Women’s Small Group Painting Tuition, South West London Area/East Surrey, Visit to the London Art Fair and the matter of Painting in a Series
January 29, 2013
I tend to spend a lot of time at this time of year reviewing past work, which is very important to do, because looking back at what you have done with some distance between you and your work, you see things you didn’t, and, thankfully, sometimes you recognise something which quite clearly points the way forward. Last year, for the first time, I did some painting in a series. Not in terms of the subject matter, but simply just the format (50x70cm), substrate (canvas) and paint (acrylics). This was worth doing, quite simply because it gave me a collection of work which generally hangs well together. The additional factor of using some pre mixed colours across the thirteen paintings brought a connection between the works which is useful if they need to be hung together, which they were when up at Alliance Healthcare. I didn’t find that working this way took anything special away from the individual works, which all developed along their own path very independently.
A new venture for 2013 is some women’s painting tuition which I will start in February. It’s been in my mind for a while, and I think I should use my Post Graduate Teaching Certificate in combination with what I have learnt over the last seven years or so. One to one painting tuition can be very expensive, so a small group setting is more accessible for the majority of people. I plan to structure it in a fairly informal way, with teaching points based on peoples individual needs. There might be some whole group teaching if there is a shared interest in a particular problem or subject, but I want to utilize the character of a small group (maximum 4) to enable people to develop in their own directions in a very focused way from the outset. I’m very much looking forward to this, because I loved teaching when I taught, and the mural at Trafalgar reminded me how much I enjoy it. I don’t want to waste what I have. I have one group starting in February, and hope to add another session later on in the year if other commitments allow. If you are interested in joining an adult painting and drawing class at some point, let me know. The classes will continue to be in the daytime and for women only in the immediate future.
I have also joined KAOS (Kingston Artist’s Open Studios) and it’s really lovely to get to know other artists in my geographical area, something I have meant to do for ages. Here’s the website: http://www.kingstonartistsopenstudios.co.uk/
Looking forward to West Dean soon, for some life drawing, which is hard work but very worthwhile. I cannot afford more than a weekend course at West Dean now, so I intend to make the very most of it. I think I might need to give up on the idea of returning to West Dean for a few years, because though I consider the continuation of my training essential, there are many other demands on our finances, and other needs are also to be considered. But to have an opportunity for some concentrated time with drawing is long overdue for me, and I am very much looking forward to some hard work. The problem with working mainly with abstraction for a while is that there is no need to really study external subjects with such intent, and direct observation, while it appears restrictive in one sense, in reality is far from restrictive but opens up new and exciting possibilities which can only come from the outside.
I will certainly be going along to see this free exhibition at the British Museum: http://www.britishmuseum.org/whats_on/exhibitions/bubbles_and_bankruptcy.aspx?utm_source=enewsletter&utm_medium=email&utm_campaign=Dec2012&spMailingID=40798212&spUserID=MTY0ODIwNDUzOTgS1&spJobID=173607659&spReportId=MTczNjA3NjU5S0. Call me a prophet of doom, but I think that this financial crisis/downturn/whatever is going to last a very long time and quite possibly get worse, and it is going to take/make a very radical shift for most people in terms of values. We have been saturated in what I will playfully call “materialist esteem” ; something that will caress and love you AS LONG AS YOU CAN PAY FOR IT. I whimsically thought yesterday of what life would be like without advertising, and while it would probably be harder to get hold of what you wanted, it may also be true that you may not really want it anyway. How much of our desire is created by external influences which tell us that “THIS or THAT is what we need?” Fascinated, as I have been for some time, by the idea of using materials traditionally utilised by advertising, ie PVC banners, Foamboard signs, etc. I’m now working on my next solo exhibition “Signs of the Times” which will mainly consist of some recent abstract prints expressing small phrases/actions/emotions, for example “Putting Your Point Across” “Relaxing Walk” “Irritation” etc. Just the simple things. No instructions. Nothing to “live up to”. Nothing much to think about. Just visual experience to relate to, however you want. No pressure. I let the viewer know what the work meant to me in the title…I have a pet hate of “untitled” work, (if it is called that intentionally), and not just because the artist hasn’t made up their mind, (or maybe not even thought it worth a title). Things deserve a name. Sometimes more than one. It can change. There’s no rule against it. As long as it rings true. As long as it really does relate.
Here is some of the work. It is available as prints in various forms, including Digital C Prints, Poster Prints, slightly more expensive Giclee Prints, and some very nice quality affordable Ink Jet Prints on Bond Paper.
