Thinking, Thinking and Thinking a little bit more…

I am still thinking about the installation”Wetin You Go Do? ”    I saw last month at Tate Modern.  Large concrete spheres with rope which ran  through them.  Like large beads!  I couldn’t get a ball and chain out of my mind while walking around the installation.  How heavy those beads looked.  I could identify with that heaviness, and for me the experience resonated of the heaviness of not being able to move. Because beads and orbs must roll around mustn’t they?  Made to do that.  But no movement there.   As I have experienced in some degree reduced mobility over the last couple of years, it was an experience which  hit my core.

As a child I loved dancing, and I wanted to be a ballet dancer.  Dancing was my freedom, and as I was  growing up in  a household which was oppressive in many respects, and in which I did not feel free to be myself, movement has always been something which matters with a force of feeling I am very conscious of. The associations I have with dancing and ballet are all good.  That was my space, my being, my freedom, my territory.  So walking around “Wetin You Go Do? ”  2015, the work of  Nigerian artist Otobong Nkanga was profound.  The fact that I was able to walk around it, with no stick, no pain, and with the freedom to walk around and around, as many times as I wanted, is great.  It made the immovable nature of the concrete orbs even stronger in my mind.  To be created in a form which is meant to move, and to not move, seemed the uppermost idea in my mind.

The text on “Wetin You Go Do? ”  says that it “integrates voice and sculpture to reflect on contemporary anxieties”.  It was quite beautiful to listen to and there was movement in the voices and the sound.  To have the overlapping sound was almost healing in effect.  Like water.  The sound was edited and layers, and each sphere represented an imaginary character.  The cross over of the voices meant they never quite met, even though linked together.  I guess this is something I understood personally as symbolising that there is no escape from our own unique individual experience. Our own narrative, story, is our own.  We can tell it and say it, and it may be heard or it may not.   However linked we are, there is an overlapping which means some of our voice is missed.  I cannot remember if there were points at which there was a meeting of the voices ( I mean, a small space left so that one voice seemed to respond to another) but I think there was at times.  I did go back to dwell in the space again the week after my visit, but it had finished!  I would have gone back every week if I had known about it sooner.  It meant that much to me!

The soundtracks in “Wetin You Go Do? ”   were partly narrative and partly song.  As well as some statements in English, French and Nigerian Pidgin, there were the watery poetic meanderings (and you know how much I like meanderings!) of a stream of consciousness narrative . Meandering monologues!   I am very fond of the stream of consciousness narrative mode, which I first encountered when studying Mrs Dalloway, a novel by Virginia Woolf, as part of my Literature degree.  “Stream of consciousness”  describes a literary form where a person’s thoughts and conscious reactions to events are perceived as a continuous flow.  The term was introduced by William James in his Principles of Psychology (1890).

Though the dialogue in “Wetin You Go Do? ” was improvised by the artist on the subject of reflecting on life’s difficulties, so in emotional expression, steeped in anxiety; I found it oddly soothing.  I suppose maybe it’s kind of wonderful when emotion is expressed.  Expressed anxiety is shared, and the installation as a whole did hold a huge sense of interconnectedness which is comforting and made the space very expansive even though enclosed.

I went back to see it a second time, but it had finished!

I have made several trips to Tate Modern recently.  I am getting a lot out of it.  Now I can walk freely, I can fill up with visits to galleries!   This is very good and very important to me.

Big Brainstorming!

I am enjoying brainstorming and having a very productive time in the thought department.  While my painting is rather “finishing off” orientated.. not that there ever is an end to a painting… but what I mean, maybe… is just visually resolving a few of the painterly footsteps I make as I meander through life!  But alongside the current of traces of paint, snail like trails which follow behind me, there is a lot going on.  Being very inspired!  I had a FANTASTIC three hours at the Barbican for the Jean-Michel Basquiat exhibition.  I have been seriously shaken up and stirred!  I knew I would, which is why I went!  And the fantastic day ended with the amazing “Interchange” experience:

Text from website:

“Friday Tonic: Interchange

Part of EFG London Jazz Festival
See an exciting new jazz dectet comprising ten of the nation’s most innovative jazz composers and improvisers.

