Welcome to the flowers, the buds and all that is growing!

At last, May  is here!

My studio tent is still standing.  Yet another storm, Storm Katie, which came in April or the end of March, I think, threatened to blow it over!    Since I put up the Studio Tent I am a lot more aware of storms, though we have had rather a lot of late! I see it is the eleventh storm to be named since last Autumn!

Storm Katie will batter Britain with 80mph winds as the tempest aims to put a miserable end to the bank holiday when it hits our shores tomorrow.
The Met Office has issued a national weather warning today as forecasters predict blustery conditions will fell trees and disrupt power lines.
The north of Scotland will be the first to bear the brunt of the storm as hurricane winds hit Orkney and Shetlands tonight, while 70mph gusts will later blow onto the south coast of England.
Katie is the eleventh storm to be named since last autumn and will arrive over Britain by Monday morning, after being blown across the Atlantic in just 30 hours by 200mph winds.”

A few things got blown off, but still intact and ready for more intensive painting sessions soon.   At the moment I am tidying, thinking and pottering around.  All part of the painting process!  Still looking back an reviewing.  Reading and thinking. Wondering. Waiting. Mulling.  All part of the painting process.   I am pushing forward with various pieces of work, but all in a very piecemeal way!

Interesting recent read:


Talking With: Vincent Longo Discusses Pollock, Neolithic Abstraction, and Working from the Center
April 19, 2016 by Janet Goleas Abstract Expressionism, ARTIST PROFILES, Contemporary Abstraction, HAMPTONS, Hamptons & East End, Painting, TALKING WITH

Vincent Longo, quote on his process:

“VL: It’s all predicated on a statement that Picasso made many years ago. He said “I don’t seek, I find.” I start with one thing and it leads to another. That’s it. It keeps going until either I see something happening or not, and decide what to do. My overall intentions—what I hope the results turn out to be—is that whatever seems like a finished product, I want that to have a kind of particular action with the viewer that puts the viewer in affect. If I’m successful, the viewer is accepting automatically what is going on in the front, in terms of the meaning. That person has more chance of seeing what might be happening.”

Love that:  “I don’t seek, I find.”

Finding can be tricky…. You can have something staring you in the face and not recognise it.  Or Miss it.  Or find it and ignore it.  I was talking to someone recently about the importance of waiting and looking when painting, and of the value of the distance of time; it is good to leave long spaces of time as a painting develops, and helpful to go off and do something else, do nothing, or work on another painting.  Do a bit of gardening, or dancing, or whatever you want. But the temptation is to move forward before you have properly seen what is happening with the painting and what you have done.

Pretty much true in life, also!

Another quote:  (best to refer to the whole article and see the question, but snippets serve well in this blog)

VL : Overall. I don’t think the act of painting is changed in that sense at all. Ever.

Audience 1: I say in relation to the representational in painting. There the viewer can easily relate to what’s going on whereas in abstraction…

VL : When people say this to me I really would like them to look a lot longer at what they call “representational painting” and you’ll see a lot more than what it looks like. Painting is really about creating something that hasn’t existed before. That’s what we all strive to do and it’s not about copying nature really. If you look at Monet, he wasn’t copying nature. He was redoing it and he was celebrating it. There was a show at Gagosian few years ago of his late paintings. He left white around the canvas and that white in no way interrupted what happened inside. These are all about color. I think it’s fine to have certain preferences of subject and style and what have you, but you remind me of a woman that I encountered when I was still a kid at Cooper. I was looking at White on White by [Kazimir] Malevich at the Modern and she comes up next to me. She said, “You call that art?” or something like that. “Why are you looking at this?” I said. “If you really want to know what’s going on here, you have to take longer looks at Rembrandt.” It’s all a continuum.

“Painting is really about creating something that hasn’t existed before. That’s what we all strive to do and it’s not about copying nature really.”

Not the first person to say that painting isn’t about copying nature, of course.  However, it is amazing how, to the person who has not had reason to think through what painting is, how the “copying” and production of a good copy holds so strongly as a gauge of assessing the value of a painting.   Of how “good” or “bad” it is.  With the forthcoming Open Studios in June,  I find it helpful to bolster myself up in terms of reminding myself of what I am about, as a painter.   I know it, deep inside, and lots of people are content to look, see, perceive, and just be, in front of a painting without needing to control the process in some way.  However, for some people, an abstract painting can push them into a sense of insecurity and confusion, unease, and even indignation.  Or just walk quickly past, to avoid the encounter!  Well,  this is the way it is.  Will always be.  Others can go with it.

However, I do find while I love lots about the Open Studios, it can be a little stressful opening ones painting up to all and any comments!   One needs resilience as well as self-belief!

2016 Open Studio Event – As part of Kingston Artists’ Open Studios Jenny Meehan will be showing some of her latest work on the weekends of the 11/12th June and 18/19th June. 11 – 5pm at Studio KAOS 3, 14 Liverpool Road Kingston KT2 7SZ


If you are reading this and would like to come along, do contact me via the contact page on my website http://www.jamartlondon.com    Let me know you are coming, and I will look forward to meeting you!


The Art of Caring Exhibition


I’m always very pleased when I can exhibit my work locally…For one thing, it is easier!  Luckily, living  where I do in the outskirts of London means there is lots happening and it’s not too far away.  Having things happening in Kingston is even better!  Myself and many others will have small postcard sized prints on show in the Upper Circle Gallery, The Rose Theatre, Kingston-upon-Thames, UK from the 12th to 24th May 2016. The private view is  on International Nurses Day, Thursday 12th May 2016.  Some of the work will also be selected for a show at the Arts Project exhibition space in St Pancras Hospital from July – October 2016.

My work shows one of my neighbours, Reg Driver, now no longer here on earth.  He was an amazing man, and I am grateful to have known him.

The exhibition will be open daily from  10am-6pm at
Rose Theatre,
24-26 High Street,
Kingston upon Thames,
Surrey KT1 1HL


Art at the Bridge #7  “Building Bridges, the Female Perspective”

drawn together by jenny meehan, art at tower bridge, abstract art female artist, feminist artist, contemporary women artists, contemporary female artists, jamartlondon,building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

building bridges the female perspective art exhibition tower bridge engine rooms jenny meehan

Above “Drawn Together” by Jenny Meehan.

So pleased to have one of my art works in the Building Bridges, The Female Perspective, this year.  It’s on now and runs for about five months.  http://www.southwarkartsforum.org/index.php?pagename=Art-at-the-bridge

I saw it with a friend recently and will post more up about that in my next post!

If you like “Drawn Together” you can get your own print of it quickly and easily by using the print on demand Redbubble.com website.  It is quick, easy and safe to buy via Redbubble and the quality is excellent!


Last year there were over half a million visitors to the  exhibition, and so you can imagine I am exceptionally pleased about my work being on show at the Tower Bridge Victorian Engine Rooms.   Thanks indeed, to the Southwark Arts Forum (SAF) who work in partnership with Tower Bridge.

