The Classroom Gallery in Hopkinsons, Nottingham “Colourful Creations”
Recently sent off “Butterfly Core” for the Colourful exhibition at The Classroom Gallery. The Classroom Gallery is a back room on the first floor of Hopkinsons retro and bric-a-brac market at 21 Station Street in Nottingham. Hopkinsons is a Community Interest Company providing space and facilities for creative businesses actively working within the creative industries. Ever interested in history, here is a little quote from their blurb:
“Who is Hopkinson? H. HOPKINSON LTD Established around 1880 by Mr. Hopkinson as “Engineers Merchants” selling to factories, collieries, textile mills, anything relating to engineering, steel, aluminum, brass, nuts, bolts, tools etc. As we are located in ‘old Hopo’s’ we found it fitting that we re-named ourselves in 2010 after this iconic establishment within Nottingham’s industrial history.”
I like history. I like engineering. (it’s in the blood). Here is the poster for the exhibition which Izzy put together using “Butterfly Core” as the background. It certainly does the job! As you can see the exhibition runs from 23rd March until Saturday 6th April 2013. The work will be coming back soon. Thank you Parcelforce!
the classroom gallery nottingham poster jenny meehan butterfly core image
butterfly core fabric wall hanging jenny meehan exhibited at the classroom gallery nottingham uk
I’ve popped in the work on show “Butterfly Core” and here is the text which I submitted along with the work.
Medium: Dye sublimation print on polycotton fabric
“This work started from an image of some paint splodges. I started with poster paint and folding the paper in half with paint on one side, made one of those butterfly prints many of us remember from childhood. Next, after a lot of experimentation and rather a lot of processing with image manipulation software, I ended up with something which made me think of new life and creative force. It was amusing to me that I started with butterfly wings and ended up with something reminiscent of the body of a butterfly. The work still has it’s splodge-like character, and the dyes in the printing process are so rich and deep.
Jenny Meehan is an artist based in South West London who works with paint and digital photography.
I don’t think the expression “splodge-like” is found much in art criticism presently, though I hope this will change ((!!!!000)) There are too many overused words, so I feel at liberty to include this descriptive.
Thoughts On Creativity
I think creativity is a matter of hard work. And confidence. Maybe putting yourself on the edge of what you can see. Maybe the word” insight” is better termed “chosen blindness”. Because there is a flinging of oneself, fear-filled, into the unknown. It is beyond “the box” of known outcomes. There must be faith. But it doesn’t need to be untested. Indeed, I think that preceeding the massive leaps one needs to take from time to time when creating and experimenting, let me say, playing, there are things we know we can depend on. Things we have done before. Things which suggested something a little further beyond themselves, though the substance of them we are not quite certain about. Things we have been tentative about, but risked doing anyway.
So courage is important. There is no way around this. We can develop a lot of skill and this is very important. Practice and working very hard are essential. I don’t think one is just given something which then just dribbles out, at no cost to ourselves.
There is a childlike openness which is needful. I think it might be to do with a surrendering of control, and a certain vulnerability. It’s seeing how much is beyond you, and not counting that as some kind of defeat, but rather of being placed in a place of awe, where you wonder, and that wondering is so great, that there is nothing else that can happen except that your mind is filled with endless possibilities. And the whole thing is not scary, but beautiful, because you can go any way you want, and it won’t matter if you make a mistake, because anything is possible. That is faith. It is childlike. This enables a lot of creativity to happen. The freedom is there for it to happen. There are lots of ways to see things, and trying them is the centre of playfulness.
New Studios at Hawks Road, Kingston Upon Thames.
Really enjoyed visiting the new ASC (Artist Studio Company) studios at Hawks Road, Kingston. Founded in 1995, ASC is a registered charity that exists to support visual and performing artists, educate the public in the arts and promote the arts. They also manage various studio spaces, and I think the Hawks Road studios are the newest, though I’m not sure. I took a look around several months ago, wishing for a space of my own, but cannot afford it at the present time, though I hope maybe in the future it might be something I can try out. It was nice to see some familiar faces of people I met previously at Wimbledon Studios, and also meet some other artists whose work I had not come across before.
