come from within, and this requires a certain stamina.  I love life invested into the realm of creativity, but it certainly is hard work. However, it couldn’t be any other way.  And there’s a great peace which comes from doing what you care about in life. It’s well worth the effort, whatever comes or doesn’t come of it.  In a sense, my main concern is to maintain my own integrity, and develop, both personally and professionally.

Artistic activity needs to be flexible, and I enjoy the way my own weaves into my other activities and roles in life.  I have been thinking recently I need to invest more time into writing, and I am looking into copy writing, proof reading and editing as activities I might develop more experience in. I have two ebooks of my own I would like to work on as well.  I had a dreadful habit of trying to do everything at once, but I guess the good thing is that I can catch myself trying to do the impossible and pull myself back!

 

 

"opening the way"painting©jenny meehan, abstract impressionist lyrical original fine art to buy, licensable non representational images, christian abstract expressionist artist, spirituality religion, faith, contemplation, mindfulness, contemporary abstract icons, jenny meehan jamartlondon abstract paintings,art informel gestural, uk fine artist poet-painter

jenny meehan jamartlondon abstract paintings “Opening the Way”

 

Opening the Way – Lyrical Abstraction -Painting by Jenny Meehan

I described my painting style as primarily lyrical abstraction to someone recently at an artists’ networking event, as it’s the most appropriate description for my painting, at least, but “lyrical abstraction” is not a term a lot of people are familiar with!  I have become quite content with the fact that my painting style might be viewed as a little dated and not current…though of course I do not agree with that perspective one little bit!  I think there are many undercurrents in the visual arts, running along merrily, and what surfaces as being “current” at one time or another is a matter of trends and fashions, not a matter of what is really developing as significant.  How can one discern the undercurrents which make a large wave?  How can you see what happens until it culminates in a bigger movement?  What determines the movement…is it due to something which happens above the surface, or underneath it?  Who knows?  The mystery is good.  And here you see, I find myself slipping very comfortably into the category of a lyrical abstractionist (maybe not a word!) painter!

Some helpful pointers and considerations, features maybe, of what would place my painting in this category of lyrical abstraction.  Lyrical abstraction is a term, and has it’s uses.  (Well, it does if people know what it means!) So hopefully my thoughts shared here will help you in your understanding of what characteristics may be dominant features of paintings defined as being “lyrical abstract” paintings.  One will need to detach some aspects and add others, because I do believe that terminology has limitations as well as benefits.  Also, what something was in one part of history, is never quite the same as what it is in other parts of history… Our times determine so much, and any artists responses are conditioned by the times they live in.  I do, as you maybe know, love looking back into the past, and I think it’s a good practice for any artist to ensure they look at those who have come before them and find out as much as they can, so that the can appreciate the work with the benefit of being able to look backwards… for from the past the future comes…

Anyway, I digress, as is of my habit…

The term “Lyrical Abstraction” is much debated. Which makes it very attractive I think!  Larry Aldrich used the term lyrical abstraction in the late sixties to describe some of the artworks he had collected. The feature he felt was important was that they represented a return to personal expression following Minimalism.

An exhibition was held at the Whitney Museum of American Art, New York
May 25- July 6. 1971

“Statement of the Exhibition

Early last season, it became apparent that in painting there was a movement away from the
geometric, hard-edge, and minimal, toward more lyrical, sensuous, romantic abstractions
in colors which were softer and more vibrant. Painters were creating, in significant numbers,
works that were visually “beautiful” — up to then, in the art world of the sixties, a dirty word.
Though they were not going back to any previous style, these new young painters related
to men who have been doing painting of a painterly nature for twenty years or more — Mark
Rothko, Robert Motherwell and others. The artist’s touch is always visible in this type of
painting, even when the paintings are done with spray guns, sponges or other objects.
Surfaces are never anonymous as in minimal paintings; they are delicately nuanced and
often suggestive of cloudy voids. These paintings all represent a distinct shift to an ex-
pressive interest. As I researched this lyrical trend, I found many young artists whose paint-
ings appealed to me so much that I was impelled to acquire many of them. The majority
of the paintings in the Lyrical Abstraction exhibition were created in 1969, and all are a
part of my collection now.

Larry Aldrich

April 1970″

 

Take a look at the artists shown here:

https://archive.org/stream/lyabstracti00whit/lyabstracti00whit_djvu.txt

 

A slightly more recent example here: http://palmbeachartspaper.com/art-review-lyrical-abstraction-show-demonstrates-resilience-of-american-painting/

A variation of the term was used decades earlier in the late forties by the French art critic Jean José Marchand;  Abstraction Lyrique. This was with reference to a European trend in painting a bit like  Abstract Expressionism.  Free, emotionally inspired and very personal compositions based not on external appearances but evolving rather from the subconscious, instinctive parts of the painters. The evolution and  construction of the painting  coming from within. I guess we could go even further back, too to Wassily Kandinsky in the first decade of the twentieth century!  Rather than working with images from the external world and altering them in order to express abstract ideas, in the way that happened with Suprematist and Constructivist artists using recognizable forms in their art but in ambiguous, symbolic ways, another group of artists approached abstraction in a different way. Not knowing what meaning there might be in what they painted was just fine!  Painting freely, with no preconceived notions and the expectation that things unknown could be expressed through their work. Some likened their paintings to musical compositions.(ie Kandinsky) The general emphasis was that of expression emotion in an abstract form. Paintings were imaginative, expressive and personal. Unashamedly subjective, and poetic.  Soulful work…not so much leaning towards objective academic interpretations but learning more towards the mysterious, spiritual, and less tangible aspects of life.  Painting as a source of seeking maybe…not attempting something which is defined and explained, but rather being all about personal connection with life and the universe.

Rather good! A search for what is essentially personal.

Harold Rosenberg wrote: “Today, each artist must undertake to invent himself…The meaning of art in our time flows from this function of self-creation.”

That was then, but surely this is also relevant for today? Maybe even more so…because the challenge of the self and the sufficiency of simply being, is with us, and maybe even greater with the influence of media, advertising, internet, etc?

Is “being” enough?  This may be one of the most important questions we ask ourselves!

We have so much information and knowledge for the intellect to play with at our disposal now!  It’s great, fun, interesting. Yes, all of this.  But is knowing things with our heads sometimes a deceptive liberty?  Does it prevent us from walking freely in mystery, unknowing, and that which we cannot hold onto in our heads, but which our hearts and souls might testify is good and life giving?

I do ask myself these questions.

I think my work could be said to ask them, but does it need an answer?  And if it doesn’t ask for an answer, is it a question?

!!!

“Each artist must undertake to invent himself.”  Is sticking with me in this digression…

But what with lyrical abstraction today? Movements move and change… tendencies run this way and that…Who knows? No one has the ultimate view. In the early twentieth Century artists like Kandinsky, Giacometti, Fautrier, Klee and Wols embodied lyrical tendencies in abstraction. Later Mathieu, Riopelle, Soulages and Mitchell moved them forward. When I was growing up in the 60’s and 70’s many artists continued and expanded the movement.  There are many voices singing out  lyrically in abstract paintings!  There is an essential quest of lyrical abstraction, which is to express something personal, subjective and emotive, and to do this in a highly poetic, free and abstract manner.

I think this section of Ronnie Landfield’s “Autobiographical Statement, 1997-2010” speaks with a resonance which I am happy to echo, (in my own unique way, of course!)

My inspiration has been my conviction that modern painting is fueled by the combination of tradition and the realities of modern life. Spirituality and feeling are the basic subjects of my work. They are depictions of intuitive expressions using color as language, and the landscape (God’s earth) as a metaphor for the arena of life. The revelation of a primal image that delivers an immediate response in the viewer is my goal. Hopefully my paintings convey a felt perception of life, an awareness of the history of art, and a clear expression of my passion and sense of spirituality. I sense a visual music that externalizes what I feel within me and in the air.”

What a fantastic statement…

The revelation of a primal image that delivers an immediate response in the viewer is my goal.

Well, all writing aside, this is most certainly enough, more than enough, and will ever be enough!

Paint on!

Words are words, and paint is paint!

See more of Ronnie Landfield here: http://ronnielandfield.com/

Some contemporary painters which you might like to view…

the Spanish artist Laurent Jiménez-Balaguer

Margaret Neil

Ellen Priest

 

 

‘Un’antenna sensibile’

Rather nice quote, for my notes!

Quote by Christopher Adams: Claudio Del Sole: ‘Un’antenna sensibile’
Christopher Adams

“Del Sole saw no contradiction between his predilection for abstraction and his observation of natural phenomena, finding inspiration in the swirling patterns of galaxies and nebulae. Nor did he recognise any distinctions between art and life, asserting: “The artist is not enclosed in a restricted or exclusive world of his own. He is like an antenna, sensitive to all that which happens around him. Therefore, he is attentive to social changes and the progress of science; that is, to the unfolding story of mankind.”

Yes!  Like an antenna!  I like this very much!  And attentive!  So true!

We take in all that surrounds us, ingest it… and then do what we do with it!  There is some kind of narrative in every person, expressed through words and images.  When I work with abstract forms visually, there is no disconnect from the outer world, even though I don’t work with pictures (ie recognisable objects). I approach the matter and materials in the same way that I approach nature, life and all I see in the natural world, even though I don’t seek to emulate it.  I am not attempting to create something more distant or disconnected “more spiritual” or “set apart” from the world in any way. It’s rather an engagement, a translation maybe a good word, an interpretation of my being and living based on emotion and experience.

 

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

I take less photographs now than I did, but sometimes you see something you cannot resist!  Looking at the sky reminds me of why I don’t lean towards representational painting myself, though I do enjoy looking at others work.  I find the work is always before me, far surpassing any emulation I might make of it.   I do enjoy a bit of drawing… It’s always good to do from time to time… Mostly because of the mark making though.

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

Broken branches in Oxshott Woods.  Oxshott Woods has a special resonance for me because as a child we went for a walk there every Sunday.  I like this image of mine because it conveys brokenness but also a real invitation to move forwards into the image. I remember the exposed roots of so many of the trees in Oxshott woods and how entrancing they were…

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

Another Oxshott Woods/Oxshott Common image.  This was taken on the edge of the big “sand pit” area.  It’s fun to think I am walking the very same ground I did when we went for walks there when I was a child.  It’s amazing how things change, and quite a relief to be honest.  I’ve probably written it elsewhere, but I had a really difficult childhood, in so many ways, and I’m now enjoying life more than ever before; so much happier and so much more alive!  It’s good I have come a long way, and though it’s easy to feel I wish things had been easier, in the end, the past makes us what we are, and we cannot live without it, but we can move on.

Things I have been reading recently:

Good read on trauma and how it affects ones sense of time:

 

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4166378/

Lots in there to read and think over, so popping in my journal for now. I’ve skim read parts.

 

https://journals.sagepub.com/doi/full/10.1177/2167702613495199

 

https://www.psychologytoday.com/gb/blog/experimentations/201711/six-elements-self-care-in-adults-childhood-trauma

 

Rear Access Roads and Alleyways

 

rear access road chessington drawing 2 jenny meehan

rear access road chessington drawing 2 jenny meehan

rear access roads chessington drawing jenny meehan

rear access roads chessington drawing jenny meehan

jenny meehan landscape black and white photographic images,jamartlondon photography

jenny meehan jamartlondon photography monochrome

 

I’ve popped these in because I have realised recently how important the “Alleyway” was to me as a child. We lived in Teddington, not Chessington, and the alleyway of my childhood was narrow, and quite different to the rear access roads I have drawn here.  However, emotionally there is a strong connection I had previously overlooked.  My brother and myself would play in the alley…exploring around the backs of peoples gardens…peeking through holes in fences and sometimes creeping into places we were not meant to be!  It was all very exciting and interesting.  The drawings of the rear access roads in Hook and Chessington were drawn by me in what I like to call my “wilderness” phase.  It was before I really got into painting as my main focus, and yet grew highly aware that painting was the right direction for me to go into creatively, in a big way.

Emotionally it was a tough time, and I struggled psychologically also; I felt very lost indeed, in terms of having a sense of self.  I find it interesting that, at this time, I found the rear access roads so comforting, and so safe, and all at the very time in my life when fear grew increasingly severe.  It provided an area and space to feel I existed in.  I think the lack of facades was helpful, also, for I was aware my own had slipped somewhat!  It was a raw, bare, place, of exposure and of no longer being able to pretend I was “all right”.  Somehow embracing the “shadow side” had to happen.

I was not familiar with the term “shadow side” at that point in my life, however I do remember being fascinated with the dark, square areas I came across, which I think you can see comes across in the drawings. For me, I saw these as being a void…a place which represented how I increasingly felt inside.  Inner emptiness.  At times (the worst) where I would rather be: in nothingness.  A lot of the areas of interest for me in my frequent walks involved an appreciation of decay, decomposition, and neglect, with some attention to unexpected growth, and finding unexpected treasures.  Even in the worst of life’s passages, if looking outwards, beauty can be found with some effort, and I did find it, even though I couldn’t see any inside myself at that point.  Carl Jung stated “the shadow” to be the unknown dark side of the personality, which was instinctive and irrational. There was also a sense of this in what the dark, blank areas communicated to me.  Like some kind of mirror, they reminded me of how instinctive and irrational I was at my core, and I was certainly more aware of that than I had ever been aware of before in my life!

Quote from: https://www.psychologytoday.com/gb/blog/evil-deeds/201204/essential-secrets-psychotherapy-what-is-the-shadow

“For Jung, the theory of the‘‘shadow’’ was a metaphorical means of conveying the prominent role played by the unconscious in both psychopathology and the perennial problem of evil. In developing his paradoxical conception of the shadow, Jung sought to provide a more highly differentiated, phenomenologically descriptive version of the unconscious and of the id than previously proffered by Freud. The shadow was originally Jung’s poetic term for the totality of the unconscious, a notion he took from philosopher Friedrich Nietzsche. But foremost for Jung was the task of further illuminating the shadowy problem of human evil and the prodigious dangers of excessive unconsciousness.”

 Quote from Stephen A. Diamond, Ph.D., 

 

Well, as per usual I have written myself out of words, and need to stop for now. I do prefer this longer narrative to that which I would achieve by posting short posts on instagram, or making shorter blog entries.  Writing longer means I can go a little deeper, and that is more benefit to me as an artist than just posting up things which haven’t required me to probe a bit deeper into my own mind and emotions.  Skim reading may save anyone from unwanted reading matter, I know, and this also gives me some freedom.  I spend a lot of time skim reading, and also skim thinking, (sometimes more than I want), so the knowledge a reader can slip across unwanted material with such ease, is something which has surely liberated me in exploring writing about my art working in this manner.  A matter which caught my interest and caused me find this interesting read; 

 

https://www.inc.com/jessica-stillman/skim-reading-from-screens-is-doing-scary-thing-to-your-brain-according-to-neuroscience.html

 

 

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

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

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. I do need support in order to continue my artworking.

http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website

Signing up as a follower on my WordPress blog ( https://jennymeehan.wordpress.com) also helps, as does sharing the posts when you receive them.  Anything you can do to help me is much appreciated!

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

All my images are licensable and this is arranged through the Designer and Artists’ Copyright Socitety (DACS). If you wish to use my artwork, please contact me in the first instance.

http://www.jamartlondon.com/contact/4569980742 direct link to contact page of website

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

I’m a member of Kingston Artists’ Open Studios: http://www.kingstonartistsopenstudios.co.uk/product-category/artists-m-to-z/

Great Start to a New Year! Praying the Way!