The exhibition opened on Tuesday 8th March 2016  and there is plenty of opportunity to see it at the Tower Bridge Victorian Engine Rooms.  It’s a very good show, with plenty of very interesting work based on the show’s theme “Building Bridges, The Female Perspective”. Art at the Bridge #7 is exclusively for women artists, as it was felt this would be a good way to profile the work of women artists in celebration of International Women’s Day.

Wonderful, an international audience of approximately 2, 000 visitors daily!

Bit more about the exhibition and the partnership between Southwark Arts Forum and Tower Bridge:

“Our aim in launching this exhibition is to provide a high profile platform for some of the brightest aspiring artists who live and work in our local area whilst offering an interesting new dimension to what we offer visitors to the Tower Bridge Exhibition. London is one of the art world’s most vibrant and culturally diverse hubs so to be able to give exposure to just some of these inspiring artists in such a spectacular setting as Tower Bridge is a privilege for us.” – David Wight, Tower Bridge Director

I’m so grateful for this opportunity, and SOOOO much wish that more of this kind of thing went on.  There are so many wonderfully talented artists who WANT to share their work.  However, we are often prevented from doing so by over high submission fees to enter work into competitions and exhibitions, which often, I feel, are money making opportunities  rather than good opportunities for artists.  There are many more organisations who could follow the example set here by Tower Bridge, and who could work in partnership with local arts organisations to help promote the work of local artists.  We are then all the richer for it; artists need opportunities to show their work to the public.  We want these opportunities not because they are money making for us… the reality is that once in a blue moon we might actually sell something.  But we do want these opportunities because we love what we do and we want to share it. However, we don’t want to end up exploited  and in a kind of “pay your way” system.  Unfortunately this is more often the case.

I am VERY encouraged to find a brilliant example of partnership which works so well for both parties.  It works for artists in a positive way and brings fresh new work to the public in an accessible way.  What is more, to enter was a very affordable amount, and you could enter more than one piece. |Hooray!  At last!    I also knew I would be contributing to a local arts organisation, and therefore knew that even if not selected, my money would be going to something which is in accordance with my values and that I am very pleased to support.

I normally look on submission fees as a way of giving to an organisation.  It’s the only way to think about it.  But sadly, the system is being misused in some cases. It is worth asking the question “Is this competition/open call a profit making venture which I as an artist am ending up funding?”  If it is clearly stated that it is not, in itself, profit making (ie all monies are absorbed in the costs), or it is for a charity, or a good cause you care about or something you actually want too support in some way, then it’s not bad at all.   Bear in mind too that profit will be made if your work is sold, because of the commission. That profit should be enough for whoever organises it, and is fair enough; this we are all used to.   But is profit being made from the submission fees?  That becomes questionable as an activity in my opinion.    And the amount, which is throwing money to the wind for an artist, needs to be as little as possible, in my opinion.   Do people seriously think that artists can easily afford to spend £15- £25 per artwork on entering a competition?….Bear in mind, this applies even if your work is not selected and never shown.

Many may be able to do this.  But how much this narrows the span of work which gets shown and exhibited….  I am sure it is a great narrowing.  Certainly, the whole matter is about taking a punt.  If there are prizes then this helps a lot.  Yet the most important objective is not a prize but to be able to show the work and have it seen.  Hopefully brought.  But the buying is not to be relied upon.  It’s certainly couldn’t be described as a source of income for most artists.  It’s not something one even HAS to do, however it’s nice to get one’s work about.   Just rather difficult financially to do this.  Oh dear!    I like to have my little moan, and will continue to moan about this matter without apology.  However, I am glad to temper my moan with such a positive and encouraging example of what is possible, as I have found with the Tower Bridge and Southwark Arts Forum partnership, and what should be possible much much more than it is at the present time.


Thinking about considerations when entering competitions, call outs, etc, this is a good read:

“Art Contests, Competitions, Offers & Shows
Where You Pay Money or Send Art:

Will They Be Good for Your Career?
Or Are They Dead Ends, Time Wastes or Scams?”   Read this by following the link!



This is also a good read…. Money is an important matter to artists, we don’t live off thin air, and even if we have other sources of income which help support us , this doesn’t mean we don’t need to work towards being treated more fairly…   http://marketproject.org.uk/tag/competitions/



Copyright considerations for poets wanting to use artist’s images on their blogs

Now and again I find that my art images have been used on people’s blogs without permission.  This mostly happens because of ignorance, and when the person is notified and asked to remove them,  the problem is sorted.  However, I wish I didn’t need to do this…Needs must!  I guess I am hoping that writing this will be my small contribution to increasing awareness and prove useful to people who are wondering what the score is.

As a poet AND a visual artist, I can see the attraction.  Wow, that lovely inspiring image, let’s write a poem about it and then post the image and the poem on a blog.  Look, if you do this, you are publishing the image, and normally, for publishing an artists image on the internet there is a fee made!  When people use an artist’s work, they are using an artists work, and artists are entitled to be paid for the usage.  That’s the way it is.

If I use images on my blog which are not mine, I always contact the artist (or whoever is  managing their copyright) and ask their permission, explaining what I am using it for and asking them exactly how they want to be credited.  I have never been refused, and I have never been asked to pay for that type of use,  the reason mainly being that the usage I tend to require is well accepted as being covered under the terms of “Fair Use”.  (I include images which related to some kind of commentary on them).   I know as an artist myself, that is it nice to know how my work is being shared, and it is often very encouraging.  If someone is commenting on it, I often gain some interesting insights myself!  Artists learn a lot from other peoples responses to their work!  We like to know how you respond to it, and if images are used under the “Fair Use” accepted terms, then it would be strange to ask for a fee. Though it is possible, and it is also possible that the artist may not wish you to use their image at all.

What is “Fair Use” though?  I am certain that some people who have used my images without permission, probably think that their use of the image is covered by “Fair Use”.  However, as an artist, I can tell you now that posting one of my images and then writing a poem about it, which links the image very intimately with your own artistic creation, is NOT fair use.  And neither is doing it the other way around. Writing your poem and then finding an image to illustrate it, is using the artwork as an illustration! (Something which enhances your work considerably, or at least would, if carefully chosen!).

I am a poet and an artist, and lots of visual artists are also poets and writers.  Our written work is intimately bound up with our visual artwork, and often a poem and image are used as one piece of artwork.  I have many paintings which I present with my own writing and poetry.  I often submit work to competitions and exhibitions which is both a poem and painting combined, and which are meant to be seen and displayed together.  And so I do not want other poets presenting my artwork with their poetry and publishing it on the internet, even if the image is credited.  A poem colours a painting and vice versa.  If you want to use images to illustrate your poetry, to add depth, volume and expression to your own, then you need to either produce the artwork yourself (cameras are good for this) or ensure that the art work you use is copyright free.