Something I stumbled on – Abstract Critical
Only he who conceives art through sensuous feelings can grasp it whole; whoever would master it conceptually will possess it only in its parts.’
Karl Scheffler, The Gothic Spirit, 1917
Came across this on Abstract Critical recently, and like it lots!
http://abstractcritical.com/note/intimate-abstraction-at-the-searchers-contemporary-bristol/
Came across this in “My Utmost For His Highest” by Oswald Chambers regarding Abraham’s Life of Faith
“He went out, not knowing where he was going” Hebrews 11:8
“Living a life of faith means never knowing where you are being led. But it does mean loving and knowing the One who is leading. It is literally a life of faith, not of understanding and reason – a life of knowing Him who calls us to go”
It’s interesting to me the relationship between my faith and the importance of it in my life and also the importance of it in creativity. The two things cannot be seperated for me, because one begets the other. Maybe at this time when working with the paintings I am working in right now, (yes, I am working IN them, because they become my world in that present moment) I find the structures which emerge from the uncertainty helpful in some way. They ultimately emerge from my own experience and imagination, and there is a point when I use my will in a more determinate way, and define the direction, and my path ahead. They have to go somewhere. I don’t seem to want to make paintings which don’t arrive somewhere. There is always an arrival point. A point at which the relationship I have been having with the work has to stop. And sometimes that place is more definable to others and sometimes it is not. But this is the way I have been working.
I wonder now if I might change this direction a little and start with some structures and work the other way? This is what I think I would like to do with the work I do next. I also miss and want the drama of the human figure. My recent life drawing course at West Dean has given me some figures to work with. The bottom line is that I want to paint everything I think of, which is most certainly impossible. I fear also that I have probably already written countless times before pretty much the same thing. My problem isn’t not knowing what to do, it is simply the matter of time restrictions. However, there might be some positive in this, because even time spent thinking can be working too. And just looking. It can all contribute to a single painting in very unexpected and unplannable ways. That is pretty much where I find my comfort when I cannot paint as much as I need or want to. The restraint of desire might be hard, but restraint is a blessing in the face of total freedom, which is how painting presents itself to me. Without end.
And washing up, without end.
See here!
my beautiful kitchen sink drama jenny meehan
Well, it’s an arrangement. I need to add that there are advantages of having a kitchen studio. However, one is not the space. It is handy to have brushes mixed up with everything else though. There is never a moment in the day that I have any reason to have difficulty in finding a brush.
Graphic Design
I’ve been doing a little bit of poster/invite design myself in preparation for the Leatherhead Theatre painting exhibition. The exhibition of paintings by Derek Turner, Nigel Prabhavalkar and myself will be on show at Leatherhead Theatre, Church Street, Leatherhead, Surrey for a month. It runs from May 5th until May 31st. It’s a busy time for the theatre, which is good as there will be a good footfall.
Here is the Leatherhead Theatre Invite Design. The Exhibition is called “Order and KAOS”.
order and KAOS leatherhead painting exhibition curated by jenny meehan
Quite pleased with the invite design. If you think you would like to come along to the “Meet the Painters ” evening event, which will be a very informal and relaxed do, contact me at j.meehan@tesco.net or via the contact form on my website which is http://www.jamartlondon.com and I will send you an invitation. The event is open to all but I would like an idea of numbers roughly if possible.
Other Exhibitions
Alongside the exhibitions above, I also have a solo exhibition at The Cornerhouse Community Arts Centre, Surbiton, Surrey. Not sure how or why I ended up with these two exhibitions so close to eachother, but they are rather too close for comfort. The Cornerhouse Community Arts Centre Exhibition is at 116, Douglas Road Surbiton, Surrey KT 6 7SB. Bus routes nearby are 218, 406, 418, K1 and 71. Opening hours are basically not a lot, only at times the centre is open to the public for other events, so you would need to look at The Cornerhouse Community Arts Centre website and see what was on and on which days/evenings. You would be able to pop in and see the exhibition at any time the centre is open, but a much easier way would be to come along to the Opening Evening, where you can meet me and others for a chat, a drink and nibbles. The opening evening event will be Tuesday 4th June between 7pm and 9pm.
I have three works selected for “Allotted” an exhibition at The Beetroot Gallery, but more on that later on.
