The usual mass of discrete title topics all messed into one…Just the way I like it!

Transgender, Gender & Psychoanalysis (Freud Museum and the SITE conference: Fringe event art exhibition)

 

 

pen and ink on torn paper unique print by jenny meehan jamartlondon

pen and ink on torn paper unique print by jenny meehan jamartlondon

Looking forward to being part of this exhibition.

Above is one of two submitted art works which were chosen by the curators for exhibition.  “Pen and Ink on Torn Paper” is composed of a digitally printed torn image, but this is effectively a unique original artwork, in that the tearing is unique to itself. So there is no edition as such. It is a “one off” by virtue of it’s torn substrate. It’s the tearing, rather than the print itself, which would is unique to each one, if I decide to make any more. So if anyone does express an interest in buying it, I can make one for them which would have the same image, but would be torn differently.

(Pen and ink were the original mediums of the figures, but they have never existed together in reality! )

And here, below is “Pink Girl”…

 

The SITE for Contemporary Psychoanalysis ,recovery psychotherapy,art psychotherapy,british female painter artist jenny meehan,Pink Girl painting in Recovery University of Leicester Instutute of Mental Health by Jenny Meeha

Pink Girl painting by Jenny Meehan © Jenny Meehan DACS All Rights Reserved

The exhibition is a fringe event which is part of an annual conference…

The SITE is teaming up with the Freud Museum for its annual conference in 2017:

Transgender, Gender & Psychoanalysis

11th & 12th March 2017 at the Freud Museum

EARLY BIRD TICKETS ON SALE UNTIL 15 JANUARY

The Conference Fringe will include a series of events leading up to the Conference…

 

Here is a bit about the SITE, quoted from their website:

The SITE for Contemporary Psychoanalysis is a training organisation and a member of the Council for Psychoanalysis and Jungian Analysis College (CPJA) of the United Kingdom Council for Psychotherapy (UKCP). All graduates are eligible for UKCP registration.

The Site was established in October 1997 by psychotherapists from diverse psychoanalytic organisations who wished to create a training programme and an association that would foster critical, reflective and imaginative thinking about psychoanalysis and its contemporary practices.

In 2010 the Site set up a sister training in Truro, Cornwall. This is now a well established part of the Site, with a successful training, an Introductory course and annual public events.

Here is the link to The SITE for Contemporary Psychoanalysis

And here is the information on the event, of which the Art Exhibition is going to be just one part.  I am delighted that my work was selected for this art exhibition!

“SITE announces collaboration with Freud Museum

The SITE is teaming up with the Freud Museum for its annual conference in 2017.

Transgender, Gender & Psychoanalysis

11th & 12th March 2017 at the Freud Museum

The struggles of people of transgender identity have exploded into mainstream consciousness. By crossing the ‘gender divide’, the trans movement has radicalised the question of what it means to be a man or a woman, uncovering a fertile and conflicting arena in which the emancipatory deconstruction of sexual identity intriguingly flirts with the pitfalls of essentialism.

Such a reshuffling of binary and non-binary categories confronts psychoanalysis with new clinical, political and theoretical challenges that push it out of its comfort zone. How can contemporary psychoanalysis meet the demands and the needs that such challenges yield? What does psychoanalysis have to lose? And what does it stand to gain?

The 2017 SITE Conference in collaboration with the Freud Museum will approach these questions critically while exploring new horizons from which to address the complex issues of sexual identity and gendered positioning.”

Here is the flyer for the SITE fringe “Transgender, Gender & Psychoanalysis” Art Exhibition:

fringe-exhibition-flyer-transgender-and-psychoanalysis

fringe-exhibition-flyer-transgender-and-psychoanalysis

Because my forthcoming knee replacement operation is also due in March,  I will not be able to make even the “short walk” to see the exhibition, as far as I can see, if I have just had the op!  Even now, getting to the venue has an added layer of complexity which I never fully appreciated before my own experience of disability in terms of mobility. On the other hand, If I have not had my operation, I am sure I can work out a way of getting to it. I use a crutch for when I am in London, as I need the extra support using public transport, (all those stairs!) and to enable me to walk more reliably for longer and without aggravating the joint to the point of agony.  Agony is not good.  I am now hoping that maybe the operation will be after this exhibition, and I can both deliver and collect my work at least. But I will need to wait and see.

It is a shame not to know how things will be, but actually it is heaven just knowing that I will have my knee joint treated surgically.   Hopefully they will take lots of images at the private view and I can get a taste of it that way, even if I cannot make the event. Until I am well and truly back walking again, I may have to give pursuing any opportunities a miss.

Labels for Painting Styles

Labels…  Kind of a necessity for me, in terms of communicating how my painting relates to other “movements”.  The good thing about movements is they are normally seen best from a great distance, and also, it is encouraging to look back and see other artists who have been as obsessed as you about particular approaches to art making and art working.  It is also helpful for those who enjoy collecting art…  They can explore different movements and will settle on something maybe over time which they find the most exciting and interesting for themselves in terms of a historical period or style of painting.  There are all kinds of ways that an art collector might decide to focus their collection of art work.