Just because something is on the internet, doesn’t mean it is there for the using. Artist’s rely on the licensing of their images as a source of income, and having it plastered around but not knowing how it is used has got the potential to quite possibly make it less desirable for use by someone who will actually pay for it.    Remember, an artist’s artwork is just as personal as the poem you have written, and you would expect your poetry to be treated with respect.  Make sure you treat visual artist’s work with the same respect.  Do as you would be done by.  Recognise their art has an evolving style and direction, and while there may be some images which they don’t mind you including on your blog (with PERMISSION!) because they don’t have a key note to play in one of the main thrusts of their body of work, or because the image isn’t a significant piece of their repertoire, there will definitely be other images which they would not be happy with your using. You need to contact any artist whose work you post on your blog, and quite simply, ask first.

An art image (Even without poem attached!) is a complete and whole work in itself.  Including it in a blog without permission is the same as if someone posted your poem on their blog.   It is not just a small extract or quotation.  It is a whole artistic work.  It would be like publishing a whole book on your blog. Would you do that?  Take a book and post that on your blog, without asking?   That single image, is a work  in its entirety.  Please, think it through.  I regularly check the internet and find time and time again my artwork used without my permission.  And while seeing it credited is some relief, it is still something which I follow up.  And if my artwork is linked with someone else’s creative writing in a way where it quite clearly links up with the poetry/meaning/themes, etc, then I do request that it is removed.  I recently found someone using an image I  had specifically created for Holocaust Memorial Day and which was linked with one of my poems… Indeed the artwork had been created in response to my poem, and is exhibited and shown in many contexts with the poem which is basically the other half of the art work.   You can imagine that I was not happy at all when I found another person was displaying it with their poem.  I was not flattered, impressed, or grateful for the illegal use of my work!  The image related to my own writing, and was intended for interpretation influenced by my own poetry alone.

I think the confusion or lack of clarity for some poets is maybe that they think  using an image with their poem is included under “Fair Use” whereas pretty much all artists wouldn’t agree!   I don’t consider a poem either commentary or criticism, and this is what I understand as “fair use”.  I found this which might enlighten a little, which I quote from Stanford University Libraries “What is Fair Use?”.  It’s talking about using written work, but I would like to draw your attention to what I have put in bold!

“Commentary and Criticism

If you are commenting upon or critiquing a copyrighted work — for instance, writing a book review — fair use principles allow you to reproduce some of the work to achieve your purposes. Some examples of commentary and criticism include:

  • quoting a few lines from a Bob Dylan song in a music review
  • summarizing and quoting from a medical article on prostate cancer in a news report
  • copying a few paragraphs from a news article for use by a teacher or student in a lesson, or
  • copying a portion of a Sports Illustrated magazine article for use in a related court case.

The underlying rationale of this rule is that the public reaps benefits from your review, which is enhanced by including some of the copyrighted material. Additional examples of commentary or criticism are provided in the examples of fair use cases.

– See more at: http://fairuse.stanford.edu/overview/fair-use/what-is-fair-use/#sthash.VSp004Hw.dpuf

I hope you can see where I am going with this.  None of the above says include the WHOLE work.  When I use an artist’s work on my blog I always ask permission, because I don’t see the artwork as a quotation.  I ask even when I am writing commentary on it because of this.  It is normally straightforward to find and contact the artist, and only a few times have I tried and been unable to.  Also, there are many sources of imagery which are copyright free, for various reasons, or which you are allowed to use for the purposes of commentary.

And the other side of the coin…Artists using poetry

The following is quoted from:  http://www.cmsimpact.org/fair-use/best-practices/code-best-practices-fair-use-poetry#four  (this was something which was compiled by several writers/poets getting together and working out what they felt was good practice)

“FOUR: Criticism, comment, illustration
Poetic quotations are frequently employed by writers and artists in other disciplines. Perhaps the most non-controversial example is that in which a scholar, critic, or reviewer quotes from a poem in order to make a point about the poet in question or about his or her work. Because poetry arises out of and speaks to the particular circumstances (social, cultural, economic) of its writing, members of the poetry community were also united in their opinion that scholars and creators in other fields should be entitled to use apt selections of poetry for purposes other than criticism. Thus, they were supportive of quotation both for textual “illustration” and in the practice of visual artists who take inspiration from poetic works.

PRINCIPLE: Under fair use, a critic discussing a published poem or body of poetry may quote freely as justified by the critical purpose; likewise, a commentator may quote to exemplify or illuminate a cultural/historical phenomenon, and a visual artist may incorporate relevant quotations into his or her work.

LIMITATIONS: This principle does not apply to reproductions in textbooks and anthologies where quotations appear without an independent critical apparatus.Quoted passages should be reproduced as accurately as possible to reflect, and not so minimally or selectively as to mislead about, creative choices embedded in the poem.Critics, commentators, and artists should provide conventional attribution for their chosen quotations.They should also have an articulable rationale for the relevance of their chosen quotations to their own work. Likewise, the extent of quotation should be appropriate to the purpose of the use.Uses that are solely “decorative” or “entertaining” should be avoided. Permissible quotations used for exemplary purposes generally should be briefer than those used for critical purposes. Visual artists generally should not incorporate entire poems in a merely decorative fashion without the copyright holder’s permission.”

“Visual artists generally should not incorporate entire poems in a merely decorative fashion without the copyright holder’s permission.” struck me for the obvious reason which I mentioned before about an art image being an entire work in itself.

There are several other interesting points, and it certainly helps to be able to look at things from both directions.  As a poet and visual artist, I can appreciate both perspectives.   “The Code of Best Practices in Fair Use for Poetry” from which the above is quoted from is an excellent read and very helpful in considering the matter, I would recommend a reading of the whole code.  It helps poets understand when they and others have the right to excerpt, quote and use copyrighted material in poetry and it was created by poets discussing and considering the matter.

Hopefully my writing here will also give an visual artist’s perspective for consideration.  Remember, though the wonders of the internet are great for gaining inspiration, an artist’s image is their property, and you do need to ask! Many artist’s make some (or even a significant amount) of their income through selling digital images, licensing them, or selling prints of them.  We can do all kinds of things to make the unauthorized usage of them difficult and inconvenient, and many artists, like myself, are members of copyright societies  who assist us in ensuring that we are paid appropriately for the use of our work.  But if you are a blogger who likes using images then it is wisest of all to make sure you ask first, and don’t just assume that if you credit the artist you don’t need to ask.  Think, whole artwork = whole poem, or whole artwork = whole book, and then you might recognise that the author would expect to be asked!  It is your responsibility to ensure you don’t break the law.