 

praying the way by terr hinks, Bible Reading Fellowship with leap of faith image by jenny meehan, religious devotional book covers, licensable images christian publishing, prayer spirituality publications UK cover design, non pictorial book cover design, geometric abstract book covers,

“praying the way” by terry hinks book published by Bible Reading Fellowship with “leap of faith” image by jenny meehan

 

What a delight to see this amazing book cover design for the also very amazing and inspiration book of “raw and authentic prayers” by Terry Hinks. Terry Hinks is a United Reformed Church minister and the author of a number of books on prayer.

The cover design and inside pages are the work of designer Alison Beek, Designer, for the Bible Reading Fellowship,  who licensed my image “Leap of Faith” through DACS for the cover design of the book.

It is the best thing in the world to see my artwork used for such purposes as this, as close to my heart and faith!

I now have my copy, and am already being blessed!  It’s a super book, deep and insightful, challenging and touching.  I love the idea of starting this year “Praying the Way”.  It is through all the small leaps of faith we make that we move forwards, and it seems to me that the path appears the moment we make a brave jump into the air!  Many things change as we mature in our faith; previous beliefs however dear are challenged, and life seems to be a matter of constantly realising how little we know, and how much we need to hand ourselves over to the one who created us and loves us so dearly. While certainties fall away, still the potential to trust ourselves into the hands of the Creator exists, and the path of committing ourselves to Christ (if that’s our faith tradition) and continual desire for repentance, enlightenment, and growth in compassion, can move with strength forwards into the years to come.  Well, that’s my prayer for this year I think.

 

 

 

© Jenny Meehan DACS All Rights Reserved leap of faith (jennifer meehan) jenny meehan geometrical abstrace design artwork fine art print to buy

leap of faith jenny meehan (jennifer meehan) geometrical abstract design artwork fine art print to buy

 

“Leap of Faith” is one of my personal favourites, it’s true.

If you like it, I do have it up on Redbubble.com, which is a print on demand site.

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

My original artwork has two main strands: Lyrical Abstraction, painterly, fluid, with a lot of focus on light, how it bounces off the surface, textures and finishes, and Geometric Abstraction (created through digital imaging software) in which I focus on flat areas of smooth, solid, and translucent colour; ideally intended to be printed on even, matt or semi-mat surfaces.  While I’m experimenting with the overlap between the two, and make it my practice to regularly try out new mediums, in order to keep my artwork fresh and steadily evolving, identifying the strands in this way is helpful for clarity.  I use writing and poetry in my art working and now prefer to use sol-silica paint over acrylics or oils, though I am still known to dabble in many different types of paint, due to their particular material and visual qualities!

Do you need exciting, engaging, images for a book cover design?

Do you need exciting, engaging, images for a book cover design? If so, then take a look at my website jamartlondon.com, for a start.

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

Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.

From the lyrical abstraction of some of abstract expressionist style textured paintings, to the geometric abstraction clear edged imagery, which I also produce, the value of non representational imagery in book cover design which is both colourful and interesting, and stimulates the eye with colour and striking composition, cannot be under estimated.

If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.

DACS administrate my licensing agreements and organise the use of my art work images quickly and conveniently. They are very helpful and can guide you through the process if you are unfamiliar with it. I normally follow their guidelines with respect to the fees for licensing, as these are set in line with the industry standard.

DACS do offer a good reduction in fees for registered charities. Occasionally it may be possible for slightly reduced rates to be negotiated in other circumstances.

To find out more about how you can arrange to use my imagery, see here:

https://www.dacs.org.uk/licensing-works/frequently-asked-questions#FAQ122

 

January and February 2019

Well, it’s one post every two months from now on.  My art working has a certain amount of momentum to it at the moment, and I am keen to keep the focus on ongoing art working… however, I do love writing this journal… It’s very useful to me and serves as a small amount of space for contemplation.  Reflection, and anticipation.   It’s very interesting as a tool.   I enjoy looking backwards at earlier posts and hearing my voice at that time often proves helpful in informing the present.

It frequently amuses me how some people, on understanding the contemplative nature of my work, assume I have hours to spare.  The funny thing is, for all of us, is that it is very easy to imagine that other people have more time than us.  We all do it.  I do too.  I often remind myself of my own judgements of others,  and  find some comfort in the fact that our assumptions about others, when properly examined, often can reveal interesting feelings and beliefs we ourselves hold.

The reality is that it is a constant battle to push my art working forwards.  It’s a bit easier than it was when the children were younger, but I still have a house of people which needs management, and those who manage a household know that this is something of an invisible role.  Things just happen by magic, I believe.  It’s unpaid and unappreciated work.  But where would we all be without it?  If the house is a bit of a mess now, (which it pretty much always is!) then without my labour invested into it, things would be unworkable.

While I don’t mind my work being based in the household (and this has advantages in terms of productivity generally), it is yet another factor which might suggest to some folk that I do not work.  I completely get the reality that art working is not a job, in the usually understood sense. It’s a role, but being an artist is not a job. Not if jobs are defined by their capacity to generate income, anyway.

It’s a funny old thing, because there are huge numbers of artists involved in art working, and the vast majority of us earn less than a few thousand pounds a year from our creative activities.  Most people don’t realise this at all.  Income for artists comes from other people, other activities and roles, and we really need the support of people investing in us and our work. I really need the support of people investing in my work…buying it, sharing it, valuing it.  It is my contribution to the world, pure and simple.  Not the only one, but the one I care about with a passion and the one I believe I am meant to be pursuing.

Which is why I do it.

Yet cultural richness… The richness of contemplative experiences, dwelling in the moment, inner examination, reflection…individual and shared.

Cultural richness… The world of the imagination, the spirit, the journey we all make through life, which can be enhanced, enlightened, and inspired by the arts of all varieties…

Cultural richness…  Of a worth which is often not appreciated as much as it might be…We take it for granted a lot of the time.

So many ways of life shared by so many people. And artistic expression of experience is fundamentally important in communication and understanding. Cultural richness is something which includes diversity in anything that has to do with how people live: music, art, recreation, religion or beliefs, languages, dress, traditions and stories.  It also encompasses things like how we organise ourselves and how we interact with the environment, and even the  attitudes we hold towards others.

So if you like my art working, and think it brings something valuable to the world in it’s relatively small way, then do consider supporting me.  You can do this buy buying my work (very pleasing, as it releases more room for more work!) licensing my art images through DACS, the Design and Artists Copyright Society, buying merchandise with my designs and art on it, which you can do through Redbubble.com (I get a small percentage of the price you pay…Every little helps.   You can follow, share and help promote as you are able, if so inclined.

Contact page on my website:  http://www.jamartlondon.com/contact/4569980742

I have a lot more art work than I am able to show on the internet.  The reason being that my time for marketing and promoting, and putting things onto the internet is very restricted… I cannot keep up with my own creativity.  I keep my own archives and that is something in itself!  So if you are looking for something specific, then it’s always worth contacting me, which you can do through the contact page of my website.  I can produce artworks in a large variety of scales and formats, on different materials and through different techniques.  It’s often quite interesting for me to have a focused project to meet precise specifications.

If you just simply wish to support me financially, that’s really helpful too.  How?  Just here!

https://www.paypal.me/jennymeehan

Safe, quick and easy!

There isn’t a way of me thanking you through this method though, so if you do choose to support me through this system, please send me and email and let me know it was you, so I can express my gratitude.  I don’t like asking for financial support, but I have realised I cannot afford not to, and I don’t mind losing a little bit of pride…I have too much anyway!

A lot of people don’t realise that artists, more often than not, have to pay to show their work in exhibitions, and that putting on your own exhibitions costs a great deal of money and time.  I am frequently surprised how the general public don’t realise about artists paying to enter their work in exhibitions, in addition to paying commission.  However, I don’t think I should be surprised, because it is not something shouted about.  It’s one of those mainly hidden matters, which makes it harder for artists to share their work.  And sharing our work is something we love to do.  However, paying to share it is probably one of the biggest hindrances to a much richer artistic experience for all.

I am always totally grateful that I can even invest my time into doing what I love.  I could not do this for many years, due to social and economic reasons, but now I can, I never take it for granted.  I am fortunate to do what I love. What is my calling in life.  Amazing.  It’s less fortunate I don’t get more money for doing it, but it’s well worth the sacrifices made.  This investment of time does cost though…It costs me and those around me in many respects, for I certainly could choose to invest myself and my time into more profitable activities.  Sometimes good things come my way, and its’ a great boost.  To have some finance to enable me to continue what I do is my main objective.  Circumstances may change… It’s workable now, thankfully.  I would like to show more, do more, submit more work, and push outwards far more than I am equipped to do at the present time.

It’s HARD work, this artist matter.  I wonder why I do it from time to time, but the truth is, I cannot not be who I am, and this, it seems, along with being a mother, is my role.  I am also a qualified teacher, which is handy, especially for mentoring and art tuition, and a qualified dental nurse (earlier career!) which is also handy, because we all have teeth, and it’s useful to know a fair bit about them.  (I still find it interesting!) My interest in health, both physical and psychological, and spirituality, have proved perfect partners for my art practice which is informed by my own experiences, never ending research (I love research!) and the beauty of nature. I have to laugh sometimes: mothering and caring, the unpaid domestic work carried out, AND being an artist! It’s kind of counter-cultural, in terms of value, at the moment!

Recent Work

 

Well, in these darker Winter days, I have finally gotten around to more computer based work, and this includes posting up some of my recent paintings on my website jamartlondon.com.

This new series has quite a light, refreshing feel to it.

breath one, ©jenny meehan ©jenny meehan, abstract impressionist lyrical original fine art to buy, licensable non representational images, christian abstract expressionist artist, spirituality religion, faith, contemplation, mindfulness, icon, jenny meehan jamartlondon abstract paintings

jenny meehan jamartlondon abstract paintings©jenny meehan title breath one

 

©jenny meehan, abstract impressionist lyrical original fine art to buy, licensable non representational images, christian abstract expressionist artist, spirituality religion, faith, contemplation, mindfulness, contemporary abstract icons, jenny meehan jamartlondon abstract paintings,art informel gestural, uk fine artist poet-painter

jenny meehan jamartlondon abstract paintings title painting breath two

 

©jenny meehan, abstract impressionist lyrical original fine art to buy, licensable non representational images, christian abstract expressionist artist, spirituality religion, faith, contemplation, mindfulness, contemporary abstract icons, jenny meehan jamartlondon abstract paintings,art informel gestural, uk fine artist poet-painter

jenny meehan jamartlondon abstract paintings title Light Touch

 

"onwards and upwards" ©jenny meehan, abstract impressionist lyrical original fine art to buy, licensable non representational images, christian abstract expressionist artist, spirituality religion, faith, contemplation, mindfulness, contemporary abstract icons, jenny meehan jamartlondon abstract paintings,art informel gestural, uk fine artist poet-painter

jenny meehan jamartlondon abstract paintings

 

 

"opening the way"painting©jenny meehan, abstract impressionist lyrical original fine art to buy, licensable non representational images, christian abstract expressionist artist, spirituality religion, faith, contemplation, mindfulness, contemporary abstract icons, jenny meehan jamartlondon abstract paintings,art informel gestural, uk fine artist poet-painter

jenny meehan jamartlondon abstract paintings “Opening the Way”

 

"release" painting ©jenny meehan, abstract impressionist lyrical original fine art to buy, licensable non representational images, christian abstract expressionist artist, spirituality religion, faith, contemplation, mindfulness, contemporary abstract icons, jenny meehan jamartlondon abstract paintings,art informel gestural, uk fine artist poet-painter

“Release” painting jenny meehan jamartlondon abstract paintings

 

 

 

 

Gallery Visits

This time of year… Right from October and into the New Year, is a good time to be out and about looking at Exhibitions.  I have visited several, but only highlight one here…Telfer Stokes, at the Redfern Gallery.

I really enjoyed the Telfer Stokes exhibition at the Redfern Gallery… Reminiscence: New York Paintings and Metal Objects… It ran from 21st November to 4th December. The Redfern Gallery is one of my favourite galleries to visit…They seem to show work which I find particularly interesting. I did prefer the metal objects to the paintings.

If you follow this link you get to the relevant page on The Redfern Gallery website. There is an online publication you can access there also.

My favourites: Flare, 2017,Welded steel

76 x 79 x 15 cm

https://www.redfern-gallery.com/exhibitions/43/works/image_standalone631/

Also, very keen on…

Linch Pin, 2014, Welded steel

55 x 107 x 3 cm

https://www.redfern-gallery.com/exhibitions/43/works/image_standalone634/

and last but certainly not least…

Crux, 2014, Welded steel

65 x 60 x 60 cm

https://www.redfern-gallery.com/exhibitions/43/works/image_standalone638/

 

 

A little bit of reflecting…

Seeing Matisse’s “Snail” aged 9, I said that I wanted to be an artist so “I could do that”. The desire never left, symbolised in my keeping an easel despite countless moves, which I still own now. Since 2005, when I flung myself back into the early impulse to visually create, the desire developed, and I’ve done things artistically in my current situation which weren’t possible earlier in life, due to adverse life circumstances. I love all aspects of my work, and value it deeply,  not only that of my current profession as an artist, mentor and teacher, (and mother/household manager!) but past roles as a primary school teacher, dental nurse,  and various administrative and caring roles. All these roles and experiences make me who I am, and inform the directions I put my effort into, and my interests and topics of research.

Sometimes past roles can be unexpectedly useful…I was rather amused to find my past skills as a dental nurse useful when seeking to extend my knowledge of materials and techniques by experimenting with mosaic, which is something I did recently through two excellent courses led by Vanessa Benson, both at West Dean College and the City Lit, in London.  Some little pieces of glass mosaic are amazingly like little teeth, and having a knowledge of various dental tools and equipment available is also proving useful, as I continue to tinker with the medium! (I’m using syringes a lot at the moment!!!)

My interest in materials, their composition, and uses, from a more scientific angle, was something nurtured through this past career choice, and I discovered, far more recently, how interested I am in the scientific and technical aspects of materials when I started to research the use of silicate and sol-silicate paint.  I’ve always been interested in materials to a certain degree, but when I starting using the sol-silicate paint, and experimented with various other similar more ecologically friendly paints, the interest grew.  Before I carried out the mineral paint mural at Trafalgar Junior School a few years back, I needed to do a lot of technical research which I found completely absorbing and interesting.

So it’s amazing how little bits of your past seep into the present, so unconsciously and without deliberation, very often. Knowing your materials well means you know their limitations, and you know which technical considerations are relevant to the particular purpose you employ them for.  This means that if you decide to stretch materials beyond their capacity, you can exploit what happens in an intentional and knowledgeable way.  It also means that if you have particular specifications to meet, ie, in terms of longevity, or resilience to certain factors, you can ensure your art work meets those, and be reasonably confident that they will.

How I choose and use materials in the creation of artworks has to have a solid technical understanding behind it, and I think it’s an aspect of art creation today which in some quarters doesn’t the the amount of emphasis it needs.  I spend a huge amount of time researching all aspects of the mediums I work with so that the choices I make when working with them are informed ones.  If I want something to last, then I make sure it has all the chances it can to last.  If I want something to be temporary and transient, then I can choose to ignore certain things which I know will happen over time to the work.