The terms I tend to use for describing my main thrust in painting are bouncing within the realms of the following terms: Lyrical abstraction, abstraction lyrique, tachism, tachisme, action painting, abstract expressionism, art informal, informalism.  But these are terms which relate to particular movements in the past, and serve as a way of describing and communicating what to expect with my own painting, and not anything more than that.  And it is the case that within my own realm of art working, I move between several styles…  This is part of the process of development.  I think I have written about this in a previous post.  It is a bad thing to narrow down artistic creation in order to adhere or fit into a style.  If it happens it will happen naturally, and evolve that way. It will grow and develop, playing and toying with different styles and approaches en route!

It is the case, that when using paint, things now are tending to fall within the bounds of my approach, which is process led and focused on formal elements and experimenting with materials. What comes through is a materialisation, a becoming, of my self.  Which references my life experience and emotional and spiritual journey.  Mostly I like to let things happen, rather than plan.  But there is a lot of unconscious planning which happens I think.  There is a lot of emerging!!!

Historical terms and descriptions of styles are good for searching for the kind of paintings you like, and there are plenty of movements which it is helpful for the keen collector of art to educate themselves in.  My own preoccupation is with the formal elements of the painting, and a process led approach.  My preferred terminology for my own work is that of British romantic, poetic, lyrical, abstract and expressionistic painting.  I like the romantic, because of the way it conveys both individuality and intensity of emotion and the importance of these.  I loved my studies of the Romantic poets when at University, and also of the paintings of Turner, which were studies as part of a couple of painting courses at West Dean College given by John T Freeman, (who I credit, among others, with role of welcoming me into the realms of painting as a way of life/vocational activity!)

This is rather helpful:

From Wikipedia, the free encyclopedia

Serge Poliakoff Composition: Gray and Red, 1964
Tachisme (alternative spelling: Tachism, derived from the French word tache, stain) is a French style of abstract painting popular in the 1940s and 1950s. The term is said to have been first used with regards to the movement in 1951.[1] It is often considered to be the European equivalent to abstract expressionism,[2] although there are stylistic differences (American abstract expressionism tended to be more “aggressively raw” than tachisme).[1] It was part of a larger postwar movement known as Art Informel (or Informel),[3] which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting. Another name for Tachism is Abstraction lyrique (related to American Lyrical Abstraction). COBRA is also related to Tachisme, as is Japan’s Gutai group.

After World War II the term School of Paris often referred to Tachisme, the European equivalent of American abstract expressionism. Important proponents were Jean-Paul Riopelle, Wols, Jean Dubuffet, Pierre Soulages, Nicolas de Staël, Hans Hartung, Serge Poliakoff, Georges Mathieu and Jean Messagier, among several others. (See list of artists below.)

According to Chilvers, the term tachisme “was first used in this sense in about 1951 (the French critics Charles Estienne and Pierre Guéguen have each been credited with coining it) and it was given wide currency by [French critic and painter] Michel Tapié in his book Un Art autre (1952).”

Tachisme was a reaction to Cubism and is characterized by spontaneous brushwork, drips and blobs of paint straight from the tube, and sometimes scribbling reminiscent of calligraphy.

Tachisme is closely related to Informalism or Art Informel, which, in its 1950s French art-critical context, referred not so much to a sense of “informal art” as “a lack or absence of form itself”–non-formal or un-form-ulated–and not a simple reduction of formality or formalness. Art Informel was more about the absence of premeditated structure, conception or approach (sans cérémonie) than a mere casual, loosened or relaxed art procedure.[4]

And there is lots more to read: https://en.wikipedia.org/wiki/Tachisme

More Paintings

eternal one painting jenny meehan referencing afterlife

eternal one painting jenny meehan referencing afterlife

Eternal One

arylic painting for sale purchase surrey fine painting on surrey artist network by contemporary British painter Jenny Meehan based in south west london. Acrylic paint, pigments, various mediums and fillers, sand, glass beads, on canvas coated with very thin coating of acrylic resin for protection. Framed and available for sale/purchase/collection.

Painting referencing afterlife, heaven,future,doorways,entrance,exit,rite of passage,dust,clouds,air,vision,Christian,heaven,ascension,spiritual,spirit,supernatural,death, life,journey,light

Time Passes

abstract acrylic contemporary british lyrical expressionist romantic elegiac fine painting alley outhouses lament past rear access roads passageway memory, jamartlondon, jenny meehan, jennifer meehan, © Jenny Meehan, abstract expressionist female painter 21st century, collectable abstract art,

past remembrances, elergy painting poetic mournful lament

Abstract acrylic painting, using glass beads, filler, pigments, pearlescent pigment,sand,acrylic medium.
Process based painting, with subject matter emerging as the painting progresses, so kind of free association process going on through the painting. This resonated as a memory, memory of past walks through the rear access roads in my area and also childhood memories of playing in alleyways.

Non representational acrylic painting with pigments, acrylic medium, glass beads,filler, wax crayon,oil pastel, pigment.