If I find someone has included my artwork without authorisation on a blog, I ask them to remove it.  I have given permission to people when they are actually commenting on and responding to the image, as I count that as critical review/commentary,  (fair use without a doubt) but I still expect to be asked.  I sometimes contact other artists requesting to include images of their work on my blog, and often include the text I am posting with it, or provide a link to it, so they can see what I have written.  As said before, artists like to hear how people respond to their work, and I feel in particular that if it is another artist who wants to comment, respond and reflect, and wants to share their response because it relates to their own interests and artistic development, then this is very desirable. Writing from art critics is particularly interesting, and critical writing in response to particular artworks does need to show the artworks which are being referred to.  What I don’t endorse is other artists using my work as their own, and this has happened, though thankfully only once!

If you want to use an image and don’t have permission, then either ask, and use only with permission,  or provide a link to the original source of the image, but don’t actually post it in your blog.  It is not correct that artists like people to use their images because it helps them with exposure.  Artists who post a lot of images on the internet have plenty of exposure anyway, and don’t need people using their images in order to gain more.   What they need more is a respect and appreciation of the value of their work, and for their work to be treated with the value it deserves.  They also like, and need,  if possible to gain some financial rewards for their hard work, as we all do, and this comes through the licensing of their work.   It is also important to bear in mind that on occasions artists might choose to produce limited editions, or sell the copyright of a work,  and they need to know where their work has been used and how it has been used.   This means knowing when it has been posted and effectively published  by other people on the internet. If you put something on the net, you are publishing it.  You might not be making lots of money from selling prints of it, but it has still been published by you.  Published artwork is normally paid for, unless the artists has specified that they are happy to waive a fee.  I think a lot of web users just don’t realise that it is illegal or even bad manners to take images they find on the net and use them, and if  asked to take them down, they will quickly do that without any problems at all.

Well, that was thorough!


Anagrams Kingston Art 2016 Exhibition

Yes, well this is now upon us!   Here is a list of the participating artists!  It’s a super exhibition!  Free entry!  Don’t miss it!

Participating artists in Anagrams Exhibition 2016

Chris Birch
Lucy Birkbeck
Ruth Blackford
Lizzie Brewer
Adriana Brinsmead-Stockman
Caroline Calascione
Sarah E Choi
Leo Duff
Annamarie Dzendrowskyj
Martina van de Gey
Liz Harrington
Ewa Hawrylowicz
Martin Kerrison
Jenny Meehan
Loraine Monk
Ewa Morawski
Peg Morris
Paul Mowatt
Judith North
Laurence Ogden
Rachel Pearcey
Kate Proudman
Marianne Romeo
Paul Smith
Lindsay Terhorst North
Sue Tritton Brown

The Anagrams Exhibition can be seen at Kingston Museum from the end of April 2016.  Details here:

29 APRIL – 2 JULY 2016
Wheatfield Way, KT1 2PS, Kingston upon Thames
Phone: 020 8547 5006
Tuesday, Friday & Saturday 10am – 5pm
Thursday 10am – 7pm
Admission free

They have used, with my permission,  a section of one of my paintings (unerring want of running water 2)  in the publicity.  Sadly the contrast between the red around the title and the green/brown leanings of the painting has confused the printer and made the printed version of the poster far greener and browner in the depiction of the painting than is the case with the original…

anagrams kingston art 2016 exhibition kingston museum jenny meehan unerring want of running water image used on poster

anagrams kingston art 2016 exhibition kingston museum jenny meehan unerring want of running water image used on poster


However, of course, I am pleased that it has been used.

I much prefer it with the blue, however, as shown here:



Anagrams Art at Kingston Museum


More info from Kingston Online:

29th April to 2nd July 2016

Opening on Friday 29 April at Kingston Museum, Anagrams is an exhibition which showcases the winning entries to a competition where artists from Kingston upon Thames’ local artists’ groups, ASC Kingston (Artists Studio Company Kingston), Hawks Road, Fusion Art and KAOS (Kingston Artists Open Studios), have entered new work under the theme Anagrams.

This is an exhibition of transformational art, where the art work and the artist’s explanations of how they have approached the theme give the viewer a fascinating insight into each artist’s way of seeing and working. Many different techniques are showcased from painting, drawing and photography to mosaic, installation and much more.

Two prizes, the Judge’s Choice and the Public Choice, will be awarded to the artwork which gains the most votes in respective category.

“I am intrigued to see the works that have been submitted and the ways in which each artist has chosen to respond to the theme of “Anagrams” in order to convey their intentions to the viewer. Given Kingston’s rich artistic heritage, I am hoping there will be some great surprises in store from local artists”.

David Falkner, Director Stanley Picker Gallery & Dorich House Museum, Kingston University
Organised in conjunction with artist’s group KAOS. Last day is Saturday 2 July.


Chessington/Hook Surrey Images of the White Hart Pub

Well, locals here in Chessington will remember this building.  It’s now been replaced by Firs Court which provides residential support for 23 adults with learning disabilities. Firs Court is purpose built and provides state of the art homes for adults with learning disabilities.  I watched the demolition of the White Hart with interest, and with my camera in hand.  I have to say that I don’t mind the absence of drunk people staggering off home past our house, broken bottles, sick, and even someone walking over the top of the car one night! It was a super building though, and sad to see it knocked down.

Here are some of the images I took.  I manipulated these a lot as I was playing around, not all have been meddled with so much!

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon

white hart pub chessington surrey photo jenny meehan copyright DACS jamartlondon


If you like photography, I have many other images here: http://www.photographyblog.com/gallery/showgallery.php?ppuser=5491&username=jena

I intended to do some painting based on these images somehow, but never quite got round to it.  I have often used a demolished or falling down house as an image of the mind, after having a clear dream (a visionary one!) of my own mind falling down/crumbling,  due to insufficient foundations and weak structures in need of support.  It was this dream which was one of the things which made me realise I needed to seek psychological help in the form of psychotherapy…There was nothing I could do myself to look at those foundations as the task was simple too big for me to do alone.   Having a clear dream was helpful in accepting the reality of damage which was done in childhood and the formative years of my life.

Therapy isn’t for everyone, this is true, but for me it has been a life saver! I continue with it in the present time. It’s a good investment of time, for anyone wanting to live from the inside, outwards.   For an artist, psychotherapy is particularly valuable, in my opinion.   There needs to be a great deal of insight and awareness, exploration, and mind stretching!

Here are some other images which use the image of a house/dwelling.  They spatter my artwork over the years!

