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!)

The best thing about long titles for WordPress posts is that when you want to refer back to your content it is easy to find it on the internet, wherever you are.

Firstly, my inspiration of the week.

Wow, I have to share this!  What a find!

As a mother and a fine artist,  I have invested some time into grappling with what is happening at the moment in our society with respect to women, and I sometimes grapple, in thought, with how the powers/systems that be have an impact on  artists, but this lady says it all, in the wonderful article “.Liberating Motherhood and the Need for a Maternal Feminism”  Here are some extracts, but you can read the whole brilliant article here: http://discoversociety.org/2016/03/01/viewpoint-liberating-motherhood-and-the-need-for-a-maternal-feminism/

 Liberating Motherhood and the Need for a Maternal Feminism by Vanessa Olorenshaw

“Motherhood has been a minefield for feminism since the inception of the women’s movement. We have fought for reproductive freedom, we have pushed for economic equality, we have called for universal childcare and we have worked towards greater success in the ‘public sphere’.

However, we remain faced with one problem. There remain a sizeable proportion of mothers who actually want to care for their families. Not all mothers want to be liberated from mothering their children. Those who take time out of the workforce are penalised financially; and those who return to employment against their wishes face strain of a double shift.

We refuse to see that what mothers do in reproducing the human race and caring for vulnerable, dependent children is important and necessary work. Indeed, ‘dependence’ has become a dirty word, rather than acknowledged as an intrinsic part of the human condition (1). Having children is not a lifestyle choice akin to keeping lizards: it is socially imperative to produce and raise the next generation (2).

Women who are mothers are at higher risk of poverty. Mothers who care for their families may not have an income in their name: they remain – as highlighted by the women’s movement – at the financial mercy of a partner and thereby vulnerable. While the answer to this predicament has effectively been ‘get a job’, feminism has failed to answer what we are to do with about mothers if we are to ensure that they do not sacrifice economic autonomy or full citizenship when they care for their children. Childcare and ‘sharenting’ answers the question only for those families for whom that is preferred or suitable.”

Best to read the whole thing,  to understand properly in context, but shining out for me :

“Feminism has moved towards a capitalist equality which has no room for women’s liberation.”

“…feminism and politics has failed mothers who want to care for their children.”

“…. the State penalises care and marginalises carers. As though feminism had never happened.”

“….the necessary work of family remains one of the most neglected areas of feminism and politics.”

“Feminism fears that it would institutionalise or ghettoise women into domesticity; Capitalism refuses to see what women do in the home and in raising families as ‘work’.”

Regarding what happened with Family Allowance/Child Benefit in 2011;  ” It was a feminist failure that the assault on the payment was carried through.”

“feminism has to start to ask itself: are we ever going to find creative ways to protect, support and empower women beyond simply pushing for paid employment?”

“…..mainstream politics and feminism continues to apply the new gender contract: whereas once our place was mandated to be at home, it is now firmly in the workplace. There is no flexibility. No recognition of the diversity in mothers’ wishes, skills, inclinations or needs, or the validity of mothers taking a short or longer period of time out of continuous workplace participation in order to do the important work of care.”

In her book ” Liberating Motherhood – Birthing the Purplestockings Movement”  you can read much more… She writes about this;  “I argue for feminism to mobilise with mothers. When mothering is on our terms, it is a liberating motherhood. Yet, we need to liberate motherhood from patriarchal neoliberal capitalist constraints so that mothers can finally enjoy economic autonomy and self-determination.”


“Vanessa Olorenshaw is a mother of two young children. She is a friend of the organisation Mothers at Home Matter and was a founding member of the Women’s Equality Party UK. She is the author of The Politics of Mothering, a political pamphlet. Her book Liberating Motherhood – Birthing the Purplestockings Movement, will be published later in 2016 by WomancraftPublishing. She tweets on @VOlorenshaw and blogs here.”


Well Spring 2 in progress images

You might remember Well Spring…

And  so good to see it used on the cover of “Recovery Of Hope” !