Indeed, is some artworks, the changes which occur over time and a fascinating dimension of the work and completely integral to its purpose.  But if what the artist intends then fails due to a technical aspect being ignored, then this is just poor workmanship.  I have seen some horrible examples of artists ideas being badly executed because of ignorance about the materials they are using, and it always makes me feel slightly embarrassed to call myself an artist when I see it happen! There are some situations when crafts-person is a far more attractive word to use!!!!

But whatever words can be used, expressive colour and mark making; the structure of composition; the illusive space possible across the face of the a substrate; these motivate me to play with visual poetry and this I believe can work on the human soul in an essential and valuable way, enriching our experience of life. It realises for me both an outer and an inner vision. This is a liberty which I don’t take for granted, and I didn’t expect to be able to work with something I love so much. I’m also aware of the restrictions I face in terms of space and money right now. However, thankfully, though I may not be able to work on the scale I would like to, I AM able to do a lot with what I have. Generally in life, though it is important to have aspirations and always look just that little bit further than where you are, this needs to be balanced with acceptance and contentment.

 

painting after constable, interpretation of Constable sketch, oil on board jenny meehan

Experimental painting carried out in 2008 by Jenny Meehan based on a sketch by Constable.

Above is a very early painting of mine, which I am very fond of.  This was one of my experiments with oil paint. It has just the feeling I like to have, gentle, breezy, light, but not wishy washy, some motion and stillness, with a light touch. This light touch, and feeling of air and space, is something I have continued to explore in completely non pictorial, fully abstracted paintings, as you can see if you visit my website jamartlondon.com and look at my paintings for 2019.  I post new work at the beginning of the year.  This is because I have had enough time over Winter reviewing progress and identifying new directions.

http://www.jamartlondon.com/paintings-2019/4594054042

 

blue boat painting by jenny meehan inspired by ivon hitchens british painter

“Blue Boat” Oil Painting by jenny meehan (after Ivon Hitchens)

“Blue Boat” is another early painting, same year I think as the one above (off the top of my head) inspired by Ivon Hitchens who is one of my most favourite artists.  Bit bolder with the colour here.  I still have this one and don’t mind letting it go.  If you want to buy it contact me via the contact form on my personal website jamartlondon.com and I will give you more details.  It was awarded “highly commended” in the Needhams Competition…quite a few years back now.  See my list of exhibitons at jamartlondon.com

 

Sharp Gallery, Brixton

I am very pleased to be part of the exhibition at the Sharp Gallery in Brixton.   The value of creativity and the arts in healthcare of all sorts is widely recognised and projects like this are worth their weight in gold.  Here’s the work I am showing, with the partner poems and other text displayed below:

 

 art and psychotherapy, art and psychoanalysis, art and subconscious, art and dreams, flower dream print by jenny meehan

flower dream print by jenny meehan

 

laid to rest print by jenny meehan jamartlondon.com, art and dream, art and subconscious, art and trauma recovery, art and psychoanalysis, art and psychotherapy, artists who use psychotherapy, art and psychological distress, art and trauma recovery

laid to rest print by jenny meehan jamartlondon.com

 

Dreams and Dreaming

Framed digital prints and their partner poems – Jenny Meehan jamartlondon.com

Flower Dream

Deep within the pot of me… 

Not cracked, like Mummy.

Not hung on the wall,

slipping downwards…

A glassy look

that never met my tears.

I am sad and angry…

I won’t deny it.

For too long it was inconvenient

for me to exist in reality.

As I was saying;

Deep within the pot of me

I hoped for sunlight.

I dreamt of a day

when someone mysterious

would knock at the door, and come, 

laden with flowers…

flowers upon flowers… 

Come laden with flowers,

and colours, and petals, 

and leaves, and stalks…

To give. 

To give something

to me.

Not bleeding, or painful; like daffodils when you cut them.

(My sister was horrified).

As I was saying…

I hoped for sunlight

deep within the pot

of me.

But I could not reach out for it,

though I heard it was there…

in the garden.

In the garden of flowers,

which naked, Mummy ran through,

when all was solved

and the world was

entirely

her own. 

The birds told me…

Deep in the garden…

In the shed…

I do exist.

This is why

I cry for the flowers.

They took my sister away, because she was too angry.

But keep me here, because I am no trouble.

And who needs flowers, anyway?

As long as your pot is not broken.

As I was saying…

Not cracked, like Mummy.

But empty,

non the less.

And the flowers are so beautiful; 

A beautiful dream 

for me. 

Jenny Meehan 2017

This poem accompanies the Digital C type print “Flower Dream”.

Flower Dream” is a numbered edition print (NE#1), signed by the artist-poet Jenny Meehan. It’s printed with Epson ink on 300gsm paper. Framed print: £50

See jamartlondon.com, under “Digital Imagery” for information on what a numbered edition print is.

Laid to Rest

Sleep peaceful, daughter, sleep

Dream the pathways through your mind…

leave the troubled day behind.

Sleep peaceful, daughter, sleep

Dream many dances through the sky…

Starlight night, then stepping bright;

A morning bird’s hopeful cry

To see you deeply, freely, sleepy

dropping safely, easy, warm,

into resting places

waiting

ready for the dawn.

Ready for the dawn.

Blessings; blessings; blessings 

dreamy…

Dreamy child, of mine.

Blessings; blessings; blessings

dreamy.

Dream-child

of peaceful

mind. 

Jenny Meehan 2018

This poem accompanies the Digital C type print “Laid to Rest”.

Laid to Rest” is a numbered edition print (NE#1), signed by the artist-poet Jenny Meehan. It’s printed with Canon ink on 220gsm paper. Framed print: £50

See jamartlondon.com, under “Digital Imagery” for information on what a numbered edition print is.

About Jenny Meehan

Jenny Meehan is a Kingston Upon Thames based artist working painting, poetry and digital imagery. Following her studies at Kingston University,(BA Hons Literature) a Post Graduate Certificate in Education at Roehampton University led to a career in teaching. From 2010 Jenny focused on the Visual Arts, training at both West Dean College and local adult education provision. Selected by a wide range of judges, her work has been displayed across many galleries and museums in the UK. These include the Dulwich Picture Gallery, Pallant House Gallery, and Kingston Museum.

I’m very pleased to be part of this exhibition. I have a keen interest in mental health and recovery, partly due to the traumas experienced in my formative years, and the realisation in 2010 that I couldn’t deny the reality of their effect on me any longer. My engagement in psychotherapy has a rich and interesting relationship with my creative output which I exploit with interest. 

The subject of dreams is something close to my heart. Finding dreams and allowing them to exist is probably one of many people’s greatest achievements. As is using the darker dimension of our experiences, and seeing light permeate through even the deepest fear.

I hope you enjoy the poetic space I create in presenting both word and image together.”

The exhibition at the Sharp Gallery runs from the end of January to end of March.  Please check the venue to see viewing opportunities.  Sharp Gallery, 308, Brixton Road, SW9 6AA http://sharp-gallery.webflow.io/

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

I think it probably does this by helping me to identify how past experiences contribute to the present interests I hold.  I think developing a clear voice is very useful when you are involved in the visual arts.  There is so much wonderful art out there, but in the end, we need to find the motivation and drive within ourselves to persist with the vocation of artist.  It isn’t easy, in our current materialistic and capitalistic focused culture.  But it is worth it.

Kader Attia’s first UK Survey Exhibition

The exhibition “questions our ideas about wholeness and injury, authenticity and repair, belonging and otherness” I read, and this, along with some interesting images drew me to take a better look than a screen permits!  Very interesting to read more about his interests and focus here

I like the look of this exhibition very much.  This time of year is good for visiting exhibitions, and  while I cannot afford to visit as many as I would ideally like, because of the costs involved, to be honest, living in this part of the country, there is so much on offer to see, big and small, that I have more than my fill of gallery going!

 

Loving Research – The Philosophical, Psychological and Metaphysical Kind! Mostly…

I love researching.  It’s  something I regularly fall into, and enjoy very much.  I don’t consciously draw lines between my researching activities and my artistic production, in the way that maybe a Scientist would with their work… There’s normally no need.  But my visual art certainly has a flickering background of thought behind it, which generally only comes into focus if I need to write an artist’s statement, or similar, about a specific piece of visual art work. I prefer to let my research happen organically, tracing it’s pathways through the thoughts, physical artistic output, and my general experiences of everyday life.  I remind myself that I am not working for a gallery, and needing to put signs up against every piece of work I produce, so that it might be articulated with the language of words.  With so much emphasis on the conceptual today, it’s tempting, maybe, to feel the need to legitimise artistic practice with words, for some.  Maybe all? And sometimes.  And while bending your intellect, this way and that, is fun…(I love it)…I don’t think it can make a piece of significant art happen, however much someone might try.  Because what is significant wells up within for a person.  Maybe where the research comes into  play is that it can be helpful for an artist in developing a reflective artistic practice.  In being able to identify what one is trying to express/do/communicate and what it means to oneself personally, and also to relate it to many other thoughts, theories, approaches, and beliefs.

This may be part of why I have chosen to write this artist’s journal…At least this is a way I can track some of my preoccupations, for the problem I have with note books, of which I have many…is they dance around the house constantly, picked up, then left, lost and then found.  It seems right to let this happen.  And it’s so interesting when old ones turn up.  But with this artist’s journal…There is the constant screen in front of me, and the only thing which changes is what I am writing. I think it may be of passing interest to someone now and again, and I think about the fact it is maybe read occasionally. However, it’s not the same as writing for some other person, because while that maybe one aspect, I allow myself repetition, deviation, and other flaws in the writing, which wouldn’t be acceptable in another form to the same extent. The pleasure in writing this artist’s journal is possibly much greater than the pleasure in reading it, but never mind.  It is what it is!  It’s somewhere to attach bits of interesting things I have found, and enables me to pick them up when I need to, and rediscover them when I don’t expect to find them again, but with the significant added benefit, that when I feel like a bit of writing, I know where to go!

My reading notes;

Something I am looking at now:  John Macquarrie on Language, Being, and God
Author(s): Eugene Thomas Long
Source: The Review of Metaphysics, Vol. 30, No. 2 (Dec., 1976), pp. 255-279
Published by: Philosophy Education Society Inc.

Need to think on this for a while… Very interested in reading more John Macquarrie.

I think I am between a realist and idealist.  Objectivity and subjectivity seem to both hold equal sway in reality! I think paradox and tension between things vital and helpful in life.  I’m interested in dipping into considering different perspectives, but all my own thinking seems clearly rooted in a firm belief of an external (as well as internal) Creator God who does exist, whatever I might think.  And I am so much a lover of the material world, (nature) which I don’t see as apart from the spiritual, but also expressing the wondrous qualities of God.  What I do get from reading (admittedly in a somewhat cursory and skimming type matter) is lots of interesting relationships between elements I don’t normally bother to think about!)

Some other reading:

 

https://www.thoughtco.com/working-with-worry-449711

https://www.tate.org.uk/context-comment/articles/does-beauty-still-matter-art

https://www.huffingtonpost.com/the-daily-princetonian/prosumerism_b_1463166.html

 

I’ve been thinking about other faith traditions and Christ, and how the tendency to shuffle into thinking one’s own faith tradition is better than someone else’s is so unpleasant and not Christ-like.  What we know of the life of the Lord Jesus Christ through the New Testament communicates that Jesus honoured and respected people of other faith traditions without doubt.

In his book “Discover the Power Within You” Eric Butterworth wrote:
“I have often speculated on what Jesus would have done if he had been seated around a table with a Buddhist, a Hindu, a Muslim and a Shintoist—discussing ultimate Truth. I just can’t believe that Jesus would have said, ‘You must all forsake your beliefs and come and follow me.’ I think he might have pointed out that the differences were chiefly a matter of semantics, and that there is an underlying principle similar to the Christ idea in every religion. I think he would have stressed the basic unity within the diversity of religions, pointing out that the greatest need of all persons is to find that indwelling unity with God, which is found in the principle of divine Sonship, that we call the Christ.”

Well, that’s some of my reading for the time being.

Publishing this Post NOW!

I’m going to publish this blog post early rather than late. I’ts got longer than I expected it to!

Now I’ve decided only to post once every two months, in order to reduce time spent on writing it, and hopefully enhance the focus of it, I’ll get it out there and forget any more blog writing for a nice big chunk of time!

 

 

©jenny meehan grave yard glimmers mosaic and accompanying poem jenny meehan

grave yard glimmers mosaic and accompanying poem jenny meehan ©jenny meehan

 

 

The Grave Yard Glimmers

 

Under grey ground

my shattered self, recovered

crept gentle, back to the moment

when

a younger me-child

within

Summer holiday sunshine

discovered

picking, glass, stones, off graves

was an open treasure chest.

Even while the body laid low…

sighing with relief…

anticipating release…

for each passing moment.

 

Simple time steps.

One strand of self to

reflect

back to me.

 

Porous ceramic spreads moisture

Yet only a shadow

touches

meeting edges

I am sorry that I left, and still sometimes leave

these parts of me behind.

 

Much later,  my rape was a vacation of another kind.

 

I hover, momentarily, over my body

unable to take in, even in  consciousness

the un-do- able

which was done.

 

It takes years to cry.

And bodies lie under the floor

even in houses.

 

Light still

makes glimmers

Glimmers in eyes

meeting.

Glimmers in finding

pieces

all broken

but beautiful.

 

l hold hope, for you

my friend, and myself

on dream-like, flattened

slates… to write all over

a past story, a new one…

 

We wash the silver ore, and smelt it

in the smiles of those we love.

 

Jenny Meehan

August 2018

 

 

Looking forward to working with mosaic in November, tutored by Vanessa Benson, whose inspirational course at West Dean College this year has kicked me off in this direction!

Realising my poetry and all the visual work I do are inseparable.  Well, I knew this already, but now I know it more.  Also, I will always be a materials orientated artist.  One who handles my own materials.

The most annoying saying “Everyone is an artist”.  Is everyone a plumber too?  The role of an artist has a broad skill set attached.

Everyone is innately creative, yes, but everyone is not an artist.  I hate walking past Cass Art and seeing the motto… it’s something like “Let’s fill this town with artists”.  Sounds like a nightmare to me.  Do you want a town filled with artists?   Would be quite a poor town, for a start! But it would, of course, be ideal for the local art shop!!! At least they are honest!

I was reading recently that a survey found most artists earn between £1,000 and £5,000 a year. That sounds about right.  I kind of felt relieved on reading it.  It is hard when you live in a world where finance reflects value.  I know I am doing what I should be doing in life, and feel extremely grateful, that finally, after years of waiting, I am able to work at the work which feels most natural to me.  It’s not to be taken for granted.  But it isn’t a “job” in the proper sense. And all the other work I have done in the past is very relevant, and has been valuable in many different respects.  It’s made me who I am.  I wasn’t unhappy in the work I previously did.  Just not quite so fulfilled. But there are many aspect to being fulfilled in life, and there were parts of me which probably developed, in a good way, which I might have avoided, if I was art working then.   Discipline is important. For an artist, if you have not got it, you cannot be productive, I don’t think.  Getting up each morning to do what you must, is part of every occupation, and we don’t always feel like it!

And now, I cannot rely on a “job” to define who I am.  It’s sometimes challenging.  Like being a mother, I guess.  The key thing is, I think, not to confuse status or money with value. It’s always a challenge! What I do does pay for itself.   Sometimes I feel discouraged, but it’s only passing.  Thankfully enough good things happen to keep me motivated!