Also available via redbubble, the well known print on demand marketplace, unsigned, 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 jennyjimjams.redbubble.com
“We Get On” Jenny Meehan. Reasonably priced prints available contact Jenny Meehan for more details
“Calm Moment” Jenny Meehan
Available via redbubble, the well known print on demand marketplace, unsigned, 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 jennyjimjams.redbubble.com
“Gentle Touch” Jenny Meehan
“Growing” Jenny Meehan
“Irritation” Jenny Meehan
“No Problem” Jenny Meehan
Also available via redbubble, the well known print on demand marketplace, unsigned, 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 jennyjimjams.redbubble.com
“One Moment” Jenny Meehan
“Putting Your Point Across” Jenny Meehan
Also available via redbubble, the well known print on demand marketplace, unsigned, 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 jennyjimjams.redbubble.com
“A Quick Dip” Jenny Meehan
Also available via redbubble, the well known print on demand marketplace, unsigned, 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 jennyjimjams.redbubble.com
“There May Be Trouble Ahead” 
Also available via redbubble, the well known print on demand marketplace, unsigned, 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 jennyjimjams.redbubble.com
Take a look anyway, come to think of it, as it’s 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!
Just got the month for my next Cornerhouse Community Art Centre Exhibition, and it is June. So I will be showing some of the above there I expect.
I digress. Joyfully.
Back to the current Financial situation. I look back nostalgically on my photographic artwork “Don’t Bank On It – Still Life ” which was selected, I am very pleased and grateful to say, for exhibition at Pallant House Gallery in Chichester as one of the works on show as part of their Open Art Competition: the “Pallant House/St Wilfrid’s Hospice Open Art Exhibition. What a long time ago that was! But I still feel a little sense of achievement, having had some work displayed there. It’s always encouraging when someone chooses to exhibit your work. It’s not the reason for doing it, but it does help to know that lots of people are able to see it, because let’s face it. There’s not much pleasure to be had from a load of artwork stuck in a cupboard. The spider’s might enjoy it. I am not sure if moths like paintings. Do they? Or does the paint put them off?
Here is “Don’t Bank On It – Still Life”, which I am still happy with, so it seems to be standing the test of time.
Had a look around the London Art Fair. I found myself drawn to every Ivon Hitchens and Alan Davies painting in the building, which made me smile. Nothing else seemed as interesting to me as their work. Not on that day, anyway!
I’m getting quite irritable at my own lack of painting, but I’m needing to sort out some domestic matters, which have to be done.
I like the Mall Galleries (Mall Galleries, The Mall, London, SW1) very much. It is a lovely space, doesn’t feel cold (I mean in the emotional sense!) and I very much enjoyed the exhibition “The British Scene” which runs from 24th January to 16th February. This is well worth a visit. Works which I enjoyed the most: Melvyn Petterson “Hainton Track Snow”; an etching which demonstrated a wonderful match of subject matter to medium…Even the tiny specks against the white rang true in terms of depiction, yet, only there in chance, however, as in reality, only there in chance. How satisfying to see that. However, nothing chancy about the composition; it is the best I have seen for ages. The scratching and scrapings of black grass against the snow in their composition which created a path; a path you wanted to walk down even though it somehow seemed like you shouldn’t…Well, that’s how my imagination worked for me! I love the rather uncharted walkways idea…The whole thing of walking BEHIND the facades, and I think that is what drew me to this particular work. You can view Melvyn Petterson’s “Hainton Track Snow” on the Mall website, as it is for sale. If I had the money, this is the work in the exhibition I would have brought! It is very reasonably priced and some of the edition still available.
http://mallgalleries-shows.com/
Ah, better than that I have permission to include on the blog!
Hainton Track Snow by Melvyn Petterson
I also enjoyed Anthony Morris’s “River Melte, South Wales”. It was beautifully framed too. It has a sensitivity and softness, with just the right amount of light. Unfortunately the image on the Mall website is far more contrasty than the painting itself, and this pretty much takes away the feeling which the painting gives, which is far more gentle, and indeed, the power it possesses isn’t due to impact in a dramatic way but to some beautiful brushworking and a certain restraint in the use of light; just enough to give it the necessary life, but really JUST enough, which I think was the appeal for me.
Out of the Peter Clossick paintings I liked “Yellow Flowers” most, and it is so rewarding to see such dynamic use of paint bringing structure and form on the surface, hand in hand with confident colour. I felt I wanted a little bit more definition in the yellow flowers because they were the focus, but however it’s not my painting, so it matters not! Also, I could easily change my mind either way, because the colour itself may hold enough autonomy to assert the flowers, indeed it did. And the title helps. It is maybe to easy to define things too much too. I think this is a very difficult matter, because more damage is done by showing too much than too little in a painting in my opinion. Maybe it is good to make the viewer work a little harder in certain areas!
Also noted by me were some of Bob Rudd’s painting’s particularly “Lakenheath Fens, Suffolk” and seeing these added some urgency to my desire to play with watercolours this year. An unexpected find for me too, in the book shop area, in the shape of a book containing images of Michael Morgan’s paintings.