Ten of the UK’s leading female musicians combine in a new initiative led by Issie Barratt, playing new music from women composers representing a breadth and diversity that crosses generations and cultural backgrounds.

Interchange’s programme of ten new works keenly explores the full emotional spectrum while collectively pushing the composed and the improvised to the max.

Because of Interchange’s diverse cultural background combined with their mutual experience across all genres (jazz, pop, classical, world music) they’re a very genre-fluid ensemble. For example, Shirley Karen is a regular member of both Mike Westbrook’s big band and the Ballet Rambert, while Carol’s either touring with Seal or playing on TV soundtracks. Shirley’s equally at home playing jazz, Middle Eastern or classical cello and Yazz is as comfortable working with the LSO as with the LJO making for an eclectic and vibrant mix.

Issie Barratt is supported by PRS for Music Foundation”

While they were playing several small children were moving to the music…At times with beautiful expressive movements, among the general running, jumping and chasing each other around.  It was delightful. I took note of some of their moves, though unfortunately, mobile as I am, I am not sure I can quite do all of them!!!


I am currently doing a lot of research on materials and textures.  And colour, of course.  Also, though I do love my iron oxides, earths and other metal based inorganic pigments, I did succumb to the violent modern dye based experience over the year with “Water Fight/Mad Moment” and I also succumbed to the lure of plastic gloves!  This may be a sign of things to come!

… as you see here:

I don’t always dress like  this…It was a special occasion!  Look at those arms!  Swimming arms and good for holding big heavy paintbrushes!


jenny meehan waterfight mad moment abstract painting jamartlondon, christian spirituality visual artist female 21st century abstract expressionist spiritual poetry painting poet-painter jenny meehan, contemplative art practice meditation images,

jenny meehan waterfight mad moment abstract painting jamartlondon

I have tended to refer to acrylic paint as “liquid plastic” and I don’t like the feel of it all that much.  Well, not as much as silica sol mineral paint or oil paint.  But it dries quickly, and with just a studio tent and no other permanent space solely devoted to being a painting area, it does have its benefits.  No I am getting very interested in increasing the size of my painting, this brings with it many practical issues.  However, as I think I have written before, “Necessity is the Mother of Invention”.  Well, it can be.  Sometimes it is just a pain in the arse and annoying.

So I am doing a lot of experimentation at the moment with more affordable substrates than stretched canvas.  As I want to paint larger, I need to change the materials I use.  I have a lot of materials around me in my domestic environment.  I have a lot of sheets and tablecloths, pillow cases and lots of other materials which I could use.  I am keen to recycle the materials I already have.   I enjoy experimenting and researching… I spent at least six months when I was looking into silica sol mineral paint…So this is going to take some time.  I am also considering, alongside my usual emphasis on ensuring my materials are compatible, stable, long lasting and as permanent as possible, using some materials which are temporary and experimenting with painting which is temporary.  I feel as long as I know what I am doing in terms of the materials, I can do what I want.  What is distressing is when artists use materials which they don’t know the properties of.  For example, doing work in biro which they want to last and think will last, but not checking if the ink in the pen is permanent or not!!!

I am also thinking very much that I need to move myself in to the moment more.  It is so easy for me to think about my production and what I produce, but lose the value of the moment, of the very act of being and doing something for its own sake.  There is a ritualistic aspect to my painting.  I sometimes dance or move, listen to music, exercise… the list goes on. It is relatively easy to produce a pleasing painting.  It can be harder to shed the mental shroud of it needing to matter.  In the end it is a simple entering into an experience of life giving interaction with materials and movement.  It is the movement which now interests me.  Probably because I feel so very very grateful for it.

I do need more space.

I need a room of my own.

My studio tent is full.

And it’s very COLD at the moment.

I do have my kitchen table.

I am constantly aware of the restrictions on my art working in financial and practical areas.  But I am happy too.  Because I am blessed to be an artist. It is a calling in life for me.   I was grateful many years ago to someone I spoke to who reminded of this.  I was moaning about financial restrictions, and they simply said about their own painting “I am so grateful that I have the gift I have.”  And I am so grateful to them for reminding me.  It’s very easy to fall into being negative.