 

Upper Room

lyrical abstraction,abstract expressionist fine painting, british english women artist, 21st century painter female, upper room, christian artist art spirituality, contemplative art, meditative art, romantic abstract lyrical expressionism, abstract acrylic painting christian art sacred symbolism jenny meehan

lyrical abstract painting selected for “Not the Royal Academy” exhibition at Llewellyn Alexander Fine Paintings Waterloo in 2013. For sale.

“Upper Room” (reference, upper room in New Testament, where Last Supper took place)

Non representational acrylic painting with pigments, acrylic medium, sand, glass beads,filler, spray paint, pearlescent pigment, pigment.

 

Update on the current paintings in progress is there is a lot of looking and thinking, mulling and reflecting going on, but not a lot of action.

 

Printing Papers

While not painting, I have been experimenting with inkjet printing on different types of paper.  For some images I wanted duller colours and not the brightness which comes from using an ink-jet paper. I have a new printer which takes some time to get the head around but with a scanner it offers some new opportunities I am sure.  I have produced a fair bit of work but not anything I want to show at this point as still very much under consideration.

I have many different types of paper and have no rule for what I use for what.  Sometimes ordinary watercolour paper is right, other times, just copy paper.  Ink jet paper yields totally  different results to watercolour paper, quite surprisingly so. I should not be surprised, but I always am. There are different grades of ordinary printing paper that can give some of the benefits of photo paper (cleaner, clearer images; brighter colour; cleaner text) but for less money.

Fundamental differences are:

Weight: The amount of mass of a ream of 500 pages of the paper in question before it is cut down to whatever its current size may be.  Paper weight is simply an simple way to measure the density of a paper.

Point size: Point size is a measure of the thickness of paper, unlike weight, which is a measure of density of paper material. Points are one thousandth of an inch, with heavier papers having higher point sizes. Many types of paper will have no mention of point size, but photo papers/cards may include it.

Brightness: Brightness is the amount of light that is reflected off the surface of the paper.  More reflected light mean  a better colour range is achievable, and better contrast too. So the brighter the paper stock, the better, IF brightness is what you want and the greatest range of colours.   Brightness is measured in values from 0 to 100. For instance, you can  buy fine quality reams of typing paper with a brightness of 90.

Whiteness: Easily confused with paper brightness, “whiteness” is the shift in colour of the paper, for example white can lean towards blue or much warmer red.  There are icy, bluish, and cool whites or whites which lean towards cream.

Paper stock: Related to point size and weight, various densities, thicknesses, and paper qualities have various names, like “Newsprint,” “Cardstock,” or “Bristol.” Many photo papers are heavier weights, often in an attempt to recreate the feel of old style photo prints on light sensitive paper developed with photo chemistry.

Coated Paper:  (for photo papers) They are coated with a layer of chemical bonded to the paper, intended to allow inks to be absorbed more accurately, creating better quality images.  They can be coated on  just one or both sides. They might be gloss or matte.

 

I don’t always choose to print on coated paper, as what I want the print to look like can vary a lot depending on the image.  Inkjet printers fire ink at pages in small liquid drops and the porous paper accepts the liquid material with capillary action, drawing it out in multiple directions.  This can sometimes be the kind of image I want, and the flow of ink,  though it could be seen as detrimental to the quality of the print, (because the print is less clean and crisp) can also add a softness to the print which is rather suitable.

Coated papers are chemically treated to help the paper be a better printing substrate, well, “better” if crisp and clear is your objective. Ink blots rest on the emulsion in a wet state, but stay neatly put and are also neatly absorbed. Images stay clean, because the absorption of inks into emulsified surfaces is a more controlled process.  As the ink settles and dries, the pigment left behind is effectively locked into the surface treatment of the paper. It cannot have it’s own way  quite as much as it would!

 

 

Prints, Editions, Limited Editions, Numbered Editions – Clarity  or Confusion?

I’m popping this in by way of general reference in relation to the way I have chosen to do things.

There are two main strands to my visual creative practice, one being original fine paintings and the other being mechanically reproduced prints (either digital C-prints or ink-jet prints). I do not often artificially limit my prints in number, but it is safe to say that numbers are very well limited by the amount of time I spend on creating them.

Digital C-prints and ink-jet prints made by me personally are numbered and signed, and I keep my own records, but their number will be naturally limited by nature of my own mortality! “Numbered and signed” prints are NOT the same as “limited editions”. I describe them as “numbered editions”, but the number of prints possible is open ended. This gives me greater flexibility as their creator in that I can make them in a variety of formats and sizes, and on different substrates.

Selected imagery is available unsigned and un-numbered for use on print-on-demand merchandise. It’s no less valuable than any other imagery, but if something leans in that direction and I can share it, then I will. Plus, funding is much needed to pay for painting materials and this facility helps in a small way by giving me a royalty from each sale.

Please do consider purchasing some of my printed artwork as this is an easy and mutually beneficial way help support my creative project.
Take a look at Redbubble.com:

http://www.redbubble.com/people/jennyjimjams

Most of the signed/numbered and unsigned/open edition mechanical prints of my work, are not reproductions of paintings or drawings but are works true to their own medium which is photographic imagery, either originating from a photographic image or from photo-manipulation software. If I think a work in another medium suitable for translation into digital imagery and printing, then I will do this, but not indiscriminately.