Later on in early June, at the Strand Gallery I have “London Downpour” being show as part of an exhibition focusing on the ‘practice and process’ of an idea. “The hope is to reconceptualise the artworks by exhibiting them in relation to works of varying practices, therefore creating a new narrative with one another – drawing a line between them.” This exhibition will include a variety of media; photography, sculpture, illustrations, graphic design, fine art, crafts and installations.
This exhibition is organised by Advertising Exhibitions. Details from the Advertising Exhibitons website: ” Artist and sculptor Lawrence Lek is currently designer in residence at the Design Museum in London; Ben Street, a free-lance art-historian, writer and curator working mainly with The National Gallery and who also founded the Sluice Art Fair in 2011; and renowned still life photographer, Polly Morgan who practices under the Guild of Taxidermists to create her striking pieces.”
RATS
There was a wonderful programme on TV recently about Polly Morgan and her amazing work. Seeing all those dead animals reminded me of when I worked in a reptile shop, many years ago. We used to take the frozen rats out of the freezer in order to thaw before feeding the snakes, and they came out in some very unusual poses…with all kinds of dramatic gestures depending on how they had been packed. We used to make little drama sketches with them, give them voices, and holding them by the tails like puppets play with them. Oops, rather diverted by that memory.
That is probably more than enough for the time being!
How to Support Jenny Meehan
If you like my art working and would like to support me you can!
Just put
in your browser and follow instructions. There’s no option for me to thank you via the PayPal Me process but do contact me via contact form and let me know if you have gifted me so I can thank you.
You can buy my original paintings directly from me personally.
Just contact me via the contact form. Price range is between £250 and £400.
Sometimes they are offered for sale during exhibitions too. Normally its more expensive to buy them this way, (though not always). Some organisations enable me to price my work in an accessible way due to the way they operate, but if a submission fee is required I obviously have to factor it in.
I dislike this system, but art exhibitions are used to generate funds for different organisations and charging artists to submit artwork (to submit… Even if not accepted!) is one way this is done. There are also other costs incurred by the artist in supplying the artwork for exhibition. So artists artworks sold during an exhibition are frequently more expensive for an art collector to purchase. It is often preferable to approach an artist directly and view work by arrangement in person.
If you are thinking of buying one of my original paintings I can arrange a viewing for you. If you are looking for something specific in terms of colour and/or style, just let me know because I have many more paintings than I am able to display online. I can send you further information on the process of buying artwork directly from me if you would find that helpful. I appreciate that it is unfamiliar ground for many people.
Also available via redbubble, the well known print on demand marketplace, you can buy unsigned prints on many substrates. This is an easy and convenient way to purchase my art online.
Take a look here:
It’s also a very good place to get a feel for quite a big strand of my creative artworking. Any problems locating what you want, feel free to contact me via the contact page on this Art Journal/ Artist Blog.
I have TWO Redbubble Artist portfolios! The “jennyjimjams” one has most artwork on it at the time of writing.
My two Redbubble Artist portfolios are;
I have mostly the abstract, flat colour geometrical art in Redbubble as it makes nice prints. I selected work for that platform in order to help my work become more accessible. There’s also a lot of surface pattern designs. I post more of those on my
Artist profile. I find creating patterns very therapeutic!
The main style of my original painting is Lyrical Abstraction/Abstract Expressionism. I also enjoy working with black and white photography tending towards pictorialism. I frequently use collage and digital collage.
Copyright and Licensing Digital Images Information – Jenny Meehan
Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.
Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.
DACS always make an initial proposal for image licensing fees in line with the industry standard. Personally, I am open to negotiation. So contact me in the first instance so we can discuss your requirements, project, and budget. The Designer and Artists Copyright Society will administrate accordingly.
It is I, the artist, who determines the final licensing fee, and there are often projects, charitable organisations, people and smaller ventures with which I am particularly keen to work with because of a shared vision. I appreciate budgets can be restrictive. While image licensing fees for my art images will broadly based on the industry standard, this is a guide amount, and can vary subject to circumstances.
The administration for organising an image licence is straightforward for both parties, and is done through the Design and Artist Copyright Society. They provide you with the licence paperwork and I supply you with the image.
