Having fun with the batch editing.  Here are details from some more of the Alliance Healthcare abstract acrylic paintings that I am spending my time with right now.

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I will post up the images of the whole of the paintings when I have sorted them out.

Making some frames, it’s not hard to make a very simple frame, and I like my paintings in simple frames.  As I have got 20 to make, I should think I will be quite good at the end of it!  I might leave some unframed, but I like a clear division between the painting and the wall.

Still rather bowled over by my discovery of Claude Venard!  Oh look! This is wonderful!


Look at his use of colour!

His work has eclipsed anything else I saw when I went for my visit to Cork Street.  Completely.  Though I still plan to ensure I work my way through some of the paintings and painters I saw who caught my interest, the paintings I am looking at by Claude Venard are satisfying any desire for other peoples work right now, and so even though I plan to visit a few other exhibitions, I don’t think I need to look elsewhere right now for my study.  I do love colour.

Maybe also, less colour has interest too. I also very much  responded to the painting I saw by Ffiona Lewis at The Redfern Gallery, 20 Cork Street.  They had an exhibition Landscape – Paintings Drawings and Prints which ran from 15th May until 5th July.  There was rather a good selection of paintings on show, and I have a list of names of artists to look at, but “Summer House 2011” by Ffiona Lewis stood out.  Small,  but every touch significant.  A  very sensitive painting.  With little colour, much less than I use, but the restraint is attractive and indeed, I think to use more would not be right at all with her painting, for it is the very small marks and scratchings on the surface, the texture of her sensitive application, which asserts the paintings. To have more colour would detract from this.  Having experimented myself recently in using colour and texture, I have found that with more concentration on the texture, there is less need for colour.  The texture itself can lead the eye into the necessary emotional response. To have a lot of both, can be (though not always) too much.  They run like two strands and it takes a huge amount of effort to keep the two going together.  So to pick carefully which will be dominant, is a good solution.   I have been thinking a lot about both, and this is a great challenge in one painting, hard, but worthwhile.  As far as the viewing goes, it may be that it is possible to create more confusion by working both together.   But I am not sure.  I want the excitement of both texture and colour.  It may be a matter of just how obvious the effect of each is.  Maybe some turn taking, like is needful with children, is something to think about.


Now is a time for me to look back on work carried out over the year.  This painting “Break Out/Promised Land” was interesting to paint.  I concentrated on bringing texture and different surfaces into play and it was quite nice to let the textural information inform choices in colour and the direction of the next marks or brushstrokes.  I let the painting grow naturally, so I didn’t have an idea from the outset of how it would develop, but seeing it at the end it rang true.  I have learnt through it, which is my main objective.  It would be nice to do some more of these,  and it is the case that acrylic paint is just the right medium to use for paintings like this.  I always feel slightly disappointed with the colour intensity of acrylic paint, though adding pigment of course is always an option.   I have not painted with an acrylic underpainting and oil on top yet… so maybe this is something I might explore next.

(Note: later sold to a collector)


Just put together a little video of a selection of my drawings from 2008 – 2010.  Do take a look: http://www.youtube.com/watch?v=DQnLHf8qlJ4

I have much to explore with drawing, and I am rather taken up with painting at present, but I am planning to use my sketchbook more, and I am hoping that over the Summer I will produce many more sketches and drawings which hopefully I will at some point put to use in a painting or two.  Drawing interests me in that it is one  way of developing visual awareness and sensitivity and it is  an extremely valuable discipline.   I learnt lots of different approaches during the time I spent life drawing, and I want to experiment with them over the Summer, out of doors, at West Dean Gardens, where I am repeating the excellent “Landscape and Figure Painting in Oils – The British Tradition” tutored by John T Freeman.


Take a look at my website!

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

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

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

Jenny Meehan Photographic Imagery



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