I also produce monotypes, using traditional printing techniques and sometimes hand finished digital prints on various substrat

Here is the link to my website jamartlondon which tells you a bit about editions with reference to my own imagery. 

Good Article on an Exhibition I won’t be able to see…STRIKING UP A CONVERSATION: THE BALTIMORE MUSEUM OF ART UNITES MATISSE AND DIEBENKORN IN A GLORIOUS EXHIBITION

Both Diebenkorn and Matisse have worked their magic on me, and so feeling rather sad I cannot see this.  This review makes for a good read though, and gives a flavour at least of what must be a super experience of viewing the works together.. It’s written by Phyllis Tuchman  and POSTED 01/19/17 10:51 AM January 29.

http://www.artnews.com/2017/01/19/striking-up-a-conversation-the-baltimore-museum-of-art-unites-matisse-and-diebenkorn-in-a-glorious-exhibition/

First Visit to an Osteopath – What to Expect

Well, that is the question. There are lots of answers to that, but for me, the “What to expect” is, rather than the actual  encounter,  if I should expect any kind of improvement or result from the visit.  My agenda in going to see an osteopath certainly wasn’t anything to do with avoiding knee replacement surgery.  The bones are grating and banging against each other in a way which clearly isn’t going to be changed by anything at all.  I have been exercising and working on the muscles of the whole leg, and the rest of my body, since September 2015, starting with GP prescribed quad muscle exercises, gentle yoga, swimming, and then individually tailored physiotherapy from September 2016.  It was hard to imagine that any thing further might change in any way at all. Even with trying something new and unexplored, and having an appointment with an Osteopath.

I was not looking for a reduction in pain either.  I have got used to pain being part of my daily menu in life.  I am getting the knee surgically treated because the knee needs to be treated, and the problem addressed in this way.  I am not a medic,  but it has become increasingly clear to me, as I experience the steady and rather rapid deterioration, that things are not going to improve.  The fluctuations in symptoms which do occur, only belie the underlying reality that I cannot walk very far at all, and the I am turning down opportunities left, right, and centre, because I am now disabled and my life is restricted in a soul destroying way, and in a way I cannot accept.   And I don’t want to sign up to an experience of pain and disability any longer than I need to.

But, as an artist, I have a strong appreciation of the importance of balance.  In an abstract painting, the constant alterations to the balance of the work, which are to do with the form/structure of the painting, make all the difference.  So it is simply logical that the same should apply to my own body.  I have been aware of being very “out of kilter”  and also of how a problem/alteration in one joint affects the whole body.  It affects the way I move, hold myself, and the experience of pain also needs to be managed and negotiated somehow.  The whole body tenses up when in pain.  So I did not go along to an Osteopath to relieve any pain.  Maybe that might be an objective after surgery though!!!

Here is a link if you want an answer to the question “First Visit to an Osteopath – What to Expect” in terms of the general experience of a visit to an Osteopath, the examination, diagnosis, and treatment, plus ongoing care: 

http://www.osteopathy.org.uk/visiting-an-osteopath/what-to-expect/

My Personal Experience of Consulting an Osteopath

As part of my knee journey, I felt some time ago it would be beneficial to visit an osteopath.  I walk past the British School of Osteopathy quite regularly.   http://www.bso.ac.uk/   One of the things I had felt surprised about was that at no point in my experiences of physiotherapy had any direct manual work been done on my knee/leg and that this was something which might be beneficial. It just seemed logical.  All those exercises did make a difference to the muscles around the knee joint, and I guess an appreciation of the importance of all the soft tissues and how they are involved did make me think that, even though I will have my joint addressed, it is also important for everything around it to be treated.

I don’t have any great expectations attached to my interest.  I don’t wish to avoid a knee replacement, as my quality of life is too badly affected.  I am fortunate in that I have worked, and continue to work very hard, on my body… The yoga is beneficial, the swimming is beneficial and the physiotherapy was also beneficial.  I have been pulling, stretching, massaging and moving both in and out of water.  I have been working hard for  months and doing all I can, including weight loss, to improve my situation.  I am managing the pain pretty well, though it has to be noted that it has been a lot easier to manage with the forthcoming knee replacement operation well and truly on the horizon.  The thought that I do not have a life long sentence of avoidable pain and disability is a very significant point to make.  I now realise that I will miss my “old knee” to a certain extent… It has been with me for a long while.

Anyway, back to Osteopathy and why I thought I would bring myself along to the British School of Osteopathy and see what happened.  As said, I wondered about the lack of physical manipulation.  The total lack of physical manipulation.  When I was treated with Physiotherapy at hospital I was very grateful for the individually tailored programme of exercises, and I did them very conscientiously every day.  But something about being treated was missing.  People with a long term chronic condition  are in a very different place to someone with a more immediate trauma injury.  The whole experience of knowing that your life will be affected in a very long term way,  is a big matter to get your head around.  But even when you have done your best at that, constantly experiencing pain and disability and knowing this is your daily lot, if it happens to be beyond what you feel you can bear, is depressing and anxiety provoking.  Your WHOLE life is affected, and it becomes more important, that when you are treated, the effect on your whole life becomes an important element of the way you are treated.  More so than if you have something with a clear beginning and end.