 

 

Thelma Narrative Series

My Thelma sculpture project was in 2014 and it is now 2018!   In truth, the project is not finished, because I got a mould made of the essential base of Thelma and intend to make some plaster versions in order to experiment further.  Indeed, I will.  Yet for now, here are the images with text, which does seem to have a degree of being a complete work.  The actual wax sculpture is in a box in my cupboard, and now and again I pick bits off it and add bits on!  It is one figure, which I moved through a series of transformations without thinking about concepts  in a conscious way.

ONEthelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentationONEthelma psychodynamic jenny meehan

ONEthelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA ONE

 

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA TWO

 

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA THREE

 

 

 

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA FOUR

 

 

 

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA FIVE

 

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA SIX

 

This is probably my favourite in the series…It’s the one I associate with the ongoing process of participating in psychotherapy!  Hard work, at times,  yes,  but something which can be a tool in bringing freedom from the negative consequences of violence, abuse, and trauma.  This time I spend in therapy is an investment I choose because I value self reflection so much.  Participation in Psychotherapy can be viewed two ways.  One, is that of being a practice of WELLNESS…Which for me, it now is, thankfully. (Mostly)  It’s like going to the gym to keep fit.  (Mostly, not always! Sometimes it’s painful and hard! Still challenging, still uncomfortable. Always will be! )

I find it very harmonious with being an artist, and working in the way that I do with other people with mentoring/spiritual direction/teaching art.  The other way that psychotherapy can be viewed might be summed up with “Gosh, they must be very screwed up to need therapy” maybe?  It is the idea that someone would only participate in psychotherapy if they really had to, because it wasn’t possible to carry on without it.  Because why would they want to do take part in something like that otherwise?  Well, I do understand that perspective.

Personally, I did start my psychoanalytic journey in a very distressing place, and I knew it was what I needed, and things were often very alarming and extremely difficult.  So it wasn’t optional in any sense in 2011.  Yet my journey, and the experience gained from working with a very good therapist, has been so valuable and positive, it seems needless not to carry on with it, as long as it bears fruit, which it does.  I do review it from time to time, but so far, I reach the same conclusion, which is why stop for the sake of stopping?  It might be different if I was not an artist, but it’s become part of the process of my artistic creating, and it’s so useful, even for that, even apart from the other benefits.

It feels like pulling a net through my own depths, pulling it along the sea bed.  It’s an effort, but somehow drawing deep in myself in this way produces a lot of goodness.  Life is vastly improved, and I feel so much more alive than I ever used to be.  So the effort is definitely worth it for me.

Thoughts on the sculpture…

Difficulty of wading forwards… Trolling is a method of fishing….  There is a huge sense of continuity and flow, in this one, with metal outside of the figure clearly relating to the which goes through it’s core.  Through the waters of my mind, in the psychoanalytic work I am doing.  Found this, it’s helpful..

Bodies of Water and the Unconscious
Often in dreams, large bodies of water (oceans, lakes, pools) symbolize the unconscious. As with bodies of water, we often see the surface, but cannot easily see into the depths.

Also, the vastness of the ocean symbolizes the vastness of the unconscious mind. Jung observed long ago that the unconscious mind was much vaster than the conscious portion. His insight has been confirmed by fascinating developments in neuroscience, where new technologies, such as particularly sophisticated MRIs have enabled brain scientists to see that the unconscious processes in the brain dwarf the conscious mind in magnitude.

In those regions of the brain/mind lies the meaning of dreams. Jungian therapy is always aware that, for each of us, much goes on in the depths of those oceanic waters…”  quoted from https://www.briancollinson.ca/index.php/2012/11/jungian-therapy-the-meaning-of-dreams-5-water.html

 

WOW!  The unconscious mind….

Oceanic Waters!

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation THELMA SEVEN

 

Must be the faith aspect coming through in this one!

 

 

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation

thelma psychodynamic jenny meehan personal development psychotherapy and art relationship investigation psychoanalytic visual experimentation   THELMA EIGHT

No doubt some  theme of healing…  And in this one, a mould was made, and the body cast in plaster.

 

Interesting looking back at these.  Rather funny that I depicted my right thigh with what looks like a strip of metal along it.  This was before my knee replacement and before I was having problems with my walking!   Plaster for me is evocative of healing and holding, and showing this  liquid flow over the now plaster form, is something I like a lot.  The flow may be static in that the plaster is set,  but it is suggestive of flow and continuity by it’s very shape, and the meeting point between those forms of underlying form and dripped plaster brings some awareness of touch and being touched to my mind.  As the final figure is the model cast, it’s a new creation but still intimately related to the former figure in brown wax.   I will continue working with this, and post up soon.

 

So this is September…OOOps… Late again, October!

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

Painting “Upper Room” by Jenny Meehan 70 x 50cm   This is available, contact me if interested.  Use contact form on my personal website jamartlondon.com  http://www.jamartlondon.com/

Direct link to contact page; http://www.jamartlondon.com/contact/4569980742

Bit about my painting…

About Jenny Meehan’s Paintings

My process led painting…romantic, expressionistic, abstract and lyrical, is simply the result of my own contemplative practice, which I work through in many ways. Let by instinct and intuition, inspired by my own life experiences, and several much loved artists, including Klee, Hitchens, Claude Venard, Matisse and Kandinsky, it provides the ground for the viewer’s own interpretations and responses, and will be whatever you want it to be. My own titles reflect my own interpretation/,sense of meaning, but the beauty and openness of non objective painting allows you a place in the process exclusively yours!

The image doesn’t show the extent to which texture, and various surface finishes are used in the painting, for example, I use tiny glass beads for their effects on light hitting the surface of the painting. Maybe they could be seen as a dance of light and colour? Certainly, as the light in the day changes, the appearance of the painting changes considerably, with different parts being emphasised and other parts sinking into the background. This painting is one which responds, and I hope you get pleasure from viewing it! See more at http://www.jamartlondon.com

 

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images©jenny meehan

 

Boat House, Monotype. ©jenny meehan

Sometimes the simplest of things can give pleasure.  I am looking at this one at the moment, particularly as I think about how I will approach working with mosaic in November.  I think to start with some kind  of simple forms, rectangular, square, maybe a good start.  I don’t see myself going into the pictorial.  I suspect I will need to seriously spend time considering the materials I use.  They will suggest a way forwards, I am sure.  And I want to make more effort with this linkage between my poetry and visual expression. I think that’s key for me.

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images©jenny meehan

Icy Landscape ©jenny meehan

A major theme of my work is recovery from trauma.  The subject of an internal landscape dominates my creative practice.  Tiny glass beads are used in the above painting and they catch the light, transforming the appearance of the work at different times of the day.

 

“Eternal” Painting by Jenny Meehan

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images©jenny meehan

Eternal by Jenny Meehan ©jenny meehan

This is one of my paintings which has been licensed for use as a book cover. The cover designer was Alison Beek.   I really like my paintings being used in this way, and it is a small source of income which helps sustain my artistic practice, so it’s very much valued.

https://wordery.com/quiet-spaces-prayer-journal-mrs-olivia-warburton-9780857465245?currency=GBP&gtrck=S2Z1YnlZVlZsTTV6K1BVYkdyNERsL2JwTWhWcHA3dnM5bERaeTRueE1KNndyem4vbG5ENFJSV2tycFVKK0tnUHpISjRLNFJMY2hnaWJHb2hMMGg4UlE9PQ&gclid=EAIaIQobChMIyLOtiOTn3QIVROd3Ch13IwVCEAQYAyABEgJmVPD_BwE

Finding God in all things, hearing God’s voice for ourselves and others…the Quiet Spaces Prayer Journal will help you to develop and maintain a life of creative prayer. With space to write, quotations drawn from Christian tradition and BRF’s Quiet Spaces publication to aid reflection, this is ideal to buy for yourself or as a gift for anyone wanting to deepen their prayer life. It features quotations to inspire, allowing plenty of space to write.

Quiet Spaces Prayer Journal Spiral bound edition by Mrs Olivia Warburton”

Edited by Mrs Olivia Warburton ISBN-139780857465245Format Spiral bound, Publisher BRF (The Bible Reading Fellowship) Publication date23 Sep 2016Pages192Product dimensions 150 x 210 x 14mm E Weight338g

Quiet Spaces is BRF’s prayer and spirituality journal. Published three times a year, each edition journeys through up to nine themes drawn from the Bible, spiritual writers, the natural world, the lives of Christians from across the centuries or from Christian spiritual traditions. Each theme is explored in twelve prayerful ways using creative activities, your personal faith experience, poetry, liturgy, reflection, imagining and meditation, helping you into a heart encounter with God. Ideal both for those who have discovered the benefits of reflection, meditation and contemplation and are looking for a resource to guide their periods of quiet and for people coming to reflection and meditation for the first time.”

 

I use my own copy!

 

This months post is September and October combined! It’s my aim to write a bit less on my journal each month and work more on my poetry.  As I mentioned at the beginning, a brilliant course on mosaic at West Dean college tutored by Vanessa Benson has provided some interesting routes in using mosaic, and along with my other ongoing experiments with silica sol mineral paint I want to immerse myself more in silence and music and poetry than longer blog entries.  And drumming too.  I am loving my djembe, and enjoying learning some traditional West African patterns.

I think I may have exhausted my writing capacity a little bit when writing “The Very Patient Knee Replacement Story by Jenny Meehan” last year!  By the way, the knee is working wonderfully.  It’s an “Attune” knee.  I am no longer disabled and able to live a full life. I am so grateful for the South West London Elective Orthopaedic Centre, and the NHS.  My life would be quite different without such a positive experience.

west dean college short course jenny meehan flora and foliage images© Jenny Meehan DACS All Rights Reserved

west dean college short course jenny meehan flora and foliage images© Jenny Meehan

 

Really enjoying these…

http://openchurch.network/chalketalk

That’s me for now!

Do take a look at my website. http://www.jamartlondon.com/

I will be updating it over December.  I have a lot more work than I can show on the internet.

 

 

 

 

small world futures chapbook sampson low publishers

small world futures chapbook

 

I enjoyed taking part in the Small World Futures project earlier on this year.

And look here….. The delightful chap book!

HUGE thanks to Collect Connect for all their hard work!

Title:  Small World Futures – A CollectConnect Production at the #unsettledgallery

It’s published by Sampson Low Ltd, 2018

http://www.sampsonlow.com/

Chapbook 24

LB088

ISBN 978-1-910578-80-3

All rights reserved.

Text quoted from the sampson low website:

“The tradition of chapbook publishing in England is a long established one and here at Sampson Low Ltd we think it’s the perfect format for our most exciting authors and artists. Although small (A6) and relatively brief (16 printed pages) our punchy publications share their ideas with you in one delicious sitting.”   and see here:

https://www.bl.uk/romantics-and-victorians/articles/chapbooks

This wonderful chapbook is the remaining evidence for the exhibition which took place in public spaces around London Bridge.

Info: 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. A writer will also use the worlds as inspiration.
Venue
#unsettledgallery
Starts
Thursday, February 1, 2018
Ends
Wednesday, February 28, 2018
Address
London Bridge, London
Location
London
Organiser
CollectConnect” 

I love this kind of thing…  I sometimes moan a bit about not showing my work as much as I would like because of costs involved.  Something like this gets the work out there on the street.  OK, you have to be prepared to loose it.  But that’s not a bad thing now and again.  I liked very much the writing on my work…I am pretty sure I published it here on this Journal a few posts back.

How good to now have this chapbook as a record!   Do go and buy one for yourself.

https://sampsonlow.co/chapbooks/

vibe drome by jenny meehan

vibe drome by jenny meehan

 

Kingston Artists’ Open Studios (OS18)

Kingston Artists’ Open Studios (OS18) took place on 9/10th and 16/17th June 2018 from 11am to 5pm each day.

It was a really good year, and very enjoyable.

Here are some images of my paintings in situ…

kingston artists open studios jenny meehan paintings in situ

KAOS open studios jenny meehan paintings

KAOS open studios jenny meehan paintings

KAOS open studios jenny meehan paintings

KAOS open studios jenny meehan paintings

Kingston Artists’ Open Studios is a voluntary group, and we need and appreciate all the support we can get. If you think you could help us in anyway, do contact us via the link below.  Visual art is important to the health of society, bringing pleasure, connection, and space for contemplation.  The value is not easy to measure maybe, but it is always worth investment.

Hope to see you at this even next year, maybe?  !Jenny Meehan

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

http://www.jamartlondon.com/

 

kingston artists open studios jenny meehan

kingston artists open studios jenny meehan  image from 2017

 

Image shows paintings of Jenny Meehan and ceramics by Cressida Borrett  http://www.cressidaborrett.co.uk/

Contact me via my contact page at jamartlondon if you would like more information!

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

 

Looking backwards and moving forwards…

Or moving forwards and looking backwards?  !!!

This old post from 2012…

This painting…  I liked it, and it was exhibited at The Ark Conference Centre in Basingstoke.  Titled “Sorrow for Myself”.

sorrow for myself, abstract colour markmaking painting, human figure, depression, grief,trauma, loss,psychotherapy and art,jenny meehan fine and applied art,british contemporary abstract fine painting,subconscious subject matter,emotional release,lyrical abstraction,lyrical markmaking,instinctive intuitive process led painting,

The narrative:  The weight is heavy. The sun sets. Broken fragments are carried away. Down stream.  This is sorrow.  Sorrow for myself.  Blood is shed, but it is the blood of Christ which covers. God is compassionate.

The reference:  “Yet it was our weaknesses he carried;

it was our sorrows  that weighed him down.

And we thought his troubles were a punishment from God,

a punishment for his own sins!”

We think about being sorry for ourselves as a bad thing.  But it’s not what I meant with using the term “Sorrow for myself”.   I have allowed myself  to feel sorrow for myself, and to feel the sadness which I previously did not allow very much room for in my life.  It seems to be for me a process of allowing myself to feel compassionate towards myself.   I picked up this painting last year and decided to continue to work on it.  I have now titled it “Kaleidoscope” …

Not a great image of it…  Main archive image is still in the camera, but this will do for now.

Also I am increasingly deciding to put watermarks over my images.  It’s a boring job to contact websites and get them to remove images they have no permission and/or license to use.  Very boring.

©jenny meehan kaleidoscope painting jenny meehan process led painting abstract lyrical british colourist

kaleidoscope painting jenny meehan ©jenny meehan

 

The story behind this title is as follows;   I had a  vision while at an Ignatian Retreat Day at the Mount Street Jesuit Centre a while back where I could see I was holding a kaleidoscope in my hands and lamenting the broken pieces in it.  Then Jesus, or rather, Yeshua the Messiah… (Digression!  So many people just use the words “Jesus Christ” meaninglessly, I am seriously wondering if I might be best to use Yeshua, as it’s more in the historical context and I don’t hear people using it carelessly!) Anyway, back to the point.   He placed his hand on mine and told me to lift the kaleidoscope to my eyes and point it at him.  He guided my hand to turn it and as I did so beautiful light and patterns flowed through it, and the patterns went on forever and ever and they were always changing and all completely different.   Both looking at the brokenness, which was a sorrowful process,  and looking through the kaleidoscope, which was wonderful,  are important.   It was hard to allow Yeshua to touch my hand.  Maybe I felt like a leper, as we had been meditating on Yeshua healing the leper?  Maybe?  I wonder if the turning motion was the process of repentance?  It would seem so based on my current reflections and thoughts.  A continual process.   Allowing our Creator God to turn us around?  Writing words about it seems shoddy and clumsy.  But I continue to think about it.  And to title the painting with its continued work “Kaleidoscope” is just right.