Painting experiment with acrylic,pigments,textures - Jenny Meehan

“Arise, Sleeper, Wake/Sack Of A Great House” Jenny Meehan 2010

This one is probably as close to the dream as I could get… in colours at least.  It has some kind of coffin opening.   I had also in mind the wonderful painting by Turner, which has made a great impression on me..

interior of a great house, the drawing room east cowes castle by turnerweb

interior of a great house, the drawing room east cowes castle by turner

The emotion in this painting always touches a chord with me. Such desolation, and yet, the light.  How fortunate I am to be able to see it in person, on my visits to Tate Britain!   Can you see the white figure in the doorway to the left?  That sunk in.  When painting “The Comforter/St Julian that figure reappeared, this time as black on white, but I am quite sure it is the same.  The same in which the sense of a soul maybe?  In my painting, it was the self, the lost self, in what it meant to me.   Is it possible to loose ones’ soul?  Maybe not, but it is possible to feel that it is lost.  Forsaken.

figure in comforter painting by jenny meehan influenced by turner interior at petworth

figure in comforter painting by jenny meehan


And the Comforter/St Julian painting…

Acrylic, various fillers, acrylic mediums and pigments, and glass beads , sacred art painting religious, spiritual visionary painting, christ centred poetic visual art, The Comforter/St Julian - Jenny Meehan

The Comforter/St Julian – Jenny Meehan
Acrylic, various fillers, acrylic mediums and pigments, and glass beads


I know my little figures are vague, and barely marks; I love the tension and the possibility that they are just marks, but could be figures.  I noticed another in a recent painting “View”..  It is the black mark under the blue mark in the top right, as you view it.  Unfortunately it doesn’t stand out in this image nearly as much as when seen in the flesh, the reason being that there is quite a pearlescent area beneath the blue, that doesn’t show up in this image at all. But when the light bounces off it, it brings you straight to this point of the painting, and this adds to the impression of there being a figure in silhouette.

british collectable abstract paintings view painting by jenny meehan copyright DACS

british collectable abstract paintings view painting by jenny meehan copyright DACS


I’ve meandered away from houses, in taking attention to these figures.  Back to houses…

scraper charcoal drawing from imagination jenny meehan DACS copyrighted

scraper charcoal drawing from imagination jenny meehan DACS copyrighted

There’s a house in the air in this image!

Abstract Acrylic Painting/Markmaking with Colour. Instinctive intuitive process led painting, psychotherapy and art,psychotherapy and painting, British Contemporary female artist painter Jenny Meehan

deluge painting jenny meehan copyright DACS all rights reserved


In the bottom left, as you view it,  a broken shelter emerged in this painting, well, this is how I perceived the form when I was painting it, and what it meant to me.

A later work… with shelter/house…

franciscan office quote, canticles, church of england canticle, Through your gentleness we find comfort in fear by Jenny Meehan

Through your gentleness we find comfort in fear by Jenny Meehan

There’s two in this one, one brighter with water spilling out of it, and one which is darker and floating off the corner of the painting to the top right, as you view it.

There’s more in the archives, but this does for now!

Other people, looking at my paintings, will not see what I see.  But it is the emotion and sensation which are most important.  Painting is to be felt.



Paul Nash

Oh, I do like his paintings and I keep coming back to them again and again.

See “Landscape at Iden” 1929 Paul Nash, (Tate)


I like paintings I can see for myself, “in the flesh” as I like to put it, and this one can easily be seen at Tate Britain, which is handy for me.  The display caption, quoted from the Tate website:

Display caption

This mysterious picture shows the view from Nash’s studio in Sussex. The dramatic perspective and strange juxtaposition of rustic objects creates a sense of the uncanny. It has been read as a statement of mourning. While the young fruit trees may suggest the defencelessness of youth, the altar-like pile of logs may be a symbol of fallen humanity; the fallen tree as a symbol for the dead was common in the art and literature of the war, not least in Nash’s own paintings.For many, an idea of the timeless and enduring English landscape seemed to displace the violent destruction of the war.
July 2007

And a quote below from; ” Paul Nash Landscape and the Life of Objects”  ( chapter 4 New Vision) by Andrew Causey

“In the course of 1929 Nash’s technique changed
from the relatively loose paint application of February,
in which brush marks betray the presence of the hand
and make the picture seem personal, to the drier
and more formalised facture of Month of March and
Landscape at Iden, which, despite the intimate meanings
they had for Nash, also convey a feeling of being
outside time. In Landscape at Iden this is related to
Nash’s new interest in perspective. Denis Cosgrove has
argued that ‘an important effect of linear perspective
is to arrest the flow of history at a specific moment,
freezing that moment as a universal reality’, adding,
‘Perspective, in structuring and directing universal reality
at a single spectator, acknowledges only one, external
subject for the object it represents … In an important
… sense the spectator owns the view because all of its

components are structured and directed towards his

eyes only.’19 Cosgrove’s sense of the twin properties
of perspective, on the one hand, as an arrest of time
and the creation of a universal reality out of a single
moment and, on the other hand, by its nature conveying
the ownership of a single individual, because what is
seen is the product one pair of eyes, is informative for
Nash in Landscape at Iden. The work is personal to
him – his garden view, his feeling for trees, his memories
of war – while at the same time the formality of its
paint surface and the absence of brush marks suggest,
to the contrary, the sense that this is an emblematic
painting, where the artist is tacking on to the idea that
it is a highly personal painting the notion that it is an
impersonal one also.
Nash’s switch to a technique which seems
impersonal because there is no flexibility in the brush
marks to leave evidence of the artist’s hand, or give
the sense that decision-making continues as the work
progresses, suggests that he had two ambitions. He
wanted to put himself outside the painting, to give it an
objectivity and timelessness, a memorialising character
that establishes it as a thing in itself detached from
the artist, while at the same time actually creating in
Landscape at Iden a painting in which a great weight of
personal emotion, unexpressed since the war, is opened
up. If Landscape at Iden is in any sense a war memorial,
it is plainly an unconventional one. War memorials
normally communicate directly with the public, while
Nash was no longer working, as he had been at the
time of The Menin Road (1918–19, plate 29), for a
broad audience. He was speaking an elite language.”




Something I am reading and thinking about..




Gosh,  that is a substantial contribution for May….

Accumulation of lots of time in front of a screen.

I need to go and touch a leaf, a stone, and the surface of a painting!


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. 

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.
Any persons discovered to be reproducing, copying or using images by Jenny Meehan without prior consent, authorisation or permission will be put on notice that Jenny Meehan is the copyright owner and asked to immediately cease and desist the infringing activity. If a satisfactory response and / or compliance is not forthcoming promptly, the matter will be pursued. For clarification of the laws of copyright, please contact the Design and Artists Copyright Society (DACS). http://www.dacs.org.uk

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. There is a contact form on my website www.jamartlondon.com

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!)

Fifty Names for Jesus

May 30, 2015

As always, skim down and stop when your interest is caught!  Too lengthy for a “blog”  this is rather more a journal, and I post once a month only, so end up squishing too much together!  If you are wanting just a quick look over some images, it’s easy to scroll down.  The wonders of mobile phones!

I have sown various seeds in the garden, and the snails are eating the little shoots as they shoot!

But I like snails…

I don’t like slug pellets and I don’t use them.

Hopefully something will survive!


Well, it’s not quite the sunflower stage of the year, but oh how generous is the bloom and how strong the stalk of the sunflower, and how it lifts my spirit to even think of a sunflower. I love the motif of a sunflower, and use it in a lot of my painting and drawing.