So what happened when I went to visit an Osteopath?  Things had deteriorated with my knee at such a pace which did have the overall effect of making me willing to try anything, even if I had not thought about it before.   So I was ready for anything potentially beneficial at all.  I do confess to having dismissed osteopathic treatment, thinking it was probably something not REALLY worthwhile. However, I am pleased to say that the session of osteopathic treatment I had WAS beneficial.   Someone who knows how to pull and push your limb around, and manipulate the soft tissues in theory should be helpful, and it was with this in mind that I went along.   I can now straighten my right leg more than before…  I felt the difference last night lying in bed, and was suitably impressed.  I also noticed some change in how the leg felt when I was swimming this morning.  It does feel more comfortable somehow. It feels straighter.  I did not ask about the details of what she was doing/had done because I did not want to involve my brain and my thinking, or my belief process in the treatment but I just wanted to simply have the limb manipulated and see what happened.

Bearing in mind that I have been working on my right leg for months, and have done what I am able to attempt to increase how straight it can be, including stretching it in the sauna, , plus yoga stretching and standing, and various other activities (with straight leg pressing the back of back of  knee into bed,etc) I am suitably impressed.   The fixed flexion deformity was only slight when noted last year, but all the same,  as far as I understand, it is not a good thing for the knee joint not be able to straighten well, as this I think puts more load on the patella.   From my perspective though, it was simply rather impressive and encouraging that it is possible to manipulate the limb in this way and I wasn’t expecting anything at all. Simply curious and interested.  So it was a positive experience and I plan to come back when I have got the “all clear” after the knee replacement operation, and offer up my leg for some manual treatment.  I do confess to being very keen to ensure that I make the best possible recovery, and that I make the most of my rehabilitation process and get a good outcome from the operation.

As said, I had not considered going to see an osteopath.  But, as I massaged my knee, for pain relief mainly, I felt not only that there had been nothing practically done in the area of physical manipulation, which I was surprised about, (because of the importance of all the surrounding structures), but also that my experience with my knee was effectively a whole body experience. The osteoarthritis, while the right knee has taken centre stage, is part of what is happening for me all round.   The knee joint itself is one part of that.  The best way for me to tell you the outcome is by posting the feedback letter I posted…As I have already written it!

Hello,

I would be very grateful if you would pass on this feedback from my recent appointment

Dear ………

I just wanted to say how pleased I feel after deciding to come along and see what an osteopathic approach might offer me and to see if I found it beneficial.

I had no particular expectations with respect to any treatment, but my own instincts from massaging my own knee and to thinking about the body in general (in relation to art, in fact…as a mechanism which needs balance in order to create harmony) and also my experience of doing Scarivelli inspired yoga over the last year prompted me to come along. I have walked past the other BSO building many times and had never thought about osteopathic treatment up until then.

While I have certainly appreciated the Physiotherapy I received at hospital, I was surprised and disappointed with respect to the absence of any physical manipulation. This just seemed logical to me. I ended up feeling that my knee was not actually being treated. While all the exercises, (which I have been doing for rather a long time) have improved my leg, it was important to me that when I have the bones of the knee treated surgically that I had an optimal state of leg!

After my treatment my leg felt fine, but I wasn’t expecting anything much to be different. However, I am pleased to say that my leg does feel more aligned…and more like the left one. I had noticed that their was something a bit different about the right one in terms of alignment but couldn’t quite put my finger on it… it was to do with the way it moved. I also am pleased to say that indeed, something has been released at the back and I can more comfortably straighten it.

It is a much better feeling to do the necessary exercises having had the structure of the leg adjusted. I have noticed that when I do my sit to stands there is less shaking in the quads…They are still shaking a bit of course, because weakened, but there is certainly less shaking. When I am swimming, it feels I am swimming more efficiently. I was getting a lot of “out of joint” ness (cannot think of a way to put it) when swimming “doggie paddle” which stopped me doing that style, and had just been sticking to the crawl, but so far I can now doggie paddle too.

I am most pleased about the way it can now lay straighter though. It might seem a small thing but it really bothered me, because I felt this cannot be helpful for the knee, and though my walking is much better than it was last June, when the ESP noted “a slight fixed flexion deformity (“right knee movement -5 to 110 degrees with springy end feel at both ends”) it was very good to have you actually addressing the matter directly. I had set myself to attempt to address this myself, as nothing was said or done about it when I then got referred on to another Physio at the hospital. I had expressed my concern about the way it was painful there when sitting in “staff pose” but the response was “Well, just don’t do it then”. But I believe that this is a good and healthy sitting position for me to take, for my whole body, not just my leg, and that I should be able to sit that way if I want to. Plus, I really enjoy the yoga I do and I wanted to be able sit like that! I also stretched the back of the right leg in the sauna weekly and in the pool, and in various other ways I could think of. But it is so nice that it feels less tight and much easier to do now. Thank you very much!