Popping along to the Cork Street Open 2013 was also a good trip. Huge variety of work, which was very interesting. My favourite by miles, was a sculpture by Colin Hoppe. (which has a french accent on the e, though I don’t know how to insert it here).
Take a look at the work “Back to Basics” which was on display at the Cork Street Open here:
http://www.hillingdonartists.org/artists/Colin%20Hoppe/Colin%20Hoppe.htm
and his own website also:http://www.feelliketouchingsculptures.co.uk/
I nearly fell off my chair when I found out he was blind. What a humbling experience to see, touch and feel something so beautifully created with such power.
Jonathon Chapman has moved “Art in the Ark”, to a section of his own website and the new address is http://www.jkchapman.com/art_in_the_ark/. Jonathon does an excellent job of organising the exhibition programme at The Ark Conference Centre and it is well worth taking a look at his coverage.
Well, these are the snippets for now.
Art Journal October 2012 by Jenny Meehan
I tend to start playing around on the computer at this time of year, researching, thinking, reflecting over the year which draws to its end. Haven’t painted for a while, but this isn’t a bad thing, it’s good. Because the thinking and reflecting is very important in painting. Now I take a seat with the work in front of me and ask “So what have you got to teach me?” “What are you saying?” “Why is it important” and “Where will you take me from here?”
In working through the process of the work again, this time from a distance, I can realise a lot of things which I wasn’t aware of when painting. It’s quite exciting. There is always so much more. Experiment and explore. That’s the whole point. Here is one stage in a recent painting “Surviving Houses/47 Nelson Square”
Recovering from past traumas and working with paint
Above, the painting in progress. I tend to work in a piecemeal fashion. It gives plenty of time for thinking and looking, as well as applying the paint.
And here is the final version:
Final version of Surviving Houses/47 Nelson Square
I keep putting “Nelson Road” instead of “Nelson Square”…!! I’ve gone through the text and corrected, I think!
It’s quite interesting looking back on the past stages of a painting. Like watching someone struggle up a mountainside or negotiate their way somewhere without a map. I had to prepare some blurb for entering the painting into another competition, so here it is:
” I deliberately kept this process led painting as organic in conception as possible, drawing on my own subconscious in an attempt to locate some of my most central concerns, emotions, and thinking. My work on personal past trauma through weekly sessions of psychotherapy at the Guild of Psychotherapists (47 Nelson Square ) certainly came through. The intention of the painting is that it conveys the emotional challenge of facing uncertainties and suggests the type of psychological negotiations involved when encountering realities which shift when someone is seeking to open up new ways of thinking and relating.”
I don’t like writing about my paintings much, it is kind of necessary evil in my view. However, it might add interest for someone else. Sometimes it is helpful to pin things down in such a way. (Not as good as talking about the work, not as good as a dialogue). I think writing in the first person is best, and just being true to oneself. I ask myself “What on earth was I doing and why on earth was I doing it?”. This seems the best, and maybe only question to ask!!!!
Sometimes there is no easy answer!!
Is that OK?
Yes.
But what does it mean for society? What was your investigation? How is it relevant? What does it MEAN?
Haven’t the foggiest.
Well it doesn’t matter then. If you cannot articulate with words what is going on, then quite clearly nothing is. Is this true?
Why doesn’t it matter? Why, as a painter, do I need to use words? I write poetry with words. I paint with paint.
Because it’s just a painting. Just itself. It’s not even part of a series. You quite clearly don’t have a focus.
Yes I do.
What?
Working with paint. I have to. Because its part of living. That is enough. I don’t need it to be more. I have a focus, but it is not explicit and it is not clear. But still, there is some point. It is not articulated in words. It is not defined in that way. It’s changeable. I cannot fix it. Sometimes I get a glimpse. That is all I need. I get a glimpse here. I get another glimpse there. I do not have the necessary perspective to know what I am doing entirely. Sometimes I do not know what I am doing. Sometimes I have a sense. That is OK.
I have diverged into an interior imaginary narrative. Quite enjoyable. Must do that again.
I note also, that with many things, what we think we are doing at the time turns out not to be the case. We look back years later and see that what was going on had many different dimensions to it, which we were not aware of. I often look back at past work and see what I was up to in a much clearer way, and also I am able to identify aspects of my work which I did not recognise as important features at the time, but then, seeing how they have been reiterated in different ways, I understand that they are meaningful to me and a significant part of my practice.
So maybe it is wise not to be too prescriptive in the way one speaks about ones work, or at least, whatever you say, realise how ultimately shallow/mistaken/inaccurate or even pointless it might turn out to be. Maybe it is best to let others do the talking if they want to? I am sure I will cringe as I look back in years to come at things I have written and said. However, if we didn’t move on, that would be more of a concern. It may be better to look back and cringe, but at least give yourself a little pat on the back for trying to say what you meant, and just be glad that now you can see a little more of the bigger picture, yet, still, always incomplete. Meandering over!