Advertising Exhibitions “Lines” Exhibition at The Strand Gallery – Plus a Great Big Lump of Everything Else (in a disorderly manner)
March 11, 2013
Art Journal Post 2013 by Jenny Meehan
London Downpour
It may be some time ahead, but you know how time flies. I am was pleased to have my painting “London Downpour” selected for the exhibition ” Lines” at The Strand Gallery (32 John Adam Street, London, WCZN 6BP) and I am looking forward to this event.
When I painted “London Downpour” the rain had already begun, though it sadly feels a little as if it has not stopped since then! I have a skylight window in my studio, which gives me a steady flow of water when the rain is pelting down, and I have tolerated this so far with the understanding that rain only happens for a few months in the year. I am wondering if I need to alter my thinking on the matter…
Here is “London Downpour”.
Advertising Exhibitions is an ambitious, non-profit exhibiting body founded in May 2012 by a group of University students eager to put their skills into practice whilst providing a platform for other emerging talent in the visual arts world, to do the same. The debut event ‘Lines’ is an open exhibition calling creative’s across all artistic disciplines, with the theme of “Process and Materiality” and will open at The Strand Gallery June 11-15 2013.
Looking back at “London Downpour” which was painted last year, I see this is the first painting where my regular trips up to London have made their presence known in an obvious way, simply because of the geometric structures of buildings coming into play, though heavily submerged in the Thames, by all appearances! Isn’t it funny how what we take in visually has a way of seeping into our thinking even if we don’t realise it.
From the early stages of the painting I knew I had buildings and water forms, but only a vague little idea, and I thought they might just go away as the painting progressed. But having decided to take a very process led approach to my painting, it became clear fairly early on that the painting was intending to stay firmly put in the basic beginning of solids and liquids. As for what happened later, I was most encouraged by looking and being influenced by the paintings of Claude Venard (1913 – 1999) who at least reassured me that taking such a path with a painting wasn’t a complete step into the unknown, and I may not be completely mad to paint in this way! (Rather, just a little touched by whatever Claude Venard was also quite clearly touched by!).
Since then, I have continued in a related vein, and this seems to be working for me in respect that I am getting some satisfaction from it.
It looks promising I think, this painting direction. As I sit here gazing at my scrap book of cut out prints which I have been meditating on over the last year (very handy to have these in front of the computer, and great to look at while waiting for things to load!) I’m confronted with Peter Lanyon’s Clevedon canvases, which he thought rather “crazy, quite invisible, victorian and unsaleable” and I’m reminded of the qualities which fascinate me so much. “Clevedon Night” 1964 is probably the one which has inspired me the most. I look at that every day, even though it’s just when I check my emails!!!!
(Post note: London Downpour sold and I was pleased to donate £50 to charity. Very pleased it was purchased by a collector and now hangs with some pleasant company, I understand, including a painting by Sandra Blow… I’m delighted, I love her paintings! )
Reading and Reflection
Wednesday the 6th February brought to me “RS Thomas and the Hiddenness of God” an interesting lecture by the Reverend Mark Oakley, Canon Treasurer of St Paul’s Cathedral. This was a public lecture given by Canon Mark Oakley, Chancellor of St Paul’s Cathedral
“Mark Oakley explores the idea that God is in the world as poetry is in the poem and that therefore silence and absence are part of his presence. He will do this by looking at the poetry of the celebrated Welsh priest and poet RS Thomas”
I understand that this very interesting lecture will be put up on the Kingston Parish Church (All Saints Church) website.
My reading at the moment is very much in this type of vein. I am dipping in and out of “Open To God” by Brother Bernard. Brother Bernard interweaves the story of St Francis, his own personal story, the story of humanity on the move, and a insights into human nature and it makes for a lovely read. I have also spent some considerable time looking at the writings of Saint Julian of Norwich and written a poem in response to them. I would like to read the Reverend Mark Oakley’s, now re published book “The Collage of God”. So that’s on the reading list! Just ordered a second hand copy, so will start soon.
Leatherhead Theatre Art Exhibition
I have put my hand, for the first time, to curating an exhibition, which will take place at Leatherhead Theatre, Church Street, Leatherhead. It will run from Sunday 5th May until Friday 31st May. Contact me for more details.