All in all, when I do my exercises the whole leg feels stronger and more efficient, and this is a really great experience for me, in the respect that I can now go and have my surgery knowing that things are as good as they can get in the other structures of my leg. I realise that the surgeon will upset things with the surgery, hopefully as little as possible…and that I will need to start all over with the rehab. But it makes sense for things to be as nicely in place as they can at the start and certainly the way the exercising is more effective is very encouraging. It worried me that even some of the simple post op exercises where so difficult for me pre-op, (ie lying down with left leg bent, then doing a low straight leg lift with the right, involved an awful lot of trembling!) and now they are easier, I feel more confident about my body’s ability to work through the whole experience successfully.

So thank you very much indeed, and I look forward to seeing you post op! What a shame that Physio’s are also not Osteopaths, for I would have been able to access this experience much earlier. But thank you for your treatment of me, and I will definitely be coming back.

Kind regards,

Jenny Meehan

 

Some general information gleaned on Osteopathy:

Osteopathy is a system of diagnosis and treatment for a wide range of medical conditions. It works with the structure and function of the body, and is based on the principle that the well-being of an individual depends on the skeleton, muscles, ligaments and connective tissues functioning smoothly together.

To an osteopath, for your body to work well, its structure must also work well. So osteopaths work to restore your body to a state of balance, where possible without the use of drugs or surgery. Osteopaths use touch, physical manipulation, stretching and massage to increase the mobility of joints, to relieve muscle tension, to enhance the blood and nerve supply to tissues, and to help your body’s own healing mechanisms. They may also provide advice on posture and exercise to aid recovery, promote health and prevent symptoms recurring.

The above is quoted from http://www.osteopathy.org.uk/visiting-an-osteopath/about-osteopathy/

and, a small extract quoted from

 OSTEOPATHIC PRINCIPLES AND PHILOSOPHY
by
Raymond J. Hruby, DO, MS, FAAO
Copyright 2000, 2007, 2014 by
Raymond J. Hruby, DO, MS, FAAO

We can define osteopathic medicine as a complete system of medical care with a
philosophy that combines the needs of the patient with the current practice of medicine,
surgery, and obstetrics; that emphasizes the interrelationship between structure and
function; and that has an appreciation of the body’s ability to heal itself. Based on this
definition, osteopathic medicine defines a distinctive set of tenets which osteopathic
physicians use to formulate their approach to patient care.5
These tenets are:
 A person is the product of dynamic interaction between body, mind, and
spirit
 An inherent property of this dynamic interaction is the capacity of the
individual for the maintenance of health and recovery from disease
 Many forces, both intrinsic and extrinsic to the person, can challenge this
inherent capacity and contribute to the onset of illness
 The musculoskeletal system significantly influences the individual’s
ability to restore this inherent capacity and therefore to resist disease
processes
From these tenets the osteopathic physician derives certain principles for patient care.
These principles state that 1) the patient is the focus for healthcare; 2) the patient has the
primary responsibility for his or her health; and 3) an effective treatment program for
patient care is founded on the above-mentioned tenets.
Thus the osteopathic physician uses a health-oriented and patient-centered
philosophy to implement the principles of osteopathic medicine in the care of the patient.
The osteopathic physician’s goals are to:
 Seek out and address the root cause(s) of disease using available evidence-based
approaches
 Optimize the patient’s self-regulating and self-healing capacities
 Provide an individualized patient management plan that includes emphasis on
health promotion and disease prevention
7
 Include palpatory diagnosis and osteopathic manipulative treatment to address the
somatic component of disease the extent that it influences the well-being of the patient.”

 

I cannot believe we are into November…!

Enjoying the frost on the cobwebs, and the colours of the leaves which have fallen.

The studio tent is a bit too cold to use very much, though I am popping in and out of it to work on paintings already started.  I need to spend some time sorting out frames for the paintings carried out earlier in the year.

I can walk without a stick now for longer periods of time, though rather sad that my walking is not as it was.  I am exercising more and feeling healthier.  Loving Yoga and swimming more.  Turmeric tea each day.  Much improved from last month, and only very occasional pain from the osteoarthritis in my knee.

 

Artwork Sold for Charity! A Letter in Mind – The Art of Journey, Gallery@oxo  

I am very pleased that when I visited the Gallery the day after the private view (which I couldn’t make) my artwork contribution was sold!  I am very pleased as this has raised some money for a worthy cause!

 

The Challenging Behaviour Foundation Art Auction

I have some artwork on display at Sun Pier House, Chatham, Kent from 3rd November until 29th November as part of a fund raising art exhibition for The Challenging Behaviour Foundation. The Challenging Behaviour Foundation is a Medway based charity supporting families caring for a loved one with a severe learning disability whose behaviour challenges.

http://www.challengingbehaviour.org.uk/

Artists were invited to submit work for this fundraising exhibition at Sun Pier House, Chatham, Kent, a few months back.

Unfortunately I cannot get to the Private View due to financial restrictions.  Travelling money for such things all adds up and I find I can only attend local or London based events. Here’s more information though:

“You are cordially invited to the Private View of the Challenging Behaviour Foundation’s fundraising art exhibition on Friday 6 November, 6pm-9pm.

We have received an overwhelming response to our ‘call for submissions’ and are happy to confirm, Contemporary Artist and recent Saatchi exhibitor, Darrell Hawkins, will also be submitting work for this exhibition.