Here are some of my sunflower explorations:


sunflower digital image by jenny meehan jamartlondon  colourful flowerhead

sunflower digital image by jenny meehan jamartlondon colourful flowerhead



sunflower digital image by jenny meehan jamartlondon  colourful flowerhead yellow  art to license uk

sunflower digital image by jenny meehan jamartlondon colourful flowerhead


art to license uk sunflower digital image by jenny meehan jamartlondon  colourful flowerhead

sunflower digital image by jenny meehan jamartlondon colourful flowerhead



The Sunflower image below is one I have used for several experiments, including using the sunflower for a surface pattern design.  Nothing very clever, but sometimes the simple things can be most effective, and it is rather exciting to see more of something that you like splattered all over an item of some kind!  I love creating patterns with various adaptations of my paintings and photographs.  There’s something very satisfying about bringing a strong pattern into play…While my painting with it’s rich colours and textures, the interplay between the two, and the subtle nuances of light and surface, which take me into the realm of the unknown and the unpredictable, there is something very reassuring to be found in a repetitive pattern! It’s a completely different experience, but very enjoyable.  I am hoping that in time, more of my art work will be licensed, because I like to see it used.


sunflower digital image by jenny meehan jamartlondon  colourful flowerhead

sunflower digital image by jenny meehan jamartlondon colourful flowerhead



I have posted some products with this “Sunflower” Design on Redbubble, here is one, so take a peek:


Looking at this page, I think if you go to the portfolio link, you will then arrive at my main Jenny Meehan Redbubble Page and if you click on the Sunflower image you will see all the other products which can be purchased via Redbubble with this Sunflower design on them!


The sunflower as a symbol has often been used to represent the unwavering faith that guides a soul to higher spiritual attainment, though what the sunflower symbolises is different depending on which culture you are looking at.  However, I rather like the faith version!  Sunflowers have been in existence since ancient times .A carbon dating was done to some clay found in  North America, which seemed to have some kind of seeds in it, and the dating showed both that the seeds were sunflower seeds, and also that they dated back to a period of time approximately  3,000 years ago.

The shape of the sunflower—the large disk in the centre and the ray-like petals emanating from it—resembles the sun. The florets in the centre of the sunflower,  that later become seeds, are arranged in a complex pattern of left and right spirals and are placed according to the Fibonocci mathematical formula.  The resulting pattern is not only beautiful, but it is practical too, being the most compact way that the florets can be fitted. It is just one of the many marvellous details in nature that point to the goodness and wisdom of God.  Though you cannot see the seed pattern in this design, I hope that the bright, fresh, boldness of the design will strike you with its flash of uncompromising yellow.

The  flowering time for sunflowers is from around May to October,  so some of them do flower much earlier than I have in my mind…They always make me think of the late Summer.  Another name for sunflower is Helianthus, and in the Greek, the meaning of “helios” is sun and “anthos” means flower.  The way that the Sunflower faces the direction of the sun is something that a lot of flowers do, but I guess because it is rather a big flower, we notice this fact about it more vividly.

I have a drawing here, which I have called “Sunflower and Rose Bowl”

sunflower and rose bowl drawing jenny meehan graphite on cartridge paper

sunflower and rose bowl drawing jenny meehan


This drawing was one of the results of a spontaneous quick drawing session.  I armed myself with a large pile of paper and drew quickly and without any preconceived ideas about subject matter.  I was interested to see what would come from my subconscious.  What did come were several landscapes, loose and flowing, which I will share another time.  But “Sunflower and Rose Bowl” was the one which interested me most.   There are rays of light indicated as coming from the left of the drawing.  The Sunflower springs up from a distant point far below and it’s centre echoes some random, rather creative,  patterns at the top right of the drawing.  Below the Sunflower is a bowl which contains just one empty and thin stalk, and that alone.  To my thinking the drawing shows a contrast between life, and the life force, like powerful light pushing upwards and radiating outwards, and, in contrast, the grid like pattern of the wires on the restrictive rose bowl, holding that one thin and flowerless stalk,which  though more dimensional, is more static and less promising.  I wondered at one point if the sunflower was foolishly looking at the rose bowl and wishing to be contained, but finding itself too big and not in fitting with the rose bowl.  Why is it looking there?  Is the ordered pattern of the grid an alternative to the free flowing patterns within its own seed head? Is there a wish for order, in the chaos of creativity?  Possible.  Certainly, there is a need for containment, for my self, which I do feel quite acutely at times.  So it could be the wishful thinking of a sun loving flower!

 Nice Quote from William Blake, which is rather relating to the Sunflower and Rose Bowl

“Shall painting be confined to the sordid drudgery of facsimile representations of merely mortal and perishing substances and not be, as poetry and music are, elevated to its own proper sphere of invention and visionary conception? No, it shall not be so! Painting, as well as poetry and music, exists and exults in immortal thoughts.” William Blake

Yes, indeed, and yet, as high as it goes, like the Sunflower, still looking down to the sordid drudgery!  (I personally feel that in the routine and everyday, much rooting and grounding takes place, needful for even the most aspiring Sunflowers!)


Fifty Names for Jesus

This is based on an exercise that my spiritual guide on a recent (February 2015)  retreat gave me.   It comes under the heading of “A Thousand Names for God”, but that is rather a lot.  So, bearing in mind “Fifty Shades of Grey”…But, I hasten to add, having nothing to do with it!, here is my “Fifty Names for Jesus”  (there ended up more than fifty in the end)

Passion flower,
Silver Snail Trail,
Sunlight Falling, Moonlight rising,
Sound of footsteps…Coming…

Breeze of moving.

Wonder in a child’s eyes,
rustle of leaves and falling snow.
Smile of God,
Laughter of God,
Tears of God,
Sorrow of God.

Stray Note.

Sound in Silence, Silence in Sound.

Generous hearted.

Concerned one,
Compassionate one,
Flamboyant one,
Sense of humour one,
Contented one.
Holy One, Holy Two, Holy Three…

Further than far, nearer than near.

Companion Jesus,
Leader Jesus,
Surgeon Jesus.
Maybe, mother Jesus.  Maybe mother Jesus?
Therapist Jesus
Teacher Jesus,
Dancer Jesus.  Leaper, Prancer Jesus!
Pigeon Jesus and Rock Dove Jesus…(Because the same, but not in name)

Moon and Sun Jesus,

Ultimate Christmas Jumper Jesus,
Healing Jesus,
Kind Jesus.

Perceptive Jesus,
Searching Jesus,
Knowing Jesus,
Discerning Jesus.

Suffering Jesus
Bright Star Jesus.
Ultimate Vision Glasses Jesus.
Tender Jesus, Loving Jesus
Listener Jesus.
Listen Jesus.

Listen, Jesus.


It was very enjoyable to do this!