I am pleased to be showing some of my work alongside fellow painters Derek Turner and Nigel Prabhavalkar who like myself are members of KAOS (Kingston Artist’s Open Studios). There is a lot of work in organising something like this but worth it. It is far more interesting and enjoyable to see and experience other people’s work. You get so stuck in your own, and working out how to put different artist’s work into relationships with each other is a good challenge in itself. It’s quite a lot of admin to put something like this together, but good experience.
International Art English
And now, an amusing and very readable write, regarding International Art English. Now we all may know why “THE ART WORLD” in all it’s “glory” slips quickly into the sea, and reveals it was only made of sand! (Though most of us knew that anyway, I think).
http://www.guardian.co.uk/artanddesign/2013/jan/27/users-guide-international-art-english?CMP=twt_gu
I remember reading another article, some time ago, titled “Art Bollocks” or something like that which was running along the same track, fast.
Women’s Art Festival
47 Nelson Square, Surviving Houses at The Dugout Inclusive Women’s Art Festival
Final version of Surviving Houses/47 Nelson Square
“47 Nelson Square, Surviving Houses” was selected to be exhibited as part of The Dugout Inclusive Women’s Arts Festival which tool place on the 2nd March at Hoxton Arches (arch 402) , Cremer Street, London.
This was a lovely event which included a short film festival. “47 Nelson Square Surviving Houses” looked great among the other works which were well spaced out and made for an interesting exhibition.
As part of the project the curators posed questions to the artists and the text for these was included as part of the exhibition. The questions the curators wanted to ask me and my responses were as follows:
Do you feel this painting is like a self-portrait?
I see it as showing a journey inside of myself, so it is a sort of internal portrait. Psychotherapy feels like going on a journey through your own ways of thinking. Sometimes it’s hard to find your way, and work out a sense of direction. I wanted the painting to show a mixture of outside and inside views so that the person looking at it would experience the same sense of difficulty and feeling as I have experienced in therapy. Before deciding to start therapy I also had a dream that my own mind was a house, and that it was crumbling and breaking up because the foundations were all destroyed.
Why did the building catch your attention? Why did you decide to learn its history?
The building caught my interest because it is part of a small terrace of old buildings (built 1807 – 1814) in a square of blocks of flats which are all much newer. I wanted to know why. Because I go inside 47 Nelson Road often I know how wonky the floor inside is. So I knew something had happened! Lambeth Bomb Damage maps which mapped all damage during WW2 in London show that all other houses in the square sustained some damage, ranging from “General Blast Damage – not structural” to “Seriously Damaged; doubtful if repairable”. Though 47 and it’s neighbours did survive the bombing it was not unaffected by the impact. Rather like me! So I felt a link with it.
Sexuality and the Church
I tend to keep my blog mostly to art related matters but I’ve been very interested in following the recent contribution to dialogue on the matter of homosexuality/GLBT raised by Steve Chalke, and see his response to responses to his article.
The video is called “A Matter of Integrity” and the full text of it can also be read here, among other places:
http://www.rogersteer.com/full-text-of-steve-chalkes-article-a-matter-of-integrity/
I am really pleased that Steve Chalke has breathed a breath of sanity into the whole situation of sexuality. Christians who also happen to have a different sexual orientation other than heterosexual are many. I am bisexual, and thankfully I’ve made it through a lot of confusion as to how I stand in relation to self acceptance and my religion, though its certainly a work in progress. Hopefully things like this will challenge many people to review their own thinking on the matter. We are called to love and acceptance for all. That means just that.
Poetry
Encouraged by a dear friend recently with respect to my writing, I am going to try and include the occasional poem in my WordPress Journal. Several years ago I wrote a poem called “Tiny Bones” which was based on a newspaper article about the amount of human bones which covered the ground in an area of one of the gas chambers run by the Nazis. I cannot remember which one it is off hand, but I do remember the impact it had on me. To see for myself the terrible reality, so clearly shown, of a certain attitude, one of prejudice, the sin of which we all suffer with, however, one which needs to be carefully and regularly rooted out. And how well disguised it can be, how it can claim to be motivated for the good of society.
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 copyright 2009)
Don’t know why the font as pasted as so, and too busy right now to change, but take it as being in the same font!