So as I seek to enlarge the area of my painting, I can utilise what might hold it back, and enable it to move forwards.  No problem.

No Problem/Moving On Jenny Meehan/Jennifer Meehan SWLEOC art donation image 2017

Jenny Meehan/Jennifer Meehan SWLEOC art donation image 2017 No Problem/Moving On

Yes!  No problem, again!  I have popped this in because I saw it in it’s place today when I was at SWLEOC for the Patient Forum.   It really does look like it was made to go where it is placed.   They did a good job of finding its home for it, because it certainly looks at home!



“Wisteria Trellis” Print by Jenny Meehan


© Jenny Meehan DACS All Rights Reserved wisteria trellis by jenny meehan

wisteria trellis by jenny meehan© Jenny Meehan DACS All Rights Reserved

Above is “Wisteria Trellis” another print.  This was exhibited at “Bah Humbug” KAOS exhibition Cass Art 2016

My thoughts on it at the time:

More aware of the value of support systems in daily life, the motif of a trellis as a support for growth is an important one for me. Collage as a technique has started to sneak into some of my paintings, and is not new to me in terms of digital imagery, but with the introduction of a graphic plant motif, combined with experiments with printed colour, the production of small printed images provides an interesting strand of my work which I am able to do while seated.”

I was needing to be rather more seated than I wanted!  Now, with my nice new knee,  I have to remind myself to sit down from time to time!

And my supports, in the form of crutches and sticks, have lain unused for months!

I am now 8 months post op from my TKR.  I will be posting the update on “The very patient knee replacement story by Jenny Meehan” soon.  It is getting quite hard to fit that additional writing in!  I have given up on including images.


Second Prize in the Chester Art Centre Open Exhibition 2017

I now need to sort out some more printing because I won 2nd Prize in the Digital Art section of the Chester Art Centre Open Exhibition this year, with “Leap of Faith”.


Leap of Faith…This time paid off!

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

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

You can buy unsigned prints of “Leap of Faith” on  It is under its first title “Take Courage/Leap of Faith”.  I like two titles!

It was printed as part of the Chester Art Centre Exhibition and the framed print was purchased.

I am very pleased about winning £150 worth of printing,  because I no longer have an A3 printer (it broke), so it is rather timely!  I have a series of prints I am working on still which I would like printed.   I don’t tend to produce limited edition prints very much, but just sign and number them, as it gives me a lot more freedom as an artist to do what I want with my imagery in the future.  As I don’t spend much time producing prints this means all my prints are limited in number!  There are also open edition unsigned prints available of some of my selected images at   Now is the age of printed matter all over the place.  No point in artificially limiting numbers for most of the things I print, in my opinion.  As long as I get my royalty and people don’t use my images without my permission, I am happy.    They have LOTS of merchandise you can have printed with my images!

One example:

Take a look!


Moral Rights Information

Here for my own information!  As I have said before, I use this blog as a bit of a notepad!

Quoted from DACS Newsletter September 2016

Whereas copyright allows you to control how your work is reproduced and distributed, moral rights protect your name and reputation – so it is important to be aware of them.

There are four moral rights under UK law:

  • The right to be identified as the creator of your work – known as ‘the Attribution Right’
  • The right to object to derogatory treatment of your work negatively affecting your reputation – known as ‘the Right of Integrity’
  • The right to not be identified as the creator of a work created by someone else – known as ‘The Right to object to False Attribution’
  • The right to not have photographs or films that were commissioned for private and domestic purposes exhibited, broadcast or issued to the public – known as ‘the Right of Privacy in certain photographs and films’


Artists Exhibiting – Open Studios of the 18th Century- Painters in search of their Public

I found the following read charming… And discovered  that my kitchen and living room space, which serves as a display area for a selection of my paintings,  has some historical precedence, of which I knew not!