Here is the Well Spring  painting, (the first one), which I thought would be the only one.   However the image of water spurting upwards from the ground below seems to be a reoccurring one for me!

Well Spring…

jenny meehan well spring rethinkyourmind NHS mental health resource art book selected jenny meehan


And now some extract images from something I am working on…


well spring two in progress jenny meehan jamartlondon, water, spring, spirituality,spiritual life and energy,living waters, water symbolism in art, metaphysical painting, chrisian fine artist jenny meehan,

detail well spring two, random way up

well spring two in progress jenny meehan jamartlondon, water, spring, spirituality,spiritual life and energy,living waters, water symbolism in art, metaphysical painting, chrisian fine artist jenny meehan,

well spring two painting section

well spring two in progress jenny meehan jamartlondon, water, spring, spirituality,spiritual life and energy,living waters, water symbolism in art, metaphysical painting, chrisian fine artist jenny meehan,

bit of textured wall paper here


Well Spring Two has a light, flying kind of feeling going on, rather than a resounding warm light, but I quite like it.  I have applied several materials to it, as you can see.  It’s not finished yet… I have put it to rest for a while, as it needed some space.  And so did I!

As usual, I have a lot of paintings in progress, and have put them to rest for the next few weeks, avoiding the temptation to start working away at them.   I have far too much sorting out of stuff, household tasks, and organisational things to be doing at the moment.  I used to see this as a curse sometimes, but I am learning it can be a blessing.  Forced separation from your work when you are an artist can give you much needed perspective.  The idea that one should be working away with the same intensity all of the time is very unnatural and probably not a very healthy thing to do.  I always find that plenty of other things, often creative, fall into place and come into being when I stop working (at least in theory!) So, even when taking a conscious break in a series of paintings, it never turns out to be a break, or in any way a ceasing of creative activity!

Thinking on family responsibilities and roles, this looks very good:


Text from Boyle Family website (according to artquest, though I am not sure all of it is???)

“In searching for an image to illustrate this talk on artists and families – children, or other dependants – two problems seemed to crop up. There are very few artists known particularly for a commitment to family, few who foreground these responsibilities in their career; it can be very challenging for artists with families to continue to make art.

This talk considers families as a problem for the art world, not as a problem for artists. On a local, mundane level, the art world at best ignores and at worst actively discourages family life. The predominant social and professional network of the art world – the evening gallery opening – occurs at the time when young children are being put to bed, effectively barring artist-parents. If the first three years after graduation are vital when chasing an artists career, the first few years after the birth of a child are just as, if not more, difficult.

How much of this is a general issue in society and culture? With developments in paternal leave being rolled back under the current government (and anyway only open to employees, not the freelance workers who make up the majority of ‘new’ jobs in the creative industries), cuts to tax credits, rising in-work poverty, stagnating freelance incomes and a housing market that leaves behind a majority of citizens, what makes artists a special case in this? And how can we help change the art world to combat this inequality?

Many other artist opportunities – residencies, exhibitions and publications – require long periods either of physical absence from home or intense working periods, requiring a flexibility that can be hard to combine with the regular timetable and commitment that younger children need. Recent interviews with artists by Artquest have anecdotally found that some artists consider parenthood as incompatible with an artistic career – leaving a choice to either maintain a career or raise a family.

Other artists embrace family life as not only compatible with, but a celebrated part of, their practice. The Institute for the Art and Practice of Dissent at Home, begun in 2008 and speakers at our For the Love if It conference in 2013, is a family of activists who, ‘as a family, have decided to be naughty.’ Part of their monthly budget is given over to artist sleepover-residencies, with the whole family being involved in this artistic practice. Work and art become a way to live, and a way to rear children, rather than an add-on to be combatted or forced to work.

There are wider societal myths of what an artist is that need to be challenged as well. Typically considered to be male, single and white, representation and equality within the arts continues to be weak despite multiple high-profile publicly funded projects. We, as a society, seem to want our artists to still be a little mad and bad, uncomplicated and entertaining, in lieu of their work being of greater interest.

