Great Start to a New Year! Praying the Way!
“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.
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.
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?
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.
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.
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.
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
This new series has quite a light, refreshing feel to it.
jenny meehan abstract paintings©jenny meehan title breath one
jenny meehan abstract paintings title painting breath two
jenny meehan abstract paintings title Light Touch
jenny meehan abstract paintings
jenny meehan abstract paintings “Opening the Way”
“Release” painting jenny meehan abstract paintings
Inclusive Church
https://www.inclusive-church.org/the-ic-statement/
Inclusive Church
Isn’t it great that now this type of organisation exists! It’s worth noting too that there are many churches who though not signed up to it, still embrace all people… So worth looking on their individual websites to check out where they are coming from. If their parish councils can’t agree completely on every point, they often come up with their own statement and go with that. Still, it’s a step in the right direction. Here is the Inclusive Church Statement:
“We believe in inclusive church – a church which celebrates and affirms every person and does not discriminate.
We will continue to challenge the church where it continues to discriminate against people on grounds of disability, economic power, ethnicity, gender, gender identity, learning disability, mental health, neurodiversity, or sexuality.
We believe in a Church which welcomes and serves all people in the name of Jesus Christ; which is scripturally faithful; which seeks to proclaim the Gospel afresh for each generation; and which, in the power of the Holy Spirit, allows all people to grasp how wide and long and high and deep is the love of Jesus Christ.”
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.
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 painting.
“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.
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:
flower dream print by jenny meehan
laid to rest print by jenny meehan
Dreams and Dreaming
Framed digital prints and their partner poems – Jenny Meehan jamartlondon.c
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.”
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
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!
How to Support Jenny Meehan
If you like my art working and would like to support me you can! Pop
Paypal.me/jennymeehan
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… Just contact me via the contact form. Price range is between £250 and £400.
Also available via redbubble, the well known print on demand marketplace, you can buy unsigned prints on many substrates.
Take a look here, any problems locating it feel free to contact me via the contact page on this Art Journal/ Artist Blog
It’s also a 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 jennyjimjams.redbubble.com
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 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.
Jenny Meehan - Art Journal 