I thought I would continue with non-figurative painting for some time, but I am wondering right now if it might be best to push myself back into the representational arena for a while…It’s not that I don’t like working with no specific focus, because I feel the focus is there under the surface regardless of what one sees on the canvas, but there is something that affords a painting more accessible to others if it contains objects and as we live in a world full of objects maybe it might be an idea to pick some up from time to time and work them into a painting.  These can be from the imagination of coures, they don’t need to be taken from the “outside” world.  Also, though I meant to do this sooner, I still have many potential paintings I wanted to paint based on my immediate environment.  And while the sky here is wonderfully vast and interesting, there’s lots below it.

I think its a good idea for any painter to move from one to the other, I mean, from objects to no objects in painting because one should pay attention to the physical qualities of the paint and whatever form your painting takes it’s a valuable process in itself.  You can always cast it away afterwards if you want to.  There’s no contract involved!  There is maybe, at least there was for me, a slight concern that if you drop painting objects you will be in a place of “no return” and your destiny is sealed. Maybe for a lifetime of people, confused,bemused, and less able to engage with your painting, because they cannot “see” anything in it. 

What is life like?  Can we “see” things with a focus all the time?  Is it always clear to us?  Is it sometimes figurative and sometimes not?  I look back with interest on the path that my photographic work took, from very photographic photographs, to images resembling linocuts, well, in a kind of “photographic linocut” way, to blurred images, and then, to black and white, contrasty and detailed type images, mostly of trees.  The order was not so ordered as this sentence with its logic falsely suggests, but vision is ever moving and ever changing, and I think it would follow then that in terms of expression, painting would be as ever, never fixed!!!

Ramble over…..

What a pleasant walk.

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A lot of my oil paintings from the most excellent “Landscape and Figure Painting in Oils –  The British Tradition” course by John T Freeman are not finished but there are a few I have finished mulling over, so here is one of them which has undergone the necessary process of being sent through the computer for viewing over the internet.  John T Freeman is one of the most gifted teachers I have had the good privilege to have stumbled upon.  West Dean College and Gardens is  a great place, and I love meeting people dearly, and there are so many people who love artistic expression, it’s all a bit heavenly.  Yes, I am missing it.   It is a privilege to go there too.

Thankfully, next year, though I will not be able to attend the Summer School at West Dean (It is a hefty chunk of cash!) I have £100 off voucher due to the West Dean College “Loyal Lobster Scheme”.  I am saving a bit each month and along with that I will be able to participate in another course next year.  I have wanted to work with lino printing for a couple of years.  My photographic work has over the course of time leant further and further in the direction of blocks of rich colour and I would like to explore this direction using a different printing process to that of photographic reproduction. One that opens up some new possibilities.   And ink… I did try it out this year at the West Dean Summer School in a taster session, and it was POWERFUL stuff! I did not like the smell or the consistency, so maybe that does not bode well, but the COLOUR!  I do feel I want to continue the strands which have emerged from my photographic art, and this is certainly one of them.  I think it’s going to be a useful tool for some interesting work in the future.

One of my experiments carried out at West Dean College, 2010

I am exploring many exciting and interesting ways of manipulating paint and it is opening up lots of expressive opportunities.

 

Take a look at Jenny Meehan’s website jamartlondon  to see some of her more recent work!  http://www.jamartlondon.com/

Ah yes, it is my favourite place.  West Dean College is where it all started for me in 2005 when I attended the “Sculpture with Wire”  Course tutored by David Farrer.   My sculpture “Articulation” hangs in my studio as a beautiful reminder of a kind of birth… I nearly sold it a couple of years ago, but I am quite glad I still have it for now. I may well continue working on it in the future.  That course worked as a kind of take-off pad for me I think… to suddenly have a whole week to be creative made me realise how fundamental my creativity is to my existence.  And one course turned into several more over the years, mostly involving working with metal, but two in painting.  Short but sweet.

I am playing it safe this year and attending an excellent course by John T Freeman.  I know it’s excellent because I did it a couple of years ago.  (I say “playing it safe”  because I have attended a course which just wasn’t the right kind of thing for me before, and this is a very discouraging experience.)  The painting course is only for a week,  but I just cannot wait.

Image is one taken at West Dean Gardens in the Spring.  My heart’s gone out of making photographic images right now, but I take a little time now and again to fiddle around with past images with Adobe Photoshop.   And it is a very handy skill to have as an artist.  Good for putting work up on the internet, sending it here and there, entering competitions and all that stuff.  However, I worry at times that there may be glue on the stool that I sit on in front of the computer.  You sit down, thinking you are just going to check your emails, and then look up one hour later, and realise you are still there!  So I presently work as little as I can on the computer, and as much as I can with paint.

Having said that, occasionally I am tempted to play around on screen.  Hence  “Morning River, West Dean”, which was an image originally taken in 2007.   It’s a nice little game, but I would not claim that my current photographic images are anything special in themselves.  They are an artistic product without any great craftsmanship.  Some knowledge, a limited tool in the shape of my  distinctly unprofessional camera, and the computer magic of software.  Yet there is value in it for me all the same.  But I am not a photographer, no, I am not.  The beauty of it, for me, has all drained dry.  I am pleased with what I have done in the past, and I am keen to continue some threads started in the past,  but I don’t see much future in it for me.

This type of black and white image ” Morning River, West Dean”  IS something I will continue with, and rather interestingly, it is something in the vein of which I started with. Stuck all over my “Articulation” sculpture (2005) are black and white photocopied images of the branches of a tree in my garden.   I was struck so by the patterns of the branches of different trees, by the whole system of a tree, by the relationship between the overarching pattern or design and that of each unique individual tree.  So it appears I have come full circle!

http://www.jamartlondon.com/

Take a look at my website and see some examples of my current art working.

While pushing ahead with paintings, there is always plenty of tidying up to be done, and that means not only housework type chores but computer based ones….making images of paintings in progress (which I find a helpful practice) and also preparing past photographic work for display.  Part of this involves trying to get work out there, so that other people can enjoy it if they like it…Hence the title “Purchase Poster Prints of Imagery by Fine Artist Jenny Meehan” !

I spent a lot of time from around 2006 to 2009 on my photographic work, and still fall for the odd photographic image from time to time.  I don’t want to spend lots of time producing it as some do as  “limited edition” prints though…When I do produce it for specific people or events I number and sign the work, but I don’t limit it in an artificial way.  I don’t see the point…it’s not limited…there is no plate to wear out, there is no natural process of disintergration of the image.  Isn’t that whole idea just a marketing strategy?   Maybe if you are very famous for your photography and it actually means something it might serve some purpose, but for most of us, living in a world which suffers from an excess of images, the idea of limiting does not sit so well with me.

See also the “Photography” section on my website for more information on editions and print types if you would like to know more.

Jenny Meehan Photographic Imagery

http://www.jamartlondon.com/

 

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