What policies and practices – formal and informal – can be put in place or become more normal to ensure wider representation of our whole society in the art world? Mary Cassatt (the artist responsible for the painting illustrating this talk) decided early on that being married, and the children and responsibilities this would bring, would be incompatible in the mid-nineteenth to the early-twentieth centuries for a woman artist. If she were still alive today, what differences would be see in how our society treats artist-parents – and what would be depressingly familiar?”


You can listen to it if you follow the link!


The Studio Tent

Well, it’s still standing!

I am worried about my acrylic paint freezing in the Studio Tent, and have been out to put more insulation over them.  The whole process of putting the paints away at the end of last year has been helpful to me.  What was not so helpful, towards the end of last year,  was to find that the wind had dismantled the extension to the tent which I put up in the Summer.  It had crept underneath the tarpaulin and LIFTED OFF the two horizontal bars.. I am so surprised.. they were jammed in!   I was relieved to find that the framework was not damaged….When I went out and found the tent lopsided, my heart missed a beat for a moment.   The wind is so strong!  My husband was away, but fortunately I am quite strong and managed to re assemble it with a bit of effort.   I have now tied down the horizontals, all of them, on both the original and extension tent, with thick nylon tights.  Thick nylon tights are rather good for tying things.  Unwanted items from a teenage daughter do come in handy.  I kept them by feeling sure they would be put to good use, as I don’t like to waste things.  Thankfully they were!  And then we had Storm Imogen didn’t we, which  brought some very strong winds across southern parts as it moved eastwards over the UK on Monday 8 February.  I was ready for her!

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

This earlier painting of mine, Deluge, pretty much sums the experience up!   It was raining and windy, when the Studio Tent dismantled itself, with the help of the wind!!!   I still have “Deluge” and it’s still available to buy.  I feel my paintings are like children who need to leave home.  They are welcome to stay but there comes a point when I would like them to find themselves an owner who can give them an adult life, away from the womb of the artist who created them.  It’s nice to look back at this painting and still think, wow, yes, I got that, and it still looks living and alive, it’s still got it’s punch and it was successful.  There is nothing like the test of time.  I sell my paintings for around £250 – £400 each.  It varies according to size.  I only sell about two a year. It keeps me in art materials! Sometimes it helps pay for further training.  The paintings normally hang around for a while and then their owner finds them, and hopefully decides to buy them.  I’m not interested in generating business or profit.  I simply need to continue my work, and in order to do this I need to sell them from time to time.   Sometimes people are surprised at the price of a painting (either more or less than they expect!) but it’s a great investment of time and effort and skill for me, and also, (I think) a great investment for the person who ends up with one of my paintings. If you love something and it stays with you, it will refresh and inspire you day in and day out.  I hope that is why collectors buy my work.  This seems to be the case at the moment. I have a few collectors, and I have always been deeply encouraged by their response to my work.


Drawn Together

“Drawn Together”  by Jenny Meehan at Southwark Arts Forum & Tower Bridge “Art at the Bridge” #7  “Building Bridges, the Female Perspective” Art Exhibition

Southwark Arts Forum & Tower Bridge “Art at the Bridge” #7
“Building Bridges, the Female Perspective”
in celebration of International Womens’s Day

Very pleased that my work has been selected for this exhibition which starts on the 8th March 2016 and runs for five months!

“Building Bridges, the Female Perspective” 8th March – Aug 2016 organised by Southwark Arts Forum & Tower Bridge Art at the Bridge #7. Tower Bridge Victorian Engine Rooms, Tower Bridge Road London SE1 2UP.

For information on seeing the Building Bridges, the Female Perspective” Art Exhibition see the website:


Information from the website above:

“Plan your visit to truly enjoy Tower Bridge Exhibition.

Discover the range of tours available, what’s on when you visit and the magic of a bridge lift when you step inside the most famous bridge in the world.