There will be a programme of events running throughout the month-long exhibition, including:

Friday 6 November, 6pm-9pm
Private View

Tuesday 10 November, 6.30pm
Film screening of a ‘Mission to Lars’ with pre-show karaoke, courtesy of the Rochester Film Society

Friday 20 November, 7.30pm
Quiz Night – *tables available

Sunday 29 November, 2pm
Auction of artwork

We are incredibly grateful to every individual who has taken part in this show and would like to thank the following local businesses for their support of this event:

· Sun Pier House Gallery
· The Rochester Film Society
· Spicer and Moore Productions
· The Rochester Flea
· WoW Magazine
· Look Kloser Creative and Performing Arts
· University of Kent
· University for the Creative Arts
· Medway Messenger

Please feel free to share the news of these events with your friends, family and colleagues and please do email me for further information on any of the listed events.

With best wishes and thank you for your support,

Laura

Laura Brown
Fundraising Officer
The Challenging Behaviour Foundation
http://www.challengingbehaviour.org.uk”

I entered this piece which I hope will raise some money for this worthwhile cause:

 

“My Patch”

my patch canvas print jenny meehan websize

my patch canvas print jenny meehan websize

it is a 39 by 51 cm canvas print, varnished.

Here’s the text for it:

“My Patch/Face On” expresses that focused determination that people need when they confront difficult situations and face challenges in their lives. I very much enjoy experimenting with black and white graphic imagery, and in this piece the boundaries between the black and white areas suggested the ways in which conflict is sometimes a territorial matter, springing from our felt need to defend ourselves. There are aspects of us all, it seems, which are not so different from cats!

Jenny Meehan Biography
Human experience, emotion, and my own personal life journey form the centre of my work. The brokenness of human experience fascinates me, as well as the potential for growth and renewal. After a BA Honours (Literature) in 1994 and a PGCE in 1995 I taught in Primary Education. I’m now based in Chessington, Surrey and love my role in society as an artist, mother, and occasional art teacher. I would describe myself as a vocational artist, interested in psychology, spirituality, and emotional literacy.
I’ve had several solo exhibitions in community spaces, and exhibit widely across the UK. Painting, digital Imagery, writing and poetry make up the majority of my artistic practice, and you can see more of my work on my website: http://www.jamartlondon.com .

 

 

Thoughts on  Transformation

Transformation. Yes, the forming. The making of. I think of it in a positive way, as being a change from worse off to better, but I suppose it could equally be the other way around. My own understanding and way of approaching the word is centered around my own experience of the way faith can work in peoples lives, I think this is because my own personal faith/belief has been a source of great energy and power to me, however, I wouldn’t narrow this down to my own particular religious affiliation/understanding. I see transformation as related to potential, and to potency. Like the uncurled fern frond, or the bud about to open, it is a kind of positive expectancy of new life in my thinking. It is something I perceive as essential to creativity, maybe the essence of it? It is what we do when we take one thing, and see something else, something beyond that. So that is where the faith and vision come into play. Quite literally. Transformation has a sense of control, but also a sense of the unexpected. There is a natural process which happens, which guides and takes through, but the final form is completely different maybe to what we thought it would be. My life is a transformation, I cannot really narrow this down.

 

Oxshott Woods

One of my favourite places to walk is Oxshott Woods.   We used to go there every Sunday when I was a child, and its lovely to walk in the same places I did then, all these years later.  Here is a photo of my husband walking in the slightly snowy woods.

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

And one of the children, when they were younger:

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

A little bit more snow here; This snowy view of Chessington shows the Holmwood Road bus stop, and was taken when the White Hart pub still existed!

 

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

Interesting Reading:  

Another Benedictine, John Chapman, who was abbot of Downside in the Thirties, says: “The simplest way of making an act of attention to God, though without thinking of God, is by an act of inattention to everything else.” It is that letting go of our attachment to our thoughts and feelings, everything else, that is the essence of contemplative prayer. This is what it means to lose your life in order to find it, as Jesus says we should do: it is to let go of the controlling ego that likes to be at the centre in order to know our true centre, the Spirit of God within. And then nothing else is needed. At least for the time of prayer we hand everything over to God.

quote from Fr Robin Burgess is a member of parish team of Ealing Abbey, west London from article Leave behind words and enter God’s stillness
Keywords: Christian Prayer, Spiritual Practice,Meditation, Christian Mysticism, Spirituality, Christian Meditation, Catholic Spirituality, Prayer, Contemplative Prayer, State, Mysticism, Mental Prayer, Religion / Belief
in the catholic herald 23RD OCTOBER 2009

We all begin by thinking of prayer as words, or maybe thoughts, that we address to God. It is my prayer – my words, my desires, my needs that I lay before God and ask him to meet for me. Much of our worship and the prayers we say continue to be like that, but if prayer stays at that level it remains selfcentred (not necessarily in a bad way). It may never become what all the great teachers say prayer is – not what we do, but the Spirit of God, of Christ, praying within us. It is the Spirit of God poured into our hearts, as St Paul says, that prays when we do not know how to pray with sighs too deep for words. This Spirit cries out, as Jesus does, abba (Father), and so enables us to know ourselves to be in the same relationship of loving intimacy with God as Jesus is.
To be a Christian is not so much a matter of believing certain things or behaving in certain ways. It includes those, but it is more basically a matter of being – of being in Christ who is our Way to the Father. So Christian prayer will be not our prayer, but our sharing in the prayer of Christ who knows himself to be in God and God in him. It is this prayer of presence to God present to us that is called contemplation, or pure prayer (or prayer of the heart).