I guess if you count my writing as part of my art, it does qualify to be here! I notice I am getting a bit more cohesive in the respect that my art practice is engaging more with issues that matter to me. I haven’t set out for it to be that way, but certain mediums, for me, photography and writing, rather than the painting right now, do lean towards in a more social engagement type ilk. That’s a great word, “ilk”. Just love it!
Speaking Out Against Violence
Embrace Arts (University of Leicester Art Centre) Speaking Out: Women Healing from the Trauma of Violence Art Exhibition
Following then along the same thread, was a decision to submit some work for the forthcoming Embrace Arts (Universityof Leicester’s arts centre) exhibition 2014 which is titled ‘Speaking Out: Women Healing from the Trauma of Violence’. It’s a collaboration of Embrace Arts and the School of Modern Languages.The exhibition will be at Embrace Arts from Monday 13 January through to Friday 28 March 2014.
“The aims of Speaking Out are to promote awareness of the processes of healing from the trauma of violence against women and girls; communicate women’s experiences through contemporary art and from their testimonies; foster a dialogue about the connection between violence and mental health; break the secrecy and silence about the prevalence of abuse against the disabled; inspire confidence by speaking out to empower women and girls.”
All really worthwhile stuff. And some more of the blurb:
How to Support Jenny Meehan
If you like my art working and would like to support me you can!
Just put
in your browser and follow instructions. There’s no option for me to thank you via the PayPal Me process but do contact me via contact form and let me know if you have gifted me so I can thank you.
You can buy my original paintings directly from me personally.
Just contact me via the contact form. Price range is between £250 and £400.
Sometimes they are offered for sale during exhibitions too. Normally its more expensive to buy them this way, (though not always). Some organisations enable me to price my work in an accessible way due to the way they operate, but if a submission fee is required I obviously have to factor it in.
I dislike this system, but art exhibitions are used to generate funds for different organisations and charging artists to submit artwork (to submit… Even if not accepted!) is one way this is done. There are also other costs incurred by the artist in supplying the artwork for exhibition. So artists artworks sold during an exhibition are frequently more expensive for an art collector to purchase. It is often preferable to approach an artist directly and view work by arrangement in person.
If you are thinking of buying one of my original paintings I can arrange a viewing for you. If you are looking for something specific in terms of colour and/or style, just let me know because I have many more paintings than I am able to display online. I can send you further information on the process of buying artwork directly from me if you would find that helpful. I appreciate that it is unfamiliar ground for many people.
Also available via redbubble, the well known print on demand marketplace, you can buy unsigned prints on many substrates. This is an easy and convenient way to purchase my art online.
Take a look here:
It’s also a very good place to get a feel for quite a big strand of my creative artworking. Any problems locating what you want, feel free to contact me via the contact page on this Art Journal/ Artist Blog.
I have TWO Redbubble Artist portfolios! The “jennyjimjams” one has most artwork on it at the time of writing.
My two Redbubble Artist portfolios are;
I have mostly the abstract, flat colour geometrical art in Redbubble as it makes nice prints. I selected work for that platform in order to help my work become more accessible. There’s also a lot of surface pattern designs. I post more of those on my
Artist profile. I find creating patterns very therapeutic!
The main style of my original painting is Lyrical Abstraction/Abstract Expressionism. I also enjoy working with black and white photography tending towards pictorialism. I frequently use collage and digital collage.
Copyright and Licensing Digital Images Information – Jenny Meehan
Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.
Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.
DACS always make an initial proposal for image licensing fees in line with the industry standard. Personally, I am open to negotiation. So contact me in the first instance so we can discuss your requirements, project, and budget. The Designer and Artists Copyright Society will administrate accordingly.
It is I, the artist, who determines the final licensing fee, and there are often projects, charitable organisations, people and smaller ventures with which I am particularly keen to work with because of a shared vision. I appreciate budgets can be restrictive. While image licensing fees for my art images will broadly based on the industry standard, this is a guide amount, and can vary subject to circumstances.
The administration for organising an image licence is straightforward for both parties, and is done through the Design and Artist Copyright Society. They provide you with the licence paperwork and I supply you with the image.
Jenny Meehan - Art Journal 