Summer Opening Hours: April – September 10:00 – 17:30 (last admission)
Winter Opening Hours: October – March 09:30 – 17:00 (last admission)
Tower Bridge Exhibition is closed 24 – 26 December and open from 10:00 on 1 January.

Visitors are advised to allow additional time for validating their online booking, security checks and lift access up to the Walkways. Entry into the Walkways cannot be guaranteed for a specific time at peak times or during bridge lifts.

Buy tickets online now and save!
Please note: due to essential maintenance work the North lift will be unavailable between 15th February – 21st March. Tower Bridge remains fully accessible during these works.”

You can purchase your tickets in advance via our secure online booking page or at the Tower Bridge Exhibition ticket office.

It’s not far from London Bridge tube and rail station.

The main entrance and ticket office for Tower Bridge Exhibition is located at the North West Tower of the Bridge. The entrance to the Victorian Engine Rooms is located on the south side of the Bridge at river level on Shad Thames. Follow the painted blue line on the ground to connect the two parts of the Exhibition.

Here’s some information about the work I have on show as part of the exhibition.  I cannot wait to see the whole exhibition soon!

Jenny Meehan – About this work:

“This artwork expresses some of my female emotional experience: the emotion of two
parts of my sense of self being pulled together. A feeling of balance and unity, which holds, even when the two sides are different in some respects. The suspended purple and yellow contrasting colours create stasis and tension. Yet, there is also a mirroring of the same essential structure in my composition, drawn together in a pivotal centre, which may suggest movement. This piece resonates in relation to the Tower Bridge; an engineering achievement involving among other things, precision, balance, and design. Creative energy, both within and without, in both engineering and art. ”

Southwark Arts Forum,Tower Bridge "Art at the Bridge" #7 “Building Bridges, the Female Perspective" in celebration of International Womens's Day,Drawn together by Jenny Meehan, Victorian Engine Rooms Tower Bridge Exhibition, jamartlondon, modern contemporary abstraction geometric art,

Drawn Together will be exhibited at the Tower Bridge Victorian Engine Rooms this year. © Jenny Meehan DACS All Rights Reserved



Drawn together being part of this exhibition is certainly one of the highlights of this year for me!

There is also, coming up the Anagrams Exhibition at Kingston Museum:

“Anagrams” at Kingston Museum, Kingston Art 2016: Wheatfield Way,Kingston upon Thames, KT1 2PS. 29 April 2016 to 2 July 2016

This is a free to see exhibition, with a variety of work from many local artists.  I am sure it will be a delight!

I also have some work (just postcard sized prints) in the Art of Caring Exhibition:

“The Art of Caring” Exhibition at The Upper Circle Gallery, The Rose Theatre, Kingston-upon-Thames, from the 12th to 24th May 2016.


There will be a taster exhibition for this years Kingston Artists Open Studios, not sure on the details of that as yet.

If you are interested in coming along to the Kingston Artists Open Studios, to see my work and the work of many other talented and lovely Kingston Artists, then contact me via my contact form on my website and I will put you on my mailing list.



Formed by the Spirit

where earth and sky meet, jenny meehan abstract expressionist painting,collectable british contemporary women artist, christian spirituality art process led, abstract romantic landscape art, figure in landscape abstract expressionist, jamartlondon jenny meehan

where earth and sky meet painting – jenny meehan

Where Earth and Sky Meet © Jenny Meehan DACS


Genesis 2 verse 7  “then the LORD God formed man from the dust of the ground and breathed into his nostrils the breath of life; and the man became a living being.”