Here it is now.  I showed it at this years Kingston Artists’ Open Studios.

I sell my paintings when they have been exhibited and/or I no longer need them for study and reflection. I don’t sell more than a handful each year. It’s great when they find someone to own them.  Makes more room in my house for the new ones too!  I am increasingly not using frames as they take up a lot of room.  I am now starting to work on card and other substrates rather than stretched canvas.

 

Tiny Bones Poem by Jenny Meehan

 

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

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

 

 

“Surface Work”  Exhibition across Victoria Miro’s London galleries  VERY GOOD INDEED!

This was good… VERY GOOD.  When I found out about it it was straight into the diary.  Essential viewing for any female abstract artist. And other folk too, of course!  I wrote about this a little bit in my last post.  But here is more information…

Some text from the website:

“An international, cross-generational exhibition of women artists who have shaped and transformed, and continue to influence and expand, the language of abstract painting.

Information
Private View 6-8pm, Wednesday 11 April 2018

14 St George Street, London W1S 1FE
Tuesday-Saturday 10am-6pm

Taking place across Victoria Miro’s London galleries, this international, cross-generational exhibition is a celebration of women artists who have shaped and transformed, and continue to influence and expand, the language and definition of abstract painting.”

It included the following female artists:

The exhibition includes: Rita Ackermann, Etel Adnan, Gillian Ayres, Sara Barker, Lynda Benglis, Suzanne Blank Redstone,
Betty Blayton, Sandra Blow, Sarah Cain, Varda Caivano, Lygia Clark, Prunella Clough, Angela de la Cruz, Jay DeFeo,
Svenja Deininger, Lucy Dodd, Louise Fishman, Helen Frankenthaler, Mary Heilmann, Ilse D’Hollander, Loie Hollowell,
Tess Jaray, Martha Jungwirth, Bharti Kher, Lee Krasner, Yayoi Kusama, Agnes Martin, Joan Mitchell, Katy Moran, Annie
Morris, Rebecca Morris, Victoria Morton, Elizabeth Murray, Dala Nasser, Elizabeth Neel, Tomie Ohtake, Betty Parsons,
Howardena Pindell, Liubov Popova, Fiona Rae, Mary Ramsden, Dorothea Rockburne, Jackie Saccoccio, Mira Schendel,
Yuko Shiraishi, Raphaela Simon, Pat Steir, Hedda Sterne, Alma Thomas, Mildred Thompson, Adriana Varejão, Paule
Vézelay, Jessica Warboys and Mary Weatherford”

List of works:

Click to access surface-work-mayfair-walking-list-final.pdf

Quote from press release:

“Surface Work takes its title from a quote by the Abstract Expressionist painter Joan Mitchell, who said: ‘Abstract is not a style. I simply want to
make a surface work.’ The exhibition reflects the ways in which women have been at the heart of abstract art’s development over the past
century, from those who propelled the language of abstraction forward, often with little recognition, to those who have built upon the legacy of
earlier generations, using abstraction to open new paths to optical, emotional, cultural, and even political expression. Historical and
contemporary works shown in dialogue will create a series of conversations across the decades, touching on themes such as the monochrome,
process, geometric abstraction, seriality and gesture.”

News coverage example:

https://www.theguardian.com/artanddesign/2018/apr/15/surface-work-victoria-miro-review-women-abstract-painting?CMP=Share_iOSApp_Other

Guide to the exhibition:

http://viewer.zmags.com/publication/8554a0b8#/8554a0b8/1

I posted some images last month.

 

victoria miro surface works visit 2018

victoria miro surface works visit 2018

 

The painting above, WELL…That’s paint! It’s inspiring!

Adriana Varejão
Azulejão (Moon), 2018
Oil and plaster on canvas
180 x 180 cm
70 7/8 x 70 7/8 in

 

On the way home I sat at Waterloo station and enjoyed the view!

 

 

waterloo station image jenny meehan

Romantic Abstract Expressionistic Lyrical Paintings by Jenny Meehan British female painter

When I get to archiving my current work by processing the images and information I promise I will post them up on this journal.  But this time of year is the important and vital painting season for me.  I need to paint now because I use my studio tent and it is most usable at this time of year.  Kitchen and garden are also handy, but as my paints and tools are all out, sorted and ready to roll, painting has to come first.  This is the least piecemeal part of the year… from March to September and  this is because I focus and drive ahead in all respects. Practically it works best.  Image taking, admin, and all the rest are confined to the darker weeks and days, the colder and the wetter times.  Yes, times like that still occur, this is the UK, of course, and I let the weather determine my course of action and artistic activities.  So my website remains a little need in an update, and digital tasks pile up.  Housework piles up.  All piles up, but the most necessary.  It’s actually much easier to structure things this way than try and equalise the process.  I do write this artist’s journal, but that is because I love to write!  However, this explains the lack of new images of more recent paintings.     So repetition of paintings displayed on this artist’s blog is the necessary result.  Never mind.  Cannot do everything!

catastrophe becoming painting 100days100women.wordpress.com, abstract expressionist lyrical romantic painting, jenny meehan © Jenny Meehan DACS All Rights Reserved

catastrophe becoming painting by jenny meehan submitted to 100days100women.wordpress.com british collectable abstract paintings ©jenny meehan

 

This is one of my personal favourites.  It’s got a great surface…I am pleased with what I have achieved.  This is one of my best achievements.

©jenny meehan DACS

seaside details ©jenny meehan DACS

This is a detail from “Sea Side”.  How annoying… The full painting image is on one of my hard drives and not on this newer computer.  I have extracts but no full view available right now to post.  Never mind!

 

seaside details

©jenny meehan DACS

seaside details ©jenny meehan DACS

seaside details

seaside details

seaside details

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

seaside details

seaside details

seaside details

seaside details

seaside details

summer seaside details romantic expressionist lyrical abstract painting by jenny meehan jennifer meehan

summer seaside details romantic expressionist lyrical abstract painting by jenny meehan jennifer meehan

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

seaside details

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

seaside details

seaside details

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

seaside details

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

seaside details

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

seaside details

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

seaside details

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

seaside details

©jenny meehan DACS romantic abstract lyrical painting british female contemporary artist

©jenny meehan DACS
romantic abstract lyrical painting british female contemporary artistseaside details

 

All this dancing and prancing around with painting… lyrical and brushmarks, experimentation and exploration.   I am pushing ahead.

 

This is another sound painting.  As it is the seaside time of year here in the UK…As much as possible,  this is a good one to show now. The side side is one of my favourite places.  Both positive memories from the past and current pleasure inform the feeling.  As my childhood was more sad than not, I hold onto the happy parts most keenly because they were gifts and I am glad I received them.

 

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

british collectable abstract paintings ©jenny meehan DACS
romantic abstract lyrical painting british female contemporary artist

Ah thank goodness for that “Drop in the Ocean” painting is at least to be found in completeness!

These two go very well together. Not surprising really!   I am selling these, so contact me if interested, via my website;  jamartlondon.com

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

It’s bye bye for now.

Cannot believe it took until the 18th of the month to get this done.

Never mind.

 

 

After having left my February post on the late side, I am getting the March post in early!  The piecemeal nature of this journal continues its meandering way, as I do mine, making my way through the vast expanse called life!

 

Desiderata written in 1927 by Max Ehrmann

Someone pointed me in the direction of this lovely piece of writing, which I share with you.

Desiderata

Go placidly amid the noise and haste, and remember what peace there may be in silence.
As far as possible, without surrender, be on good terms with all persons.
Speak your truth quietly and clearly; and listen to others,
even to the dull and ignorant; they too have their story.

Avoid loud and aggressive persons, they are vexations to the spirit.
If you compare yourself with others, you may become vain and bitter,
for always there will be greater and lesser persons than yourself.
Enjoy your achievements as well as your plans.

Keep interested in your own career, however humble;
it is a real possession in the changing fortunes of time.
Exercise caution in your business affairs, for the world is full of trickery.
But let this not blind you to what virtue there is;
many persons strive for high ideals,
and everywhere life is full of heroism.

Be yourself. Especially do not feign affection. Neither be cynical about love;
for in the face of all aridity and disenchantment it is as perennial as the grass.
Take kindly the counsel of the years, gracefully surrendering the things of youth.
Nurture strength of spirit to shield you in sudden misfortune.
But do not distress yourself with dark imaginings.
Many fears are born of fatigue and loneliness.

Beyond a wholesome discipline, be gentle with yourself.
You are a child of the universe no less than the trees and the stars;
you have a right to be here. And whether or not it is clear to you,
no doubt the universe is unfolding as it should.

Therefore be at peace with God, whatever you conceive Him to be.
And whatever your labors and aspirations, in the noisy confusion of life,
keep peace with your soul. With all its sham, drudgery and broken dreams,
it is still a beautiful world. Be cheerful. Strive to be happy.

 

This has been quoted from the following website:  https://www.poemhunter.com/max-ehrmann-2/

Desiderata was written in 1927 by Max Ehrmann, a poet and lawyer from Terre Haute, Indiana. The word desiderata means “things that are desired.” Ehrmann said he wrote it for himself, “because it counsels those virtues I felt most in need of.”

There are also many audio versions of Desiderata by Max Ehrmann, for example the following:

 

 

 

This journal; this “meandering discourse”, serves to educate you on what happens alongside my painting and visual artwork. Though I don’t often make direct references to all that inspires me, confronts me, meets me, greets me and generally impacts my life, and therefore my work,  (which is just as well to be honest, because the important meaning in your relationship with my painting is based upon your own life and experience, not mine), however, my painting is one facet of the whole, not the whole, and folk often like to know about the creator behind the art.  Sharing what inspires me, may add a dimension to someones experience of my work, and this is something which can add some depth.  Many artists are also writers, and/or musicians.  It’s good to have different forms to hand.  I think writing for me has relieved me of some pressures, and given me a place to explore concepts through a medium I find best suited to it.  With painting I am relieved of any need to say or sound anything other than the materials I work with, the rhythms of painting are poetic and resonate emotionally, free of any need to be or say anything other than they are.  And that feels good and liberating to me.  So I write regularly and this is helpful.  It is a very useful tool to have, among the paintbrushes, rollers, and collection of materials.  And now I have started to learn hand drumming, which is probably the best new activity I have started for years.  This links in with my painting; the connection being rhythms and resonance, and presence and space and all those things which words don’t quite manage to express!

I learnt one of the rhythms from Sinte last night!

 Kingston Artists’ Open Studios 2018

Getting ready for this year’s Kingston, Surrey Artist’s Open Studios.

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!

Hope to see you! Jenny Meehan

 

Bits and Bobs

I post past work up from time and time.  I find it helpful to look back fairly often and ask new questions about what I was doing and why.  It also reminds me of what matters to me, and how certain strands have developed over the years.  It’s essential in order to come up with new directions, because in looking back you actually see things anew and recognise the elements of your work which you still like and which interest you.  Like old friends, who know you well, they often offer important insights!  Here is some past work:

 

“Round and Round Inside My Head” Monoprint  by Jenny Meehan

Oil based ink, graphite, and oil pastel on paper.

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

I don’t use linear elements in my work so much now, or when I do they are hidden lines formed not from direct application of a media but from edges and the meetings of other forms.  I have recently started using tearings and collage a bit more and this is bringing line into my vocabulary once more.  I have been once again inspired by Francis Davidson, whose work I saw again at the end of last year, and this exhibition was helpful to me.  I likes the strips very much and this has given me a few thoughts about future direction which are very timely.  I don’t tend to talk about my thoughts for the future in any detail as they need incubation time, and it is easy to diffuse things before they have properly had a chance to grow.

I think of Henry Moore saying ” It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work. (Henry Moore). I heard or read that quote years ago and it has stuck with me.  I completely “get” this.   I love writing and have decided to keep the sharing of my work to this Journal, rather than use Instagram.  I did start using Instagram, but felt this “dissolve” immediately.  As far as I understand it is thought best for artists to share their work in progress. Because this is interesting.  People are interested in  how artists make their work.  However this feels like a violation to me.  This is probably due to the way I personally work, because I work in such a piecemeal, gradual, and extended process, with work coming out and being put away, over a period of years. Privacy is part of the process.  It’s not that I don’t share work in progress at all, because I do.  But I don’t want the pressure of feeling I need to supply a stream of my work to other people before it has found itself and feels some degree of its own resolution.

If my work was different, I don’t think this would be an issue.  For example, if I was sketching and making work which went from start to finish in one fell swoop, I don’t think I would feel the same way about using Instagram.  Slightly conversely, this journal gives me a chance to share about my work but in a way which is limited, quiet, and doesn’t have the effect of diluting any of the energy.  I don’t talk about my work very much at all to other people, only quite rarely.  I find it interesting being a visual artist in this current age, where so much is public that would not have been public in years gone by.  It gives me some pleasure that my writing is here for people to read if they are interested, but I see this Journal as being as much a tool for my own development as it may be for “the public” eye.   It is the only organised writing I have, because the rest floats around all over the place, in small notebooks and pieces of paper!   The organisation of it, in the  liquid “stream of consciousness form, may be it’s prime virtue! Kind of not chaos and not order, but between the two!

Below is  “Baptism/Into the Ocean” Painting by jenny meehan

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

It looks equally good rotated to the left and displayed as portrait…  This is available for sale so contact me via my website contact page at jamartlondon.com if interested.  http://www.jamartlondon.com/

It’s got a lot of energy!

“Pillar and Moon”  below is also available.  http://www.jamartlondon.com/

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

This digital photographic work below evolved from a photograph taken in Oxshott Woods, one of my favourite places.  I went there each Sunday as a child and continue to make regular walks through the woods!

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

Henry Moore Quotes

I quoted Henry Moore earlier and found several quotes from him I would like to take note of:

The important thing is somehow to begin. (Henry Moore)

If an artist tries consciously to do something to others, it is to stretch their eyes, their thoughts, to something they would not see or feel if the artist had not done it. To do this, he has to stretch his own first. (Henry Moore)

To be an artist is to believe in life. (Henry Moore)

Art is a continuous activity with no separation between past and present. (Henry Moore)

 

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 haven’t put much up new, but did add this a few months ago:

https://www.redbubble.com/people/jennyjimjams/works/29863227-dyno-blue-wall-tapestry-design-by-jenny-meehan?asc=u&ref=recent-owner

It’s called “Dyno Blue”.  Quick burst of activity on the computer, and there it is!  The wonders of technology!

dyno blue tapestry design jenny meehan© Jenny Meehan. All Rights Reserved, DACS

dyno blue tapestry design jenny meehan © Jenny Meehan. All Rights Reserved, DACS

 

Gum Arabic Preparation

I was recently looking over some experimental paintings I had made with  home made watercolour paints.  The paints still look great in their pots.  I made mine to keep in liquid form and put more clove oil in them.  They are keeping very well.  I really enjoyed making them and it much easier to be lavish and generous when using materials which are more affordable.  All the pigments used were mineral, earth, iron oxides or mixes, and and NO FILLER at all!  It is great to have better control possible through being the master or mistress of your own fillers!!!!

I didn’t use honey, (I don’t think, or I may have just put a bit in, cannot remember!!!) but as said, I wasn’t trying to make blocks, and kept it liquid!  Here is the recipe I used but I used my slow cooker.