The Studio Tent

Jenny Meehan's Studio Tent for Painting

Jenny Meehan’s Studio Tent for Painting

Oh, it’s just great to have the Studio Tent!  The image up here is a bit out of date…It’s in action now, and I use it just for painting in acrylics, and drinking tea and praying in!  The sound of the birds is lovely, and the flapping sides of the tent as the wind blows is pretty relaxing too.  It’s great to have all the acrylics, pigments, glass beads and fillers, inks, and all the rest all together under one roof, even if it is a tarpaulin roof!  Though not a mobile studio, as Emily Carr’s “Elephant” caravan was, I know I am going to get some interesting painting done within it’s confines!  I will post a more up to date image soon.  One side of it has become a palette of sorts. Well, not for mixing, but just some examples of the contents of some of the containers, so jolly useful to have up there on the wall.

The kitchen/studio is better for oil painting because I cannot store all my paints in one place as I have too many, so I will keep the kitchen table for painting oils I think.  Flitting back to Emily Carr, what a wonderful exhibition at the Dulwich Picture Gallery that was earlier on this year, and what an interesting lady! I found this:

She experienced everything with uncommon intensity, a factor which fuelled her frenzied periods of enormous output, yet contributed to her self-doubt which led to a lengthy and marked slowdown–some would call it a regenerative hiatus–in her painting. Nevertheless, she pulled herself up out of depression, came to ignore public disregard, surrounded herself with pets, sang hymns to her half-finished paintings out in the forest, and, at fifty-seven, won her way to her most productive and original period of painting, producing the works for which she is most known. And always, always, she was seeking.

Carr looked for answers to questions of life, soul and God from many sources–the Bible, despite her early intolerance of scripture readings being forced upon her in a pious household; the essays of Ralph Waldo Emerson, particularly striving to emulate his thoughts in “Self Reliance;” the poetry of Walt Whitman in Leaves of Grass, which encouraged her to see a universal God in all life; works of Theosophy and Buddhism, as introduced to her by the painter Lawren Harris of the Group of Seven, though she ultimately rejected them as too abstract in not incorporating God and Christ; Science and Health with Key to the Scriptures, the textbook of Christian Science, by Mary Baker Eddy; and the teachings of Raja Singh. All of these sources, together with what she observed from Native cultures, combined to help her define her own personal spiritual foundation which served as the basis for her mature work, and as the source of her strength.”

I THINK this quote is the writing of Susan Vreeland, but I am not quite sure, as it appears on the net on several blogs, but I am doing my best here to credit it.   Here is the site link: http://www.svreeland.com/  and see here:  http://www.svreeland.com/real-ec.html  This is just a small snippet of some very interesting reading, and it is well worth a look at the rest of what Susan Vreeland has written about Emily Carr.

I am rather encouraged that it was at fifty-seven Emily Carr experienced her most productive and original period of painting!  I have time!!!  And, yes, we must always be seeking.. Seeing and seeking!   I do think that to have a personal spiritual foundation IS indeed very helpful, and certainly a source of strength.  Many creative s and artists find this, and benefit from the continual refreshment and focus that a spiritual direction offers them. Well, one thing is for sure, all the encouragement you can get is needed in order to carry on.


Advance Notice:

This year you can meet me and some of my fellow artists from Kingston Artists’ Open Studios… Studio KAOS 2, at 14, Liverpool Road, Kingston Upon Thames Surrey KT2 7SZ on the following weekends: Saturday 6th and Sunday 7th June and Saturday 13th and Sunday 14th June from 11am until 5pm. This is within walking distance of Kingston Town Centre, and also near Richmond Park. Come along! If you have time, follow the whole Kingston Artists’ Open Studios trail.

Kingston Artists’ Open Studios is a voluntary group of artists, and there are many studios open in and around Kingston Upon Thames… A whole trail! The Open Studios event is part of the bigger Surrey Artists Open Studios network event.

I cannot decide what to bring along to this.  I was going to bring some drawings, but I think I might just stick with some paintings and some prints.  I haven’t done the Surrey Artists’ Open Studios before, so I am looking forward to taking part.  You need to join Surrey Artists Open Studios first, and then pay more to take part in the event itself, so I certainly hope I do sell some things in order to recoup the costs!  I will probably bring along just acrylic paintings, as my oil painting style is quite different to the work I produce when using acrylics and it will all be placed pretty close together.  And some digital prints.  Take a look at my website for a taster:


Silence in the City 

Here is some information from the Silence in the City website:

About Silence in the City
This series of talks on silent prayer and the Christian contemplative life has been running since 2007 in London’s Westminster Cathedral Hall. We invite a range of speakers, each of whom is committed to the contemplative life; each meeting includes one or more talks, and at least one period devoted to silent prayer.

The speakers are invited to concentrate on the value of silence and the possibilities of silent prayer, but they are also encouraged to discuss any or all of the other monastic values of solitude, simplicity and contemplative service. The series is ecumenical in nature; we may in due course include representatives of other faiths.

Silence in the City is organised by lay members of the World Community for Christian Meditation and Contemplative Outreach. Our inspiration is the practice of silent prayer itself, and while we hope that this series of talks will continue, its real success will be measured by individuals’ discovery of a method of silent prayer that is right for them.

See the website here: http://www.silenceinthecity.org.uk/index.html

I’m looking forward to two forthcoming events:

Wednesday, 17 June 2015 (10a.m.- 4 p.m.)

James Finley PhD: Transforming Trauma: Exploring the Healing Power of Spirituality (A one day healing retreat)

A one day retreat devoted to exploring the healing power of spirituality. The day’s reflections will focus on seven traumas or wounds to which we are all subject as human beings and then go to explore methods of meditation and other steps we can take to help ourselves and others heal from each of these seven wounds. The emphasis will be on the lifelong process of learning to be a healing presence in the midst of the world. Time will be given for brief periods of silent group meditation and discussion of the themes presented. Those in ministry, in the healing professions, trauma survivors and all who are interested in exploring healing power of spirituality in their own life and in today’s world will benefit from this day of prayerful reflection.

The Seven Steps of Spiritual Healing Explored in the Retreat Are:

Be grounded in your experience of who you are as a human being in relationship with others. Take responsibility for the healing that needs to occur there.
Have faith in the subtle flashes of spiritual awakening that occur each day. Trust these moments reveal that although you are ego, you are not just ego. You are a spiritual being created in the image and likeness of God who is spirit.
Realize that the root of suffering is estrangement from spiritual experience. The root of happiness is spiritual experience.
Follow the mystics on the path of prayer and meditation that heals the root of suffering in its origin.
Follow the path of the saints in compassionate love that heals the suffering that has found its way into our minds and hearts (facing and working through bodily and psychological suffering in a spiritually grounded way).
Learn to live in the axial moment that transcends suffering in the midst of suffering, that transcends death in the midst of death.
Devote yourself in prayer, meditation and compassionate love to the lifelong process of learning to be a healing presence in the midst of the world. Be resolved to continue living in this way until the last traces of suffering dissolve in love and only love is left.
Venue: Westminster Cathedral Hall, Ambrosden Avenue, London SW1P 0QJ.