Text below quoted from Formed by the Spirit

Formed by the Spirit
The Newsletter of the Southwark
Diocesan Spiritual Formation Group
Opportunities, events, resources and articles
on prayer and spirituality

Issue 27: February 2016  Written by Chris Chapman

“Here we have a beautiful and intimate image of our making. God bending down to take humble earth in his hands, working the clay until form began to emerge. And then cupping his hands and breathing on what he had created. And so humankind has its beginning. We are made, the story-teller suggests, of clay and breath. Even the Hebrew word ‘Adam’ has its roots in ‘Adamah’ – from the clay. We are earth, formed form the dust of the ground, and we are also air, spirit, breath since God has bent down to breathe his life into us. God took what was before him and desired that it be something more – full of being and beauty. He valued and used the simple, humble earth of the ground and he made it what it could never be but for his breath – a living, loving mirror of himself. “

As I was reading this, my painting “Where Earth and Sky Meet” came to mind, and I have been thinking about this recently and asking myself what the painting meant to me.  What a painting “means” is of course a changing and evolving matter, and depends on the individual person to a very large degree.  As a painter of paintings, I do find, as the painting is the produce of my own mind, heart and hands, that there is an intention in the painting which is, for me, at least, with my own technique and process, largely subconscious at the time of painting. I very rarely set out on my painting pilgrimages with a very focused idea of what I am doing. (Though it does sometimes happen).  And if it starts focused, then it soon gets lost and looses its way!  This is the way I like it and the way I love to paint.  It is not the conventional route to achievement, for sure.  But it is an opening and a breathing. And as the painting opens up, it does, at some point, begin to develop focus, and narrows down sometimes quite quickly, and sometimes very slowly, into a state of resolution where I sense there is some point of it!  Then after reflection and contemplation, which are also often part of the journey, I can feel a settling inside of myself, and know instinctively if I have achieved what I wanted, even though I didn’t quite understand with my head what that was.

Back to the quote!  When I read these words from “Formed by the Spirit”, it gave me a deepened perspective on  my relationship with “When Earth and Sky Meet”.  While my painting is showing an epic landscape image, rather more in the romantic tradition (romantic and abstract; that single figure surveying the greatness and awe of creation), it was always very embedded in the painting; this idea of earth and sky…hence the ease of title which came quickly. The painting process too, was a rapid one.  It wasn’t one of my more common slowly developing works!   Earth colours  and blue paint, with some purple, pushed across the surface with a squeegee and dragged with a brush;  the physical experimentation of ways of mixing the colours was an important objective, and landscape and sky were in mind  from the outset.  It was a rapid process, in this case, rather than a very slow evolution.    The figure just appeared, it was a joyful accident.  Though my  painting is not an intimate relationship reflection, however these words just sing; “We are earth, formed form the dust of the ground, and we are also air, spirit, breath since God has bent down to breathe his life into us. God took what was before him and desired that it be something more – full of being and beauty. He valued and used the simple, humble earth of the ground and he made it what it could never be but for his breath – a living, loving mirror of himself.

I feel glad to have found such apt words to relate to the painting, and words from another’s mouth are more fascinating than one’s own.



Pinterest – Jenny Meehan Jamartlondon

I’m planning to start some pinterest boards, as it is a handy way of organising my work in a way if people are interested in particular things.  So from time to time on this blog I will post a link to particular boards.  This time around it is Jenny Meehan jamartlondon Redbubble Products – i phone cases and skins
Jenny Meehan of jamartlondon.com Redbubble products available to buy over internet. i phone cases and skins


If the truth be known,  I have sold precisely three items on Redbubble in the last approximately seven years, and all of them under £10!  However, I live in hope.  I had hoped that a little money from sales might help me with the cost of materials,  but it simply hasn’t happened!  That said, it is  fun to apply designs and artwork to objects, and though I hardly sell any of it,  I cannot resist the allure of experimenting in this way.  It’ a bit of a kick to see your work on objects, even if those objects don’t actually exist in reality!  Redbubble is a print-on-demand site which is great for artists like me who like to offer their work in this way but no way have the financial resources to start printing out things themselves. Some fine artists don’t wish to have their work applied to products in this way, but my own view is that if an image is suitable for use in this way, making it available for use on products doesn’t compromise the integrity of it at all;  it simply provides another way of sharing your work with others.  As long as my work is not used illegally and my copyright infringed, then I am fine with it.  Think on how many Matisse products, or Picasso, or anything else, you might see in various shops.  Do they mind? !!!! Well, dead and buried, they don’t!  and would they?  Who knows.  No one really cares.