Gum Arabic Preparation
Ingredients
• 300 grams (10.5 oz) Gum Arabic powder
• 3 drops Clove Oil (optional)
• 1 liter (2.1 pints) of boiled water
The ratio is 1 part gum to 2 parts water. Boil water and pour over the powdered gum, stirring to make sure there are no lumps. Allow the mixture to soak 24-48 hours for full absorption.
Add drops of Clove Oil to extend shelflife. Prepared Gum Arabic must be stored in the refrigerator to deter mold growth. It may be advisable to make small batches so the solution will be fresh rather than storing larger quantities for an extended period of time.
Watercolor Preperation
• Prepared Gum solution (Arabic or Tragacanth)
• Honey (Acacia is preferable) in a 10% proportion to the weight of Gum solution used
• Pigments
Mix all the ingredients and crush them on a glass plate using a spatula to obtain a paste with a thick, creamy consistency. It is recommended that you finish the mixture by crushing it with a glass muller (available at art supply stores). Transfer your paints to saucers for painting. When creating your initial gum, you may wish to addGlycerin as a plasticizer to prevent cracking and brittleness. The ratio would be 1 part Glycerin or less by volume to 5 parts of your prepared gum solution. Add the Glycerin after gum has been completely dissolved but while still warm.

I still have my gum arabic solution in the fridge, over a year later, and it still looks fine.  I use it in my hair at the moment, because I have made myself a single braid, and need to dip the end of it into the solution to make it easier to thread a bead through it!!!  I didn’t bother with grinding pigments….  I like using them a bit coarser, I prefer the way the light bounces off them.  If I was painting miniatures or tiny detailed paintings I guess I would want them finer but why use them finer unless you need to?

Studio Tent

 

 

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

The image above was taken in the Summer.  It’s still too cold in the studio tent at the moment, but I have started pottering around in there!

Below a few images of work.  These two “Yoga Inhale” and Yoga Exhale” paintings both sold.  I take lots of photographic images of my work, cropping and at different angles and orientations, as it is a helpful way of looking at what I have done.  Details also get forgotten.  Particularly if I don’t have the painting any more.  I use previous paintings for reference points all the time.

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

jenny meehan jamartlondon abstract expressionist lyrical textural colorist paintings licensable images

jenny meehan jamartlondon lyrical abstract expressionistic paintings in progress

New Knee Anniversary!

One year today, I had my knee replacement!  Now I have hit the one year mark I am stopping my piece of writing, which inhibits another page on this blog. https://jennymeehan.wordpress.com/the-very-patient-knee-replacement-story-by-jenny-meehan/

Not going to write much here about the knee, more than mention it.  The project is over!  My life goes on, and it’s a lot better than it was just over a year ago!

IMG_7305knee replacement in bed

Great Quote from Frank Auerbach

I enjoyed reading this interesting article:

https://www.theguardian.com/artanddesign/2015/may/16/frank-auerbach-when-paint-fantastic-time-lots-girls?CMP=share_btn_fb

My favourite part:

He says the obligation to take account of the art that has gone before carries two demands: “first that you attempt to do something of a comparable scale and standard, which is impossible; second that you try and do something that has never been done before, that is also impossible. So in the face of this you can either just chuck it in, or you can spend all your energy and time and hopes in trying to cope with it. You will fail. But as Beckett very kindly said for all of us, ‘try again, fail better’, and painting just took me over.”

That’s it for this month!

PS

If you would like to donate money to help support my creative practice I can accept donations 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.  If you do this, there isn’t a system for me to contact you and thank you, so you will need to believe you have my heart felt thanks!

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. 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!

Happy New Year!

I continue with my experiments with materials and a little bit of finishing off of paintings in progress.  I never work on one thing at a time.  I always need to have several paintings going on at once.  However, as I currently have well over 20 paintings on the go, I feel it would be a good idea to narrow down the range a little bit.

Though my plans are to paint on a bigger format, I still enjoy working on smaller pieces and I can see that continuing into the year.   I am mad to work on a bigger scale in so many respects, financial and practical.  But I cannot resist the temptation.   I feel that my painting is something that people should be able to immerse themselves in in the way that I enjoy immersing myself in it.  Making it bigger makes that easier I think.  So much is thrust at us visually.  We are completely bombarded with images from all angles.  Bigger in NOT better.  No way.  But it’s what I want.  It presents more challenges, and to be honest, I am so grateful for my mobility, that I feel if I don’t do it now, as the years go by, I cannot take for granted that I will be able to make bigger paintings later on.  Yet I must make bigger paintings which don’t take up too much room.  Because I don’t have enough room as it is!

I am also thinking about my oil paint.  I have a lot of it but am not using it in the way that I used to.  I am going to try and make some oil sticks with it, to use with my acrylic paintings.   I like making paints and enjoyed making my own watercolour paints a couple of years ago.  Making oil sticks will be fun too.

Here are some past oil paintings:

Oil Paintings “Poetic Landscape/When Trust Breaks” and “Alabaster Loving”

These two oil paintings are linked intimately with two of my poems, and I have enjoyed reviewing both the paintings and the poetry which accompanies them.

© Jenny Meehan DACS All Rights Reserved Oil painting based on one of the poems by Jenny Meehan

Part of coursework on a short course at West Dean College 2010© Jenny Meehan DACS All Rights Reserved

 

OOOps!   Due to moving things around on various hard drives I cannot locate the poem for the above painting right now!  Another time!

“Alabaster Loving”  is slightly later, finally resolved in the following poem:

Alabaster loving

I have hardened my heart.
Made a cave
within which I can hide away my flesh, bruised and dark.
Sobs in silence, surrounded
still
alone.

You came later, bearing gifts from afar…
Some nativity story you said, in recognition of me being the chosen one. Redeemer, and Saviour of your soul.

My love, holding the hope you hungered for…
But I could not carry it.
Each little spark of faith, placed religiously in rapid motion,
layer upon layer, tear upon tear, and sorrow upon sorrow.

You looked to me, and believed your self would define your better being
in a little child…
But I could not carry it.
“I wish you were like other mummys.” I say.
And you are sadder still.

I see them, with their children laughing.
I wish for my own fairy godmother,
able to transform rags.
Cinderella’s dress is blue with a bright bodice
Joy is not squeezed out of her, she lives.
Reality on the cover of a single book.

I am sorry for my hard heart. I know now
it must have hurt you, the reality.
I pulled myself together in such a tight knot
in order to preserve my life.
I did not mean to make a stone of it.

I remember wanting you on the coach back from Bexhill.
Lumps in my throat…(I had mumps),
but also bumps of sadness.
Looking out of the window, and seeing you in the distance
though you were not really there, as we had not got back yet.
I wanted to buy you some flowers, they were “Gypsophila”
(Commonly known as “Baby’s Breath”)
Small, white, and dry,
but pretty.

Then you were there,
I was glad to see you. You felt like my Mummy, and you looked after me.
But it didn’t seem to last very long.
The flowers, quite possibly,
may have outlived you.

I must be forgetting so many good times,
I am sorry for that. I know they are there.
But I cannot help wrapping the gifts in the paper you gave me.
It was not soft pink tissue, but earth brown, and protective.
I wish it were different.
Maybe it’s just too hard to think of the colours,
for they may only make the darkness darker?

“Commonly known as Baby’s Breath”

In tight knots of white
fight, outward
Tight
Clutch your bunch, in little hands
Finger strands reach
as thin fine stalks
balancing flowers
in air.

Know ” Gypsophila ” means gypsum- loving
Gypsum white
hard.
I’m making my dry flowers soggy
But my flesh is warm.

I think you are in heaven now,
It being a safe place, I know you are fine.
I know your maker knows you
and holds your story within his own flesh,
bound in holy suffering,
complete,
divine.

I know he knows my story, too…
Incomplete, but unravelling.

Unravelling as self-seeded flowers
Small and unpretending,
moisture loving, in the childhood garden.
Ever living little eyes, meeting mine.
No need of nurture, and
only spread by finding crevice or gap
in which to place and plant their fragile root.
Forget – Me -Nots
Lay their cloud-like carpet over the earth
winking dots of timid,
almost blue.

“The Creator thought he had finished giving the flowers their colours
he heard one whisper “Forget me not!”
There was nothing left but a very small amount of blue
but the forget-me-not was delighted to wear such a light blue shade.”

I can hold my stone, I need not throw it…
… hold it,
…bury it.
Not re-membered, exactly,
but neither
forgotten.

 

 

 

© Jenny Meehan DACS All Rights Reserved painting the poetic, art poetry, expressionist, lyrical abstraction, romantic, Alabaster Loving - Abstract Painting by Jenny Meehan

Alabaster Loving – Abstract Painting by Jenny Meehan. Relates to the Poem “Alabaster Loving”.
Painting the Poetic is probably the whole point of things for me! © Jenny Meehan DACS All Rights Reserved

 

 

Pat Steir Painting Video

While overcoming my jealousy with respect to the size of her studio, I loved watching this video.  I use some dripping paint in many of my paintings and love what it can bring to a painting,  and so I found seeing what Pat Steir does on a large scale working just with dripping fluid paint very interesting.

http://painters-table.com/blog/pat-steir-painting-vermont?utm_medium=email&utm_campaign=Painters+Table+-+Weekly+Update+-+October+10+2015&utm_content=Painters+Table+-+Weekly+Update+-+October+10+2015+CID_98eca7c15fb24f505654ebd1fb7159ac&utm_source=PT%20Email&utm_term=View%20the%20full%20post%20at%20Painters%20Table#.VhoewvlViko

St Paul’s Church of England, Hook, Surrey in the snow with blossom.

I cannot remember when I took this, but I love the combination of blossom and snow!  I think it must have been one Spring a couple of years ago.  This is my local church and we have been going there for  years now!  How time flies!

st pauls church of england church hook in snow

st pauls church of england church hook in snow

 

The Other Side of Chaos by Margaret Silf

Great quote:

“When we are in transition, depending on how serious the breakdown is, we may feel as though almost every aspect of life has been disrupted. The old certainties, the old habits and comfort zones, have been dive-bombed. The old home, the old job, the old “me,” may be almost gone. It may be the time to ask, “What is that essential core of who I am that remains through all this upheaval?” This is an important question, because it is this remnant that will be the starter for the new stage of our growth.
The thing about this remnant, this core of being, is that we often don’t discover it until the force of change has stripped away the outer layers of past certainties and securities. Just as the seeds of the eucalyptus trees in Australia can’t germinate until they are exposed to the intense heat of a forest fire, so, too, there may be deep parts of ourselves that are activated only when the shallower layers are stripped away.
And it isn’t just about survival; it is about growth and transformation. The new you that comes through the blast of change will not be just a shadow of your former self, but truly a new you, with deeper layers of your personal potential exposed and invited to grow and flourish. For example, through apparent disaster you may discover skills you never knew you had. You may discover qualities that had never previously been called upon, such as resilience, patience, ingenuity, empathy with others going through similar upheavals, and even a sense of humor to laugh through the tears and glimpse the rainbow through the rain.
—Excerpted from The Other Side of Chaos by Margaret Silf
– See more at: http://www.ignatianspirituality.com/19469/the-challenges-of-life?utm_source=emagislist&utm_medium=email&utm_content=201509&utm_campaign=emagis#sthash.2sf1vNEK.dpuf

Singing in the rain

It is rather wet, dark and very January!   This thought brings me to a fairly recently completed painting “Singing in the Rain”.  The joyous dance of colour along with the running paint marks makes a nice combination here.   I also often do a fair bit of walking backwards and forwards if I am at a turning point when painting, and I need to think about moving a painting forwards in a more definitive way, but am not sure which way to go.  A bit of dancing breaks up any dead ends too! Now I can do this pain free there is every reason to be singing in the rain, even when indoors!

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

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

This makes me think of the past painting “London Downpour” which is now in the hands of a collector:

London Downpour- Jenny Meehan painting abstraction at The Strand Gallery London as part of "Lines" visual art exhibition, jenny meehan jamartlondon london downpour process led painting british contemporary female abstract expressionistic painting, claude venard style work of london southbank tate modern river thames,contemporary emerging artist exhibition london.

London Downpour- Jenny Meehan painting abstraction at The Strand Gallery London as part of “Lines” visual art exhibition. Lyrical and geometric abstraction painting southbank london from the imagination! painted in a process-led, intuitive guided fashion, external impressions from regular trips to London appear to have seeped into my subconscious!

 

London Down Pour process led painting contemporary female painter Jenny Meehan southwark southbank memory based abstraction lyrical solid liquid dialectic,contemporary london south west based visual artist woman painter

 

I like looking back on different strands in my painting.  It seems to evolve in a cyclical way, with different strands being repeated on quite a regular basis.  This is why it is important to let your painting develop naturally and not artificially confine it, but spend time reflecting on what you have done in the past, while being willing to try completely new directions as well.

I think I posted this one before, but no harm in posting again.  It’s acrylic on canvas, mounted on board and framed under glass.

 

clog dance, sacred dance, dance inspired painting,clog dancing, jenny meehan, jamartlondon, licensable painting, painting for sale, contemporary british abstract painting, lyrical abstraction,colourist expressionist abstract, modernist romantic, 21st century painters,

clog dance/sacred dance abstract paintings colour

This Clog Dance/Sacred Dance is oil on stretched canvas.

It’s more structured and painted in oils which has changed my relationship with it a lot.  It was done while dancing in my clogs.  I like to dance when I paint, it helps a lot.  This one is still available.  If you are interested please contact me through my website jamartlondon.com.  There is a contact form there.

I have started posting some recent paintings on my website.  As I complete paintings this year I will post more up.

http://www.jamartlondon.com/

I need to think about what I will show at this year’s Kingston – upon – Thames,  Surrey based “Kingston Artists’ Open Studios”

It’s a nice event to take part in and if you would like to visit me and see some of my work, along with lots of other wonderful artists, then do pencil it in your diaries!  Time whizzes by!  This years Kingston Artists’ Open Studios  will be taking place on 9/10th and 16/17th June 2018 from 11am to 5pm each day.  It is open to all artists and makers living or working in the Kingston area.  Registration is happening right now!

A bit more about Surrey’s wonderful opportunity to meet artists and makers, from our website:

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 the events page for more details. For more information about our members please visit our artists pages.”

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

 

Photography Examples – Jenny Meehan

I use photography as a type of creative meditation, and through the act of composing an image, the finely tuned observations I make inform and educate me with respect to the natural world.  Indeed, these representations serve as reminders to me and speak the abstract language of art just in their very being, enabling me to get to the root of natures meanings (in a mysterious, and felt sense). I then  hopefully retain some given aesthetic sensibility, which I can then use in my  paintings.   The beauty of natural forms is inspiring and I find it helpful to have images to hand of things I have seen from times I remember.  Even though I don’t translate the images directly into my paintings, it is the looking, seeing, noticing, and taking in of nature, and the creative inspiration behind all creation, which inspires my paintings and fuels the desire to carry on painting.  I have a lot of photography in my archives, and haven’t done very much with it, so I will share a little bit here with you!

 

 

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

These lovely day lilies were seen at West Dean Gardens, when I was on a course at West Dean College a few years back.