The Illustrious Academies: 17th and 18th Centuries (The painter in search of his public: the commercialization of art) …  quote from  Chambers Arts Library “How to read Paintings 2- The secrets of the artist’s studio”

“A change was occurring, particularly in France at around the time the Academie was founded, whereby the distinction between artists who “peddled their own wares” and those who (at least in an ideal sense) painted or sculpted out of love for their art (receiving the thanks of delighted clients who where able to appreciate their talent and the time they had devoted to their work) became even more clear-cut.  Thus in his petition to the king, Martin de Charmois asked that anyone who ran a shop be prohibited from calling himself a painter or sculptor.  There was doubtless a good deal of hypocrisy in this.  Whether they belonged to the guild (whose members were allowed to deal in art) or the Academie, artists had to earn a living, and in reality it was fully acknowledged that they had no need to limit themselves to salaries and privileges – which were growing in number but still only benefited a minority of artists – provided they sold only their own paintings and went about it discreetly.  In 17th- century France, therefore, transactions tended  to be carried out not in workshops that opened onto the street, but in the upper rooms of the house in which the artist worked or in a room disguised as a sitting room adjoining the artist’s studio (as in the room in which Poussin painted himself in the Louvre self-portrait, which was probably at the back of the courtyard of a private mansion or at the top of  building.)

The same arrangement was usual in 18th-century England.  The most famous artists maintained a showroom – a sitting room or private gallery – next to their studio.  During the second half of the 18th century, Joshua Reynolds had his studio in Leicester Fields in London.  The painter showed his own paintings here, taking care to recreate the hushed atmosphere of a private apartment.  He also offered curios and old masters for sale, the latter in order to increase the prestige and therefore the price of his own work.  Angelika Kauffmann, a Swiss painter who settled in London in 1766, also maintained an exhibition room next to her studio in Suffolk Street, not far from where she lived.  She described the arrangement as follows : ” I have four rooms, one in which I paint, another in which, in keeping with the custom here, I hand my finished paintings… People come and sit here – to visit me or to see my pictures; it would be out of the question to receive the public in a room which was not handsomely decorated.”


And so, indeed it would!  However, I trust the room need not be spotless, because it is very hard, or maybe even impossible, for a artist with an additional domestic/home management role to have time to do both her painting and a sufficient amount of housework.  !!!!  And, I may “peddle my wares” and paint for love, I trust.  Indeed, in order to paint for love, finances are needed.  I need people to buy my work… In doing so, they ensure I am able to continue.  Resources are limited.  Just love this..

“People come and sit here – to visit me or to see my pictures; it would be out of the question to receive the public in a room which was not handsomely decorated.”   

I do agree.

My kitchen space, and sometime studio, and my studio tent, and sometime greenhouse, are NOT handsomely decorated one little bit.  But the welcome is there!


“The Very Patient Knee Replacement Story by Jenny Meehan.”

Well,  I need to get on with writing the 8 month update on “The Very Patient Knee Replacement Story by Jenny Meehan.”  It is certainly not the sort of writing I thought I would be engaged in, but little did I know what would happen with my knee!  I feel it is worth investing my time into it, as major surgery is a very challenging experience, and I wanted to do something which may help other people going through the same operation!  Everyone has very different experiences and everyone’s situation is very different, but I felt by sharing my experience it might prove useful in some way.  Because I have an ongoing interest in trauma recovery, it seemed to add another dimension to my existing interests.    I am also working on an abridged version, as the full version is rather long.  But writing it kept me sane as I had a project to work on which I could do throughout the whole period.  I will stop writing it at the one year mark.




Jenny Meehan (Jennifer Meehan) is a painter-poet, artist-author  and Christian contemplative  based in East Surrey/South West London.   Her interest in Christ-centred spirituality and creativity are the main focus of this artist’s journal, which rambles and meanders on, maybe acting as a personal (yet open to view)  note book as much as anything else.  

Her website is  ( replaces the older now deceased website

Contact Jenny via her website:

Jenny Meehan (Jennifer Meehan) BA Hons (Lit.) PGCE  offers art tuition.  Please contact Jenny at or through the contact form at for further details.  Availability depends on other commitments.    

 Jenny  works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces some representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings, other artwork forms,  and affordable photo-mechanically produced prints are available to purchase.

This artist’s blog is of interest to artists, art collectors, art lovers and anyone interested in fine art.  Those interested in British 21st century female contemporary artists, women and art, religious art, spirituality and art, and psychoanalysis and art, will probably enjoy dipping into this Jenny Meehan Contemporary Artist’s Journal.