Refreshments provided. Suggested donation £20.

Text from the Silence in the City website.

And also, I will be attending:

Wednesday 1 July 2015 (10a.m.-4 p.m.)

Rev Dr Cynthia Bourgeault: Harnessing the Power of Love – Unveiling the New Breed of Trinity (one day seminar)

Venue: Westminster Cathedral Hall, Ambrosden Avenue, London SW1P 0QJ.

Refreshments provided. Suggested donation £20.

Rethinkyourmind 2015

It was lovely last year to have “Well Spring” chosen to be included in the Rethinkyourmind Yellow Book.  Anything positive related to mental health matters a great deal to me.  My mother was seriously mentally ill for the majority of her life, and my sister also.  Though pretty psychologically resilient myself, I do know what it is like to experience  anxiety and depression,  and also what it means to engage in the processes of recovery from  trauma.  It’s hard work; long, often painful, and very challenging.  Without my engagement in psychotherapy, I know that I wouldn’t have  been able to move forward personally myself, at all.  So I am eternally grateful for the place I am in now, and feel passionately that projects like Rethinkyourmind have lasting value and influence, and do make a significant difference to many people.

This year I entered a couple of photographic images in, and was delighted to once more find my art work selected!  The selected photograph was  “I Feel Better When Walking by Trees and Water”  (this also has  it’s previous title which is “High Water Thames”).

Here it is!

jenny meehan copyright DACS all rights reserved highwater, i feel better when walking near trees and water

highwater, i feel better when walking near trees and water


A lot of my artwork has more than one title…It is not a matter of changing the title, I find, but of having further thinking time on the work and realising more about the motivations I had,  in slightly more depth.  Normally I find this happens quite naturally over time.  I have always been quite conscious of the correspondence between the patterns of nerves in the brain and the patterns of branches of trees, and when contemplating the scene before taking the photograph, the reflection of the branches in the water spoke an additional  sense of connection (with the water, the life-source) to me which I liked very much, along with the patterning of the branches.  I have discovered through reading an extract from  “Fractal Brains: Fractal Thoughts by David Pincus Ph.D. lots of fascinating things about fractals!  The brain has a fractal organization, as indeed do many natural systems.  A fractal is a branchlike structure, and when you think about natural structures like trees,  rivers, snow-flakes,  the circulatory system, and such like, an awareness of the beauty of fractal organisation is certainly highlighted.  Interestingly, researchers in psychology have been finding many examples of fractal patterns, for example in visual search and speech patterns. They have even found that interpersonal relationships are organised as fractals and that the self-concept is a fractal, with complexity being associated with health.  I found this all wonderful reading:

“Essentially, fractal systems have many opportunities for growth, change and re-organization. Yet they also are very robust. They maintain their coherence; they hold together well, even under tough circumstances. They are balanced in this respect, between order and chaos. They are simple, yet also very complex. This balance is often referred to as “criticality,” thus the title of the article: “Broadband Criticality.” And the term “self-organized” is often added because systems tend to become fractal on their own, simply by putting a lot of system components together and allowing them to exchange information. Think of a party. All you need to do is come up with enough people at the same place and time and they will start to form complex patterns of connection with one another.

Self-organizing critical systems are also very good at connecting, both internally and also to other surrounding systems. The branches of a tree are connected in a very lovely way. If you shake one branch, you’ll see broad shaking across the tree. Fractal structures hang together nicely. Yet they branches may be trimmed without affecting the overall structure. Indeed, if you trim them far enough out (above the growth bud, “post-traumatic growth” or “whatever doesn’t kill you makes you stronger”) they will often grow even stronger, with more complex connections in the outer branches. Finally, branchlike patterns easily connect to other systems – a literal web of life. A tree with many fractal branches (and also roots) can better connect to the sun (and soil) to gather and exchange life sustaining nutrients.”

This is a quote from Fractal Brains: Fractal Thoughts
Our Brains are fractal, with far reaching branches; Post published by David Pincus Ph.D. on Sep 05, 2009 in The Chaotic Life   https://www.psychologytoday.com/blog/the-chaotic-life/200909/fractal-brains-fractal-thoughts

Oh wow, well, I hope that my “post-traumatic growth” serves me well…according this the above I may grow even stronger, with more complex connections in my outer branches!!!!

This posting is very photography orientated!  I am painting, but it is all behind the scenes for now, and a lot of ground laying activity is going on which I don’t intend to post on the internet for some time!  I am a very prolific artist, and quite frankly I cannot keep up with bringing an account of what I am doing all the time as well as doing it.  At the moment I am doing a lot of organising, taking images of paintings for the archive, tidying up the studio tent, preparing work for this years Surrey Artists’ Open Studios Event, and preparing some more canvases for future paintings.  Also, very importantly, as ever constantly reviewing my photography, painting and drawing to see how it can inform me right now.  This is probably the most important task.  I’ve stopped fretting about representation (finally) and have jumped into the realm of colour, texture and form most fully, without angst.  It seems right to loose myself in these eternal layers of colour and texture if that is the way things are going.  I enjoy the occasional bit of drawing here and there.  It won’t disappear!


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.
Any persons discovered to be reproducing, copying or using images by Jenny Meehan without prior consent, authorisation or permission will be put on notice that Jenny Meehan is the copyright owner and asked to immediately cease and desist the infringing activity. If a satisfactory response and / or compliance is not forthcoming promptly, the matter will be pursued. For clarification of the laws of copyright, please contact the Design and Artists Copyright Society (DACS). http://www.dacs.org.uk

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. There is a contact form on my website www.jamartlondon.com 

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!)

Also, please of course feel free to contact me if you are looking for a particular type of artwork image, as I have a large archive of images myself. I will also be able to let you know the maximum size the digital image is available at. If you then wish to license the artwork image, I then refer you to the Design and Artist Copyright Society to arrange the licensing agreement according to your requirements.

Rich, interesting, lyrical abstraction, full of texture, colour, and variations, emotionally expressive and poetically resonant, my expressive paintings are ideal for book cover design and many other design purposes.  Licenses for digital images suitable for cover-art for books are really easy and quick to organise through DACS.  My artwork is unique and having developed my own direction over the last few years it’s ripe to use. I am relatively prolific, and my main current work centres around painting with a lot of  experimentation with layers of colour and texture, though I have a lot of digital photographic (tending towards pictorialism) imagery too.  


If you need any further clarification, the DACS website is clear and very helpful indeed, and they would be happy to help you.

Design and Artist Copyright Society
33 Old Bethnal Green Road
London E2 6AA
Telephone: +44 (0) 20 7336 8811
Fax: +44 (0) 20 7336 8822
email: info@dacs.org.uk
website: http://www.dacs.org.uk
Offices are open 0930 – 1700 Monday through Friday.

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