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

 

Suburban Meditations/Painter’s Development

I’ve been reviewing fondly many images I took in what I will call my wilderness years… The years when increasingly the sense of life disintegrated  and while life carried on externally pretty much as normal, internally I became increasingly aware  of that gaping void, the one we avoid…The depth of the personality which we sometimes fear investigating, because it is harder to face our innermost being than it is to focus on the frontage!   It seems wrong maybe to use the term “wilderness”  because I think that by wandering in the dry and difficult places of life, we often find that the source of life, the spring, the waters which take us into new places, come unexpectedly up from the hard ground.  Though I haven’t sorted through these images yet, and I will probably think further and arrange them with others into several collections,  I enjoyed reviewing them recently in the light of my present preoccupations with painting…I can see how that seed began to grow.  As I look at the images, and the instinct which led me to dwell so deeply on the fences, pavements, walls, and all the other places I walked through,  I can see myself gathering the matter which enchants me now as I experiment with painting in the way that I do.  My intense  desire to paint in the way that I do is surely founded on those walks and the way that I let myself become so absorbed with the surfaces which met me and which I took note of  by means of a camera shot.  The images vary in quality, and should be seen more as a personal record than anything else.  They are meditation, and meditation carried out at a time of searching and of internal turmoil.  I think I found some reassurance in the way that beauty could be discovered in the most unlikely places.  A sense of order, through experiments with composition. Beauty even in erosion, wearing down, and breakage.

The following images were taken as I walked around my local suburban area, often through rear access roads and alleys which offered alternative routes, and were less on the beaten path (or pavement to be more accurate!)  These are a few examples.  Many were taken as I took the children to and from school, aided by the slowness of toddler-walking and pushchair pushing, which is very helpful in encouraging observation!

suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

jenny meehan jamartlondon suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

suburban meditations painters development series jenny meehan

suburban meditations painters development series jenny meehan

 

suburban meditations painters development series jenny meehan jamartlondon.com

suburban meditations painters development series jenny meehan

 

Looking intently at all those surfaces is something which certainly has influenced my approach to painting.  I think texture is very important in painting, and even more so at this current time, when we are so accustomed to smooth device screens, which we view so many images on.   Light, colour and image viewed on a screen is a completely different experience to having light bounce off textured surfaces.  I know that goes without saying, and I still find the smooth surface of a printed digital image pleasing, but I do think it is sad sometimes that our eyes are drawn to a screen more than they are to the effects of light bouncing around all over the place!

 

Frost From the Heavens

© Jenny Meehan. All Rights Reserved, DACS

© Jenny Meehan. All Rights Reserved, DACS

Needless to say, you cannot see this painting at all well on the screen…It has tiny glass beads which reflect light very decisively!

 

Virgin Birth?  Or Not Virgin Birth? And Does it Matter Anyway?

Some theological wanderings!

Read this with interest:

https://www.theguardian.com/commentisfree/2015/dec/24/story-virgin-birth-christianity-mary-sex-femininity

Christmas is finished with for another year…Decorations put away, lots of rubbish thrown out, and more things to fill the space, which in our house, isn’t much space at all!  As I was ill with some kind of flu bug in the run up to Christmas, I had plenty of time lying in bed unable to do much, and resorted to some theological wanderings, which I do enjoy. On the topic of the virgin birth.  It bugged me last year… this matter of the virgin birth….  A question popped into my mind regarding did it matter?  I thought about it a year ago and left it, but during the run up to this most recent Christmas it popped into my mind again, so I gave it some attention.

Now, firstly, I have been a Christian since the age of 18…That’s a long time.  And in time, a lot of things change. For example,  I was brought up, in my early Christian walk, with the penal substitution theory of atonement.  Urgh?  Here’s a short quote from Wiki:

Penal substitution (sometimes, esp. in older writings, called forensic theory)[1][2] is a theory of the atonement within Christian theology, developed with the Reformed tradition.[1][2][3][4][5] It argues that Christ, by his own sacrificial choice, was punished (penalised) in the place of sinners (substitution), thus satisfying the demands of justice so God can justly forgive the sins. It is thus a specific understanding of substitutionary atonement, where the substitutionary nature of Jesus‘ death is understood in the sense of a substitutionary punishment.

Yes,  and then, many years later, when I thought more deeply about it, and got to know the character of our marvellous Creator God a little bit better, (as much as I was able, in my limited capacity!) and got to sort out a little bit more of my own internal mess, I realised that there were problems for me with this stance, and the biggest problem being that this theory didn’t fit in with my understanding of God as being a God of love, mercy, justice and compassion.  So quite a few of my ideas changed, as did my approach to the Old Testament books of the Bible, with the character of God they tended to create in the imagination.  I changed my approach and started to see that the image of God shown there was indeed the image of God perceived by the people at that time…BEFORE CHRIST.  Christ being the full revelation of the character of God puts a whole different light on things.  What a relief, because the image of God I was getting from the old Testament, even with dollops of mercy and patience and even a bit of femininity thrown in here and there,  was violent, schizophrenic, and predominantly masculine.

I am not quite sure what relationship this has to my rethinking on the virgin birth,  but I guess it served as an invitation to be willing to think over once again certain aspects of faith and belief which I had taken for granted, on face value, in the past, without allowing myself to think them through again. Lots of researching, while very ill in bed with flu before Christmas, led me to the point where I have no issues with believing that the Lord Jesus Christ was conceived naturally in the usual way, and also, conceived of the Holy Spirit.  One need not be exclusive of the other, and natural ways don’t suddenly erase the holiness in life in my opinion.  It doesn’t make Jesus Christ less a member of the Trinity.

I am a firm believer in the truth of God as three in One, Father (also “Mother” is helpful for many, for the term “Father” is used as a matter of following Christ’s terminology, which was what he himself was brought up with), Holy Spirit, and Son.   It doesn’t make the significance of Jesus any less, or make God less God, or anything like that at all.  Surprisingly, I have found in my own experience, the alteration in my belief has made Christ even more significant to me. I have been blessed by this change of understanding.  My relationship with the Lord Jesus Christ has altered in a very good way. God did not abhor the flesh in any sense in the incarnation. The womb of my life is thoroughly human, but still Christ resides in it. I am not unclean to my Creator, his Holy Spirit resides in me.  (Lot’s of work to do there, but still, God is faithful!)

I think that previously I had kind of placed Christ in a  superior position to me with respect to his humanity.   I guess it may have sprung from the idea that he wasn’t quite human in the way that I am.  What with being God.  (It is hard to comprehend, well, impossible, that Christ could be fully God and fully human.  It is, as many things, a matter of faith and choice.)  However, believing that the Lord Jesus Christ is, and was, fully human and fully man, hasn’t changed for me. Even with a change of mind about the virgin birth.  His position in the Trinity hasn’t changed.  When asked by Christ “Who do you say I am?”  My answer will always be “You are the Son of God”.  Christ is part of God’s wonderful plan to BE IN INTIMATE RELATIONSHIP WITH US.  But something has changed for me.

I don’t believe that the Lord Jesus Christ was just a prophet, a teacher, or someone particularly gifted and enlightened.  I do believe that he is exactly who he said he is.  But his humanity has changed for me.  Well, this started a way back for me, a few years ago,  when I understood that he understood both doubt and fear. Fully.   That God, my Creator understood MY doubt and fear. Even at the point of it being completely overwhelming. Completely. That it wasn’t a sin to feel they way I did.  Just part of being human. But still something which God understood. Really understood.  But still, even in and through his complete humanity, Christ chose to believe God.  He did not curse God. He held onto the love of God, though all suffering.  In and through it. Yet he knew the experience of FEELING forsaken. Though he was not forsaken, he wasn’t somehow immune to the full human experience of life and death.     That was a liberating realisation!  I think I used to think it was easier for him because he wasn’t quite the same as me in his humanity.

Side line: Maybe the link between the “penal substitution” idea and the “virgin birth” idea, and the idea of Christ being “sinless” (in the sense this is taken at face value by many folk) is the basic concept that Jesus Christ had to be a “perfect” sacrifice, to take the perceived punishment for us?  Yes, there are references in Hebrews for this, but this was a very specific context.  (By the way, to those not into this theological wandering, this may seem a waste of time, but I am re-thinking over layers of assumptions, many of which have been presented to me in the past as being the truth, with no further thinking or questioning to be encouraged!)

But to now… As I slide down the slippery slope, maybe?

Reading the article on the birth of Christ got me thinking about what isn’t recorded in the New Testament.  (PS  I don’t personally believe the collection of books we call the Bible is inerrant…that doesn’t mean I don’t believe it’s not a crucial part of a Christian’s life, or that it isn’t inspired by the Holy Spirit!)  The different gospel writers had their own angles and own approach, and brought a different flavour and emphasis to their narratives,  which all provide a vital perspective and record of the life of Christ.  But while there is a lot that they do write about, there is a lot which is not included as well. Not everything could be written down!  It could not be a perfect account (if perfect means  complete), because it has limitations, as every written record has.  (And the limitations of such as I, in reading it!).  So I got thinking about the parts of Jesus Christ’s life which we don’t know anything about, because the New Testament doesn’t say much about them.  I began to wonder if Jesus was normal?  Was he a normal boy? A normal teenager? What was he like? It seemed silly I had never thought about this before.  To start to think about the Son of God needing to grow, develop, evolve, into the person that he was.  To start to imagine that he would be subject to all the usual psychological and emotional, as well as physical developmental stages.  I had never done this before. Don’t know why!

I had put him in a separate category to myself.  Human but not really human. And his holiness, and fully righteous, mature and Godly character, which is communicated so well and so beautifully expressed within his humanity through the images we get from reading the accounts of him in the New Testament… Was this how he ALWAYS was, right from the point of birth?  Years back, if someone had asked if Jesus Christ was “sinless” for the entirety of his life I would have said “Yes”.  Not sure why.  Must have just picked it up from the Christian cultures I inhibited!  I wouldn’t have even thought about it.  Indeed, many people feel the question a foolish and pointless one.  Maybe even irrelevant.  But nowadays, not thinking about it isn’t an option for me.  Thinking about things in a questioning and analytical way isn’t opposite to faith.  It can open doors into a great depth, and things can be thought about  with always an openness for change, held along with the thinking and the believing!  Plus, when you have flu and all you can do  is look on your tablet, it gives you something to put your mind to!

So I have a slightly different understanding of the Lord Jesus Christ during his time on earth now.  I am not going to go into all the reading, thoughts and theories I read.  It’s enough to say, I did some research, and found a way through it suitable for myself.   There is room for him to experience sinfulness for some of his life.  Why not?  Would this make him somehow less who he said he was?  That he needed to grow and evolve in obedience and perfect submission to God?  That he was not fully enlightened, perfect in holiness, for the entirety of his life, but just a portion of it?  Does being perfect ( whole, complete,  fully obedient, attuned, enlightened, submitted to God, letting God define your very being) for a few years of a human life make it any less amazing, divine, significant, or noteworthy?  Does it make the achievement of Christ’s way, the path he honed out, the extent of how God was revealed in him, and the work of the cross and the resurrection, any less?  Some would hold the opinion that it does diminish Christ to perceive things in the way I do now, I imagine.

But for me it doesn’t. It makes Christ’s achievement all the more inspiring to me, and gives me strength.   I don’t see a conflict in the idea of evolution, and the way that  things are evolving and developing  and the will and purposes of a Creator God. Or of divine things happening through natural human means.  Or of God’s ways revealed in natural and supernatural events.  Sometimes happening at the same time.  Sometimes overlapping.  Meeting.  God in all things, and the eyes to see and heart to believe, is an important principle for me in the way I live my life.  So not embracing the idea of the virgin birth isn’t a case of me not believing it would be possible. Oh no, I don’t have any issues with the fact that our Creator can do what he-she wants.  My understanding is that Christ put his deity aside, and was fully mortal. That all that is hard for me about life was also  hard for him.  For me, the idea of him being conceived naturally (as well as divinely) makes more sense and actually feels more profound and amazing.  No natural process shunned, but integrated divinely.

This is the difference for me in my present understanding and approach.  Christ was fully human. And also (at a point in his life) fully God.  That full measure of the Holy Spirit at his baptism, marked the beginning of his work and his full identity.  It is amazing that God himself understands humanity in a way that would otherwise not be possible without Christ. From a place of complete powerlessness and vulnerability, weakness and fragility.   God is WITH us, in and through Christ, in a way which can be experienced  in a wonderfully liberating and powerful way.   In placing our faith in Christ, as who he is, as the full revelation of God, placed both in history and time and beyond it, it is the case that a whole new way of relating to our Creator opens up.  This kind of makes arguments about a virgin birth, or not, feel a bit trivial I guess.  But I am not here to argue theology, just to share my current perspective.

What matters is who God is.  The Trinity is always going to be well beyond any human comprehension.  So that’s the biggest step of faith I guess.  In the end, we are left with Christ’s question “Who do you say I am?”.  The question and the answer are going to resonate  slightly differently for every person, because we are all unique and God knows each of us entirely.   Some will say Jesus Christ is God, others won’t.  What Christ means for different people is variable, because what the character of God is understood to be, will vary from person to person.  What Christ said about himself will be taken in many different ways.  For myself, as a Christian (a follower of Christ) I find in Christ a way which opens up the love of God to me in a life changing way.  The way we perceive God’s character (if we have a belief in God)  is vastly affected by our own developmental experiences.  Part of my journey so far has been casting off a very negative view of God, and letting the love and consolation of God flow into those places which previously only held desolation. Christ offers me a route into experiencing and relating to God in a way which has proven itself to me, through experience, to be life giving, life enhancing, liberating and revolutionary in many respects.

To entertain this newer idea of the Lord Jesus Christ has been helpful to me. To think that Christ could experience sin is a good thing, because he knows the feelings of guilt and shame which are part of being a human too. I see no need to assume that Jesus Christ was a really disobedient child, wildly rebellious, and rather immoral before he took on his mission.  It would make a good film drama, but not a lot of sense.   It sounds from what is in the New Testament that he was gifted and intelligent, and I do think there would be a serious inclination towards the ways of God from a young age, which would make him a pretty “good” boy, I should think in terms of morality and social behaviours and actions.  I think he needed to apply himself very diligently to learning and growing in the ways of God.  I find it very conceivable that from his baptism onward, in the later stages of his mature life and the time of his ministry, he could later be accurately described later by New Testament writers as being “sinless” and “perfect”.  What these words actually mean in the context they are used in probably quite interesting, and  Jewish and Greek scholars would have a much better grasp of things than I can have.  If “sinless” means “spot on”, and right on the mark, then I am very content to settle for that. A man of total and complete integrity, as I believe Christ was/is, is someone to be believed.

I think the character of Christ would speak, and still does speak, for itself.  My personal issues with Christ being thought of as completely sinless, I think,  is that the idea, in my thinking, seems to have come from an underlying belief that Christ had to be sinless, because if he was sinful AT ALL he couldn’t do the work he needed to do, in redemption. But now I tend to feel this is not the case. A man fully with God, immersed in the Holy Spirit,  is capable of perfect listening and perfect obedience, to the way that his Creator directs him.  A true servant.  Able to fulfil the word of God completely.