Art collectors are often interested in the processes, techniques, interests and influences of the artists whose work they collect, and sharing my thoughts and perspectives through a blog is an important dimension of my creative practice.

My main focus is directed towards process led abstract painting, and you can view some examples of this on my website  I encapsulate my painting as being romantic,expressionistic, abstract and lyrical.  Art collectors interested in lyrical abstraction, abstract expressionist, and essentially romantic art, are likely to find my paintings an interesting and exciting addition to their art collection. Art collectors can view a list of exhibitions I have taken part in on my websites exhibitions page;

Art collectors can see selected examples of my original paintings  organised by year on jamartlondon which gives you a brief overview of the development of my painting over the years:

I am a self-representing artist, whose aim is to ensure  I continue to develop my painting practice in an innovative and pioneering way, rather than attempt some kind of commercial success, and whose aim is also that my work is historically relevant, rather then celebrated in that so called and illusive “art world”.  I hope to add to the number of people who value, collect, and develop an interest in my paintings and to thereby sustain and develop my practice over many years. 

I am also keen that my  art work is appreciated and accessible to as many people as possible, and am aware that not all art lovers and art collectors can afford to buy original paintings or limited edition prints.  For that reason I grant licenses for the use of my imagery. (See and DACS information below). 

To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:

Also, you could follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way. 

Note About Following Jenny Meehan Contemporary Artist’s Journal 



Website Link for jamartlondon: 

A selection of non objective paintings can be viewed on pinterest:


Help me continue my practice/art working:

 Jenny Meehan art images on Redbubble and Image Licensing through the Designer and Artists Copyright Society

If you would like a way of helping me in some small way, while benefiting from my art working yourself, then scoot along to where you can buy various products with my imagery on them.  It is a good company and they produce and sell their products with my images on.  I get a small royalty payment when something is sold.  It all helps a little. Here is the link to the pages on which show prints with my imagery on them:

My prints and some merchandise which uses my artwork can also be purchased safely and easily through

Here is the link to the main Jenny Meehan portfolio page on



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

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.

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,  you could contact Jenny Meehan in the first instance to clarify your requirements. There is a contact form on my website  Alternatively you can contact the DACS directly;

Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the “Art image” selection on the Design and Artist Copyright “Art Image” page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their “Artimage” page!)

I have extensive archives of digital imagery, and keep records of all my art work, so  if you require an image similar to something of mine you have seen on the internet, it’s worth contacting me to see if I have something suitable for licensing if need be.  Use the contact form on my website to enquire:

About Jenny Meehan (Jennifer Meehan) 

Jenny Meehan is an established artist who has been exhibiting for over ten years, mostly in the UK. Notable exhibitions include, most recently being selected for the Imagined Worlds touring exhibition of artworks inspired by the poem ‘Kubla Khan’ and inclusion in “Building Bridges, the Female Perspective” at Tower Bridge Victorian Engine Rooms in 2016. Jenny has been a keen supporter of various charity art exhibitions over the years including the National Brain Appeals ” A Letter in Mind” at Gallery@oxo, South Bank, London and the “Anatomy for Life” Exhibition for Brighton Sussex University Hospitals Trust in 2015

Selected by a wide range of judges in open submission exhibitions, her work appeals to the aesthetic and emotional discernment of many, and has been displayed in many prestigious galleries. These include the Dulwich Picture Gallery, London, in 2015, as part of their Open Exhibition, and the Pallant House Gallery, Chichester, West Sussex, as part of the Pallant House Gallery/St Wilfrid’s Hospice Open Art Exhibition in 2010.

Jenny Meehan’s work has been included in several academic projects and and publications including “Speaking Out – Women Recovering from the Trauma of Violence” by Nicole Fayard in 2014 and the ongoing “Recovery” Exhibition project – Institute Of Mental Health/City Arts, Nottingham University, also in 2014. While her romantic, lyrical, expressionistic, abstract paintings offer a contemplative space free from cares and concerns, other strands of her practice engage with subjects ranging from violence, trauma recovery, psychoanalysis, and mental health.


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