 

More Photos…

I am sorting through past images, as I hope to use some to create a book with some of my poetry and photographic imagery in…This will come together in the future, but the groundwork involves sorting through several years of clicking away with my camera!

 

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

 

The image above was taken in West Dean College/House gardens.  The river is the River Lavant.  I love to see a thoughtfully composed garden, it is such a pleasure to see the living and vibrant natural forms working together.  I take great pleasure in my own garden also, though I have neglected it rather in the last couple of years.  However, even though slightly neglected, the structure is in place in such a way that it still falls together rather nicely!

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome

Another restful image taken in West Dean Gardens, Sussex.  The River Lavant again, with an inviting bench to sit on!

 

Paintings

A few from the past, with some information/text.

All of the paintings here are the result of my own constant efforts to push forward creatively into the unknown. They are part of a contemplative practice which involves listening with the heart, and opening myself up to the Holy Spirit. Though I use years of experience gleaned in my practice as a painter (in terms of integrating formal aesthetic considerations and use of materials) each painting is always a step into the unknown.
Each painting is created in a piecemeal fashion, with sometimes several weeks and months between painting sessions, and sometimes even a day or two between each brush mark. During the time I am not applying the paint, I look to the painting and ask “What next?” Without any predetermined plan or concept, and with only my response to the mark which has gone before it, the painting becomes whatever it becomes. This process involves risk taking, and paintings change significantly as they progress, sometimes descending into a slough of despond, and sometimes bringing a completely unexpected direction into play and opening up in surprising ways. Towards the end of the painting process I find possible ideas present themselves, as I attempt to interpret what the painting means to myself, which is partially reflected in the title. You title will be your own.
For you, the viewer, a lot is required in encountering paintings which don’t clearly dictate how you should approach them. Without pictorial content to place you in the familiar material world and without a narrative, some might find themselves struggling to engage with such abstraction. Yet, it is enough just to look, and to look at what is before you, without needing to understand anything at all. The light changes these paintings as the day progresses. The light bounces off the variations in surface and texture, and the types of finishes and varnishes. The paintings are different in the morning, and different at the end of the day. They will be different to each person. Allow yourself the time to simply gaze.

Surrey/South West London based artist Jenny Meehan painter-poet
http://www.jamartlondon.com

jenny meehan jamartlondon art work uk licensable images, pillar and moon transcript paul nash

jenny meehan jamartlondon art work uk licensable images

Above “Pillar and Moon”….  This is based on a memory of Paul Nash’s painting “Pillar and Moon”  which made a deep impression on me.  I like many paintings by Paul Nash, but that particular one seems to haunt me.

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

Rocks by the Seaside, with some looking out to the sea…maybe those three finger prints like people, this is what emerged through this painting process.  I think some very happy memories from childhood come to bless me again… The happy ones did come from times by the coast, both at Bexhill and Combe Martin.  This painting I therefore titled “Cove”.

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

“Time Passes” This painting seems to have both present and past echoing through it…My walks through the rear access roads of Chessington and the playing in the alleys which ran along the backs of the houses where I lived in Teddington… Both are here in this painting, and past and present exist together.

jenny meehan jamartlondon art work uk licensable images

jenny meehan jamartlondon art work uk licensable images

“Baptism”

 

If you would like to see these paintings and are interested in buying one, do contact me through the contact form on my website.

 

That’s it for now…!

……………………………………………………………………………………….

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

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

Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also occasionally offers art tuition for individuals or in shared sessions.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details as availability depends on other commitments.    

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

Jenny Meehan exhibits around the United Kingdom.   To be placed on Jenny Meehan’s  bi-annual  mailing list please contact Jenny via her website contact page:  www.jamartlondon.com

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

Note About Following Jenny Meehan Contemporary Artist’s Journal 

TO FOLLOW THIS ARTIST’S BLOG SIMPLY GO TO THE RIGHT HAND COLUMN, LOCATE THE  “FOLLOW” BOX AND POP IN YOUR EMAIL ADDRESS.  YOU WILL THEN RECEIVE MONTHLY UPDATES. 

You tube video with examples of photography, drawing and painting

by Jenny Meehan http://www.youtube.com/watch?v=TAXqzMIaF5k

Website Link for jamartlondon:  www.jamartlondon.com 

Digital photography can be viewed on http://www.photographyblog.com/gallery/showgallery.php?cat=500&ppuser=5491

COPYRIGHT INFORMATION

Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance if you wish to use images by Jenny Meehan. In the first instance, please contact Jenny Meehan. Copyright for all works of 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 DACS as indicated below:
Design and Artist Copyright Society
33 Old Bethnal Green Road

London E2 6A3A
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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