PS There is a lot to be said for working in a series. But a series doesn’t have to be similar in an obvious way. For example, my recent paintings were painted together, though they diverge in several significant directions. I worked on around 5 at one time and used the same, and similar colours, paints, materials and canvas size. And the same approach. With very diverse results!
I also note that there are what I might call “long-term emergent series” which happen naturally, for example, my photography now has fallen into focus: Black and white, trees, rocks and water, in different images, has gradually developed as my main subject matter, and I could easily make a series by sorting out this strand over the years as it gradually emerged. The preoccupation was there, and slipped itself in gradually, in ever-increasing amounts, without me ever once deciding in a conscious way that this is what I would focus on. And I think it valuable to see that strands in ones work, maybe subject, medium, manner, whatever, are not deliberately tied or arranged too much. It may well convey a more professional front to have rows of paintings which make a harmonious exhibition, and there is a place for this, but I also think that the more sensitive and responsive eye will see the links between works which are not so explicit and obvious.
@royzoner, aka Roy Petersen
I found this lovely video on the net too…http://www.youtube.com/watch?v=BCc-wirk4XU.
Oh, let’s embrace the mystery of painting, and take those steps of trust, though we inwardly fear and tremble!
Leith Hill Sketch
I am attempting to sketch more and plan to spend the winter months returning to drawing and experimenting with line. Here is a recent sketch, done outside on Leith Hill. What a lovely place that is!
While I love experimenting with abstraction, drawing is essential. My eyes will go blunt if I don’t draw!
Exhibitions and Visits
I’ve just seen the line up for The Ark Centre Autumn Exhibition in Basingstoke… so nice to be in it. I look forward to looking at the other artist’s work, and what a fantastic show that is going to be! The standard is high…It looks like one of the best assortments of work I have seen for a long time (and I am not just saying that because I am one of the selected, though of course, it slips off the lips more easily). I am hoping like mad I can get to the opening night, but circumstances beyond my control might have a bearing, however, I am hopeful!
I’ve also just visited the Threadneedle Painting and Sculpture Prize exhibition at The Mall Galleries, London. I would pick as my favourite painting “Watch the Birdie” by Bev Broadhead. This is fine, indeed. Just beautiful. Hopeful. Hopeful for painting. Hopeful for life. Hopeful full stop!
I have to say I was disappointed with the majority of the painting on show, the sculpture was far more interesting. Looking on the Threadneedle website it looks like there were some interesting pieces which were not hung or I may have just missed a room by accident. Jaana Fowler – Jug Frame, Cement, brought much appreciation from both myself and my friend. I do LOVE cement sculptures and it’s on the list to experiment with as a material at some point. There were some very excellent drawings, (far more impressive than I encountered recently at the Jerwood Drawing Prize exhibition) Fran Giffard – One of Every Species found in Hong Kong cage, Graphite Pencil on Paper took my breath away, as did Planar Resonance – Ilse Black, Graphite powder, pencil, charcoal on paper. Always fond of a bit of iron, how delightful to see it used so responsively in the two works by Peter Sainty, both Claw Coupling 3, Cast Iron, and the other Claw part. Just what I like to see…SKILL, achievement. Success! From Success to Defeat, but not in accomplishment. The fine sculpture by Robert Truscott – Defeat, Mixed Media, Plaster, Epoxy Putty, Material on Armature. Looking at each beautifully expressive figure. It restores ones faith. There is no shoddy carelessness in a piece like this. There is a sense of relief to be had in the knowledge that someone is putting such work and devotion into what they do, and creating such emotional resonance with the viewer, as to leave one in no doubt that the visit was well worth it, even if only to see that one piece. David Firmstone – Dreaming 2, Oil on Canvas, was a fine sight to see too.
Dorking Museum
I’ve just finished some inkjet prints for the Dorking Museum shop. I would like to work on some cockerel images and plan to experiment with some of the printed material from the Museum archives over the Winter months. I am not sure exactly when Dorking Museum is about to re-open but I think it is in a couple of weeks. It looks amazing inside, with a fantastic design and wonderful displays. It will be a wonderful learning resource and I have come away with a couple of ideas for some mixed media work on paper, which makes a nice change from the painting I spent my time with over the Summer.
My neighbour has hens, and I have grown rather fond of them, so I have some live models to sketch from too! I LOVE the Dorking Cockerel which is 3.4m high and made from 1 tonne of steel. It’s on the A24/A25 roundabout on the east edge of Dorking, Surrey and you often see it wearing different things from time to time. It was made by Peter Parkinson.
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 