I also think, as I did before all this re thinking,  that  “sin” cannot be thought of as simply what goes on on the outside of our lives.  God knows the heart, and a lot happens inside of ourselves totally unseen by others.  The most morally upright and law abiding person, apparently perfect on the exterior, may have a lot of hardness inside.    It is hardness of heart which turns us away from God. And God is Love.  Choices, sometimes unconscious ones,  become part of our personalities and  sometimes have the potential to close us down to God working in our lives.  For most of the time we are pretty clueless as to what is going on in there!  I think of Jesus Christ as having a person hood which, in full maturity, continually said “Yes” to God.  A man with a truly repentant heart, constantly turning, constantly choosing, even though extremely hard…to the point of death on a cross.   I am certainly thinking that, rather then focusing on whether Christ ever sinned or not,  it may be wiser for me to ask what the heart of Christ was like, and take that as the point for focus.  And simply ask Christ to teach me the way he walked.

The heart of Christ. It must have been a thoroughly repentant heart, in the greatest and truest sense of the word. Constantly turning, softening, changing, learning.  Always opening up to God the Father. To change this beautifully repentant heart simply into a mind that never entertained an wrong thought for a second doesn’t seem necessary.  And I have to ask myself, “How can a person be fully human, without  a sinful nature, even if “wrong” (ie faulty) thoughts are never translated into action?”  This idea doesn’t mean that it wasn’t possible that Christ WAS completely sinless by the way,  if by sinless we mean in terms of actions, for a significant portion of his life.  Righteous is not the same as sinless, but one who acts correctly in all respects.  But surely the ability to bear the tension we all feel between what is good and evil and what is right and wrong in life, is the very place where we would both want, and need to meet our Creator? Where we would need to find him there, with us, and to experience the work of Christ, in that place in our lives?

I think I have had some old misconceptions nagging at the back of my mind, which I am chewing over, underneath this all.   I have confused “sinless” with blameless, for a start.  And for some of my Christian walk, in the early years,  I did think that God was expecting me to be sinless.  (Well, easy not to  manage that one!!! Lol).  Must have been that part of me that really didn’t believe I was acceptable to God, unless I was absolutely perfect, and caused no trouble at all!  That’s a cruel load to carry.   Ideally we should not sin, (I mean in actions) of course, but I don’t think avoiding sin should be the focus of the Christian walk.  We are called to be blameless – living above reproach and not creating stumbling blocks that turn others away from Christ.  Holiness is not merely the absence of sin, but having the nature of God and living according to that.  It’s a subtle difference in perspective, but an important one.

Christ summed up  what mattered:

(Gospel of Luke)
“And, behold, a certain lawyer stood up, and tempted him, saying, Master, what shall I do to inherit eternal life? He said unto him, What is written in the law? how readest thou? And he answering said, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind; and thy neighbour as thyself. And he said unto him, Thou hast answered right: this do, and thou shalt live.”

— Luke 10:25-28

I am certain that Christ loved completely,  in a way which blew people away when they encountered him, and to an extent to which his set apart-ness, his holiness, was clear to all he encountered.  That cannot of made life easy for him.  And I don’t quite know why I have never thought about the assumption of complete sinless-ness for Christ before. Or even if it matters or not.  I feel a bit of a twit really, for imagining a non-developmental pattern for the life of Christ.  Whatever place he inhibited throughout his ministry, I never cast my mind to the time before that. Oh well, questions asked now! Things do change as time moves on.

Was Jesus Christ always successful, did he never fail, never make a mistake? How did he learn, or did he not need to learn? In his entire life, from toddler-dom  onwards?  H’mm.  Really? We all have to start somewhere surely?  Is a plant less a plant because it starts as a seed? Does the unfolding nature of God within Christ, evolving and developing within the boundaries of time, make it any less holy?  Any less sacred?  Is there room for normal human development in the person of Christ?  Common sense would say “of course”! And Christ grew, to full stature!  That is amazing!  Fully who he was!  And what is more, he took on a task ordained for him, and one far more difficult than any  other living being could imagine.   What was hard for us, would be even harder for him I think.  Because the forces of darkness and evil would fight all the harder against the divine revelation of the Love of God. God incarnate.  How aggravating Jesus Christ would have been to many people.  How wonderful at the same time for others, if they received him with open hearts when he was walking the earth.   The “virgin” or “not virgin birth” will divide opinions for certain, but fades into insignificance in the light of the life, death, and resurrection of Jesus Christ to my thinking. The more central point for a Christian to believe is the resurrection and the reality of Christ’s life, death and resurrection, and to believe, and continue to believe, what the Holy Spirit testifies about Christ.

Well, all this theological thinking is part of the background to the poem I wrote before Christmas, which I hope you enjoy. As for differences of opinion, they are part of the wonder of being on this earth, and I certainly don’t intend any offence to anyone.  I just share my own thoughts and ideas.  Just that.

Just before Christmas I wrote the poem below.  Bit clumsy and not my best, but it was challenging at least!

………………………..

I’ve written a Christmas poem…it’s pretty much all I can do, but it was fun!

Would Jesus take my toys? Mummy?

A mother and her child talk, while tidying the child’s room.

Would Jesus take my toys? Mummy?
If he came to play?
Because frankincense and myrrh
Are not much good for you
when you are six!

Would he want, what I have got?
And would he want to play?
Or would he simply look to God
Hold his hands in prayer, to pray?

I think you know the answer, sweet,
You know what I will say!
Jesus isn’t perfect, so
He might take them,
and play!

But when he sees your sorrow, sweet,
Or sadness he has brought,
Well, he’ll quicker, faster, sooner,
than other friends
Open up his truer heart.

You’re very good friends…you’ll work it out!
I can help you, if need be.
Don’t worry about Jesus coming to play
There’s room enough
for BOTH of you!
(And hopefully, IF we do this task…
Maybe even me!)

As she picks up the toys…

Your little play friend isn’t perfect
(Which is just as well for you!)
You kind of jumble on together
In this messy life, don’t you?

BOTH of you are perfect, well…
So, a mother’s heart would say
But as for him, he has a task
Beyond ALL comprehension.
(I dare not even ask his mother!)

She puts a toy in her child’s hand.

We don’t know what his life will be
Anymore than we know yours…
He still needs to learn the ways of God
While doing household chores.
He needs to trip and stumble
And maybe even hit his head?
He’s just a little boy, you know,
Whatever people said.

She pauses for a moment.

But there is something…
A depth of beautiful insight…
It’s like the brightest star…

The child throws the toy into a box.

Oh mummy! Do you love Jesus more?
And wish that I was just like him?
Because he is so very good
And hardly ever sins?
If you could have a child like him
Why would you want to keep one like me?
I groan when doing household chores
And I’m often quite naughty!

But mummy looked,
And mummy smiled,
And mummy took
The little child
Then in, when in her arms, she said,

THE KINGDOM OF GOD BELONGS TO YOU!

Your friend and you, are one of a kind,
Just hold his hand,
You’ll understand,
And when his work is done, there will be no
Comparison
IN YOUR HEART
He’s only just begun!

His humility will touch you,
His obedience, show the way,
His acceptance, open up your heart,
To the fullest light of day.

And now, my little sweet heart,
Let’s just PUT THOSE TOYS AWAY!

They laugh.

 

I’m glad I invested the time into that. Yet I need to focus on the following:

Gospel of Matthew:

“Then one of them, which was a lawyer, asked him a question, tempting him, and saying, Master, which is the great commandment in the law? Jesus said unto him, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind. This is the first and great commandment. And the second is like unto it, Thou shalt love thy neighbour as thyself. On these two commandments hang all the law and the prophets.”

— Matthew 22:35-40

and:
Gospel of Mark

“And one of the scribes came, and having heard them reasoning together, and perceiving that he had answered them well, asked him, Which is the first commandment of all? And Jesus answered him, The first of all the commandments is, Hear, O Israel; The Lord our God is one Lord: And thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind, and with all thy strength: this is the first commandment. And the second is like, namely this, Thou shalt love thy neighbour as thyself. There is none other commandment greater than these.”

— Mark 12:28-31

Gospel of Luke

“And, behold, a certain lawyer stood up, and tempted him, saying, Master, what shall I do to inherit eternal life? He said unto him, What is written in the law? how readest thou? And he answering said, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind; and thy neighbour as thyself. And he said unto him, Thou hast answered right: this do, and thou shalt live.”

— Luke 10:25-28

 

I feel all the better for addressing my questions, and not just ignoring them.  Minds are handy, hearts are vital!  The bottom line is, that unless I was there, and asked the Lord Jesus Christ personally if felt himself he was completely sinless, and if so, what exactly that meant,  (or if he even wanted to be perceived that way!) I cannot speak with any authority. It is amazing how certain many people are about this idea though,  and it matters a great deal to them.   I fall on the “Of course he wasn’t and he never claimed he was” side of the matter.  Some people say Jesus Christ never sinned, and others say that he did.

I guess all this thinking has at least settled in my own perspective where I stand. It’s taken some chewing over though! I tend to feel the Lord Jesus Christ was clearly aware of his own humanity and his own human nature, and was someone who was very aware of how we deceive ourselves by judging things externally, while not fully acknowledging the mind and the subconscious.   “Sin” as in action,  is clearly a different realm to an understanding of the errant quality of human nature, and the distortions and perceptions of our minds.  I am ignorant of  the Jewish context, understanding and traditions, which inform the text, and of the culture at that time.  I only offer up my own musings as part of my own faith journey.  I can embrace the idea of Christ doing no wrong and “committing no sin” for the period of his active ministry.  I cannot stretch that to a  totally sinless life from A to B with a strange, detached humanity, which wasn’t rooted deep within his very being in the way that mine is.  To be fully human and fully God, I see a Saviour who possesses all of that which marks my own human existence.  Including personal growth and development. And yet, manages to be fully obedient in all respects when anointed in his mission.  This may not be simply equated with being “sinless”.  It is possibly (?) easier to pass over a sinless Christ, in terms of actually applying his work, and way, to our own lives?

For me personally, it’s been fruitful to throw off the idea of perfect Jesus, in the way I had previously understood perfection. For someone else, this might be an unhelpful and disturbing way of approaching Christ.   So apologies to you if this does offend. It’s not meant to.  I don’t share it by way of feeling I want to convince anyone either way, but just because this is where I am right now.  I won’t be entering into any debate or argument about it, because I have not interest in putting my energy that way. As I get older I tend to take the approach that “I cannot know anything for sure” but can only know what feels true, and can only choose to believe what feels right.  It’s wandering in the dark for me, and yet, my personal experience of Christ in my life has brought me where I am, and of that, I need not doubt, because this is the life I have lived and still live.  My story unfolds on the very foundations of my faith, which is rooted in Christ, my God, and all I can do is pray that I listen to the Spirit, and be as open as I can, to any way I might grow in Christ, who is Love, and God incarnate.

Sometimes this may mean chewing over things I have thought before in a new way, and sometimes I will change my mind.  It is the fully human aspect of Christ which I find so inspiring right now.  What he did with his humanity, and his human nature, which is something we share and relate to.   For the character of Christ is something I know just a little of, and that itself surpasses all other.  I just need to immerse myself more in that!

For those of you who read this Journal more for the visual art content, my writing has always been part of my creative output, and while not seeming relevant to what I do visually, it’s another dimension of my work which grabs me from time to time.  It’s so dark and cold in the studio tent right now, that January has mostly been spent with writing, domestic tasks, and admin!  Come to think of it,  I should possibly christen  the Winter as  as my writing season, because it’s not the first time I have turned to words rather than images at this time of year!

And for those of you who are more proficient in theological wandering than I am, be merciful!  And for those of you who find what I write offends your faith in some way, then even be perfect as your Father in heaven is perfect, and know that God loves both the “right” and the “wrong”!   There was a time, a long time back, when I would have thought that if I didn’t believe Christ was sinless, and I didn’t believe in the virgin birth,  I couldn’t possibly call myself a Christian.  Obviously I don’t hold that view now, but I fully appreciate that some will, and mutual respect is due, whatever stance one holds.

 

Jennifer Meehan/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,now at SWLEOC south west london elective orthopaedic centre

No Problem/Moving On sign of the times series jenny meehan (jennifer meehan) now at SWLEOC

 

No Problem/Moving On – Geometric Colour Abstract Print by Jenny Meehan jamartlondon.com

One of the “Signs of the Times Series” by Jenny Meehan

This artwork design conveys a positive attitude, and is the fruit of my interest in positive psychology and personal mobility challenges. A “can do” attitude in the face of resistance and difficulties is the only way to move forward. The design has something of my own experience of exercising in a gym with motion suggested through various formal elements, of varying speeds and a sense of progression.

Do you like this print?  You can buy it easily and safely through Redbubble.com, just follow the link:

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

Briefly…On the knee

Well, I will save the big post for the one year mark and put that on “The very patient knee replacement story by Jenny Meehan” but things are great!  I love being mobile and I don’t miss my sticks!

Tidying up old research, I found this reading:

https://healthskills.wordpress.com/2011/03/23/its-there-and-im-stuck-with-it-chronic-knee-pain-after-knee-joint-replacement/

It’s an excellent read about pain after TKR.   I am very happy with my results, at 11 months now.  Yes, you do get a bit of an ache sometimes, but it is NOTHING compared to the experience of frequent constant pain before TKR.  And when you are able to live your life, pain in itself is no bother at all. Before my knee replacement I wasn’t able to live my life as I needed to.

It’s a good article, well worth reading.  I think anxiety is a major issue after a TKR for a lot of people.  There is such a vast variety of types of pain you get after the surgery as the soft tissues and bones are healing!  It’s very easy to focus on each one and worry.  I found it best to take a “I will wait a couple of days and see what it is like then” approach.  By the time a couple of days had past, there had been some change, and even if that change was a different pain,  the point was the initial worry had past!  I think it helped me that I did not have an expectation that I would be pain free necessarily, but that I would be mobile and have less pain.  Actually, my post surgery experience has exceeded my expectations, and I feel normal again in a way I did not expect.   I do worry a bit that I may wear it out, because I am whizzing around, but the reality is, even if this only lasted five years, I would consider it worth it.  Having said that, I do expect longer!!!   Keeping the weight off, and respecting the knee is the way forward I think.  I won’t be running or jumping up and down, unless I am in water!

Interesting Read

I found this blog interesting, as I was just sorting out some old emails and found I had been approached by the “It’s Liquid” venture.  I just chuck that kind of thing in the virtual bin, but it is often tempting to consider such invitations.

http://badartbad.blogspot.co.uk/2007/12/luca-curci-and-artexpo-scam.html

I don’t have very much disposable income to throw away, so it makes this kind of decision easy for me.

It’s best for artists to create their own exhibition opportunities if possible IMO.

 

About Jenny Meehan’s Paintings

This process led painting…romantic, expressionistic, abstract and lyrical, is simply the result of my own contemplative practice, which I work through in many ways. Let by instinct and intuition, inspired by my own life experiences, and several much loved artists, including Klee, Hitchens, Claude Venard, Matisse and Kandinsky, it provides the ground for the viewer’s own interpretations and responses, and will be whatever you want it to be. My own titles reflect my own interpretation/,sense of meaning, but the beauty and openness of non objective painting allows you a place in the process exclusively yours!

The image doesn’t show the extent to which texture, and various surface finishes are used in the painting, for example, I use tiny glass beads for their effects on light hitting the surface of the painting. Maybe they could be seen as a dance of light and colour? Certainly, as the light in the day changes, the appearance of the painting changes considerably, with different parts being emphasised and other parts sinking into the background. This painting is one which responds, and I hope you get pleasure from viewing it! See more at http://www.jamartlondon.com

COPYRIGHT INFORMATION

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance if you wish to use images by Jenny Meehan. In the first instance, please contact Jenny Meehan. Copyright for all works of art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK.

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