I also plan to put many of my painting-print experiments on my pinterest boards.  This way I can organise them easily and use them for reference if need be without needing to locate them on my computer.  Thinking about painting-print experiments, here are some of my latest “Light Play” is the series.  “Light Play” is based on my painting  “Piñata Colour Play”, which was previously (before further working on) “Yellow Path”.   I didn’t like Yellow Path after a while and changed it for the Kingston Anagrams Exhibition.  I then changed my mind about which way up I wanted it to be hung, and so re-named it.  I’m settled now!  Peace at last.  The painting prints which came from it are beautifully colourful.  I half had it in my mind that I would experiment with additional layering through digital means and felt it could be rewarding.  I have let my enjoyment of colour lead the way in this painting, and in the painting-prints which follow.  A colour hit at this time of year is always welcome!

Light Play Painting-Print, jenny meehan jamartlondon, multi coloured light, holy spirit life, christian art licensable, uk jenny meehan jamartlondon, breath of god, renewal christian,contemplative spirituality, Christian spirituality,

Light Play Painting-Multi Print 1

Light Play Painting-Print, jenny meehan jamartlondon, multi coloured light, holy spirit life, christian art licensable, uk jenny meehan jamartlondon, breath of god, renewal christian,contemplative spirituality, Christian spirituality,

Light Play Painting Print 2


Light Play Painting-Print, jenny meehan jamartlondon, multi coloured light, holy spirit life, christian art licensable, uk jenny meehan jamartlondon, breath of god, renewal christian,contemplative spirituality, Christian spirituality,

Light Play Painting Print 3 Multi


Light Play Painting-Print, jenny meehan jamartlondon, multi coloured light, holy spirit life, christian art licensable, uk jenny meehan jamartlondon, breath of god, renewal christian,contemplative spirituality, Christian spirituality,

Light Play Painting Print 4


Light Play Painting-Print, jenny meehan jamartlondon, multi coloured light, holy spirit life, christian art licensable, uk jenny meehan jamartlondon, breath of god, renewal christian,contemplative spirituality, Christian spirituality,

Light Play Painting Print 5


I have a few more of these.  The “Multi” ones are very busy, but I like to take things along as far as they will go, just to see what happens.  I like Painting Print 5 the best.  Working in this way has been a nice change from the building up of textures I have been tending towards of late with my paintings.  I felt that though I enjoyed collage, the use of textured papers was quite heavy and hard to embed into the painting.  By using digital image manipulation software I have been able to apply my torn pieces of paper (on the original painting, you see below) but in a much lighter way.  I like the translucency of the layers, which is best when viewed on a screen or projected but still has a fairly delicate touch even when in print.  On the original painting I used varnish (after the image below was taken) to bring more translucency to the pieces of paper, and that did bed them in a little more.

The original painting, which will be displayed (hopefully, while it is  shortlisted, the final work to be shown has not been decided as yet! )  the other way up from this image below, will be at the Anagrams Exhibition in Kingston Museum this year, and will be displayed with the initial title, which came about through the theme of anagrams as Artwork title: Ripping Papers and Paint/Paper Pinnata Drippings (took a bit of liberty with the spelling there!) 
Medium: Acrylic paint, torn paper
Year created: 2015
Dimensions : (including frame where applicable) 4500 mm x 6500 Price: £200 ( including 30% commission)


Ripping Papers and Paint/Paper Pinnata Drippings jenny meehan jamartlondon for anagrams exhibition kingston upon thames surrey

Ripping Papers and Paint/Paper Pinnata Drippings jenny meehan jamartlondon for anagrams exhibition kingston upon thames surrey

A bit of a bargain, actually.  And bear in mind I get less than £200, 30% less, to be exact.  On the other hand, I want my work to go to people who will love it and have room for it.  And I don’t have much room here.  Don’t want artwork cluttering up the place when it could live in a spacious new home and be much appreciated!






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