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I ran out of time in my last post to tell you more about a project I was pleased to be part of.  So better late than never!

Collect Connects’ Artwork for the Tate Modern

This was a Collect Connect project (Alban Low) with Harvey Wells, Kevin Acott and the team at
Queen Mary University of London

From the Collect Connect site:

“In 2016 we created our Relationship Map for Mental Health Awareness Week. It was a large scale artwork that charted people’s life connections using the London Tube map. After its success we’re back in 2019 with a new interactive map that will be exhibited at the Tate Modern from 11th-16th June. It will be part of the Ideas in Motion: borders, bodies, and the universe exhibition at the Tate Modern, Blavatnik Building, Level 5, Bankside, London SE1 9TG.
More info at https://www.tate.org.uk/whats-on/tate-modern/tate-exchange/workshop/ideas-motion-borders-bodies-and-universe”



Our artwork is eMotion: Emotional Transitions in Healthcare. Ill-health requires us to make transitions: to move emotionally, spiritually, socially, physically. We adjust from being ‘healthy’ to being ‘ill’, from ‘independence’ to ‘dependence’ and back again. The project highlights the joys and fear of impermanence, of the changes that occur every second, minute and hour of our lives. It embraces movement as normal, as part of the flow of life – something that should neither be resisted nor forced.

We’ve built a huge interactive floor map, in the style of a tube map, which has ‘end stations’ labelled with key points of ‘stasis’. The ‘station stops’ in between are open for people to explore how they navigate these transitions. We would like your help in creating a map so that visitors at the Tate can navigate a path along these routes of transition.”

quoted from the Collect Connect website

Connections on the interactive floor map reflected journeys between two poles;

Health – Illness

Dependence – Independence

Home – Hospital

Life – Death

Young – Old

Hope – Fear

Certainty – Uncertainty

Me – You

Doctor – Patient

There were three blank “stops” for each line.  Artists, including myself, made our contributions concept wise and these were made into options for people to arrange so they could connect the concepts in the way they felt meaningful. (For example: what does it feel like to be in the middle between Hope to Fear, or closer to Hope, or closer to Fear. You could write something like: Hope – Last Minute Corner – First Game of Season – One Nil Up – Fear.)

Some of my ideas were used and it was lovely to contribute.


Here were my submissions:

Life – Death

Grateful Reception – Intimate Connection – Anxious Separation


Me – You

Expecting – Meeting – Expecting


Doctor – Patient

Controlling – Enquiring – Seeking


Hope – Fear

Holding Wonder Lightly – Trying to Grasp All – Losing Sense of Self


Dependence – Independence

Vulnerability and Need – Gathering Resources – Freedom to Be


Certainty – Uncertainty

Really? – Faith – Trust


Young – Old

Tender in Expectations – Placid Pivotal Places – Facing the Realities


Home – Hospital

Where it Starts – Where it Happens –  Where it Ends


Health – Illness

Moving and Being – Maintaining Momentum – Slipping Down Stagnantly



eMotion: Emotional Transitions in Healthcare
Ill-health requires us to make transitions: to move emotionally, spiritually, socially, physically. We adjust from being ‘healthy’ to being ‘ill’, from ‘independence’ to ‘dependence’ and back again. Track your personal route from illness to wellbeing on an interactive map of the healthcare system.

Tate Modern also have this, which looks interesting.  As someone with osteoarthritis….(and a nice new total knee replacement to go with it!) impaired mobility has been part of my own experience.  Thankfully at present, I am fully mobile, but I did have a two year period when that was not the case.

Creating without Constraint: Arthritis and Art
Experience this interactive workshop exploring the relationship between impaired mobility and artistic expression. Our researchers will guide you in a ‘journey’ inside the joints with activities simulating the restriction of movement. The display will include the work of Renoir and Pickering, two artists who lived with arthritis, to explore how art can overcome disability. Also, emerging painter Rebecca Ivatts will give a talk about her collaboration with Pickering.”

I looked around and chatted, having excellent conversations and learning lots, as well as sharing my own perspectives and experience of osteoarthritis.  I’m particularly interested in chronic pain management, as this is something I studied a fair bit over the two years before my knee replacement surgery out of necessity.  I don’t have pain in my knee anymore, but my elbows, wrists and hands have decided to sometimes advertise themselves in the pain department. I’m getting pretty experienced at moving my mind in other directions now!


Big and Small Names at the Tate Modern

The novel thing is, I can now say my name has been present at the Tate Modern!  Yes, printed, and there for all to see.  Only because of a small contribution, but there all the same.  And names mean a lot to us, so just the little printed presence of my name at the Tate Modern can bring me at least a little smile!

People like their names in places…Yes they do. It’s interesting that the now Blavatnik extension/building at Tate Modern was named the “Switch House” when it was opened in June 2016. I do prefer the original name. It holds some relevance to the history of the building which I think is always a good thing.  The now Blavatnik Building was originally named the Switch House to reflect the previous use of the site for a power station.  It’s very interesting that you can see two circular terrace areas when you look downwards.  You can see the Oil Tank Wall, which is an interesting element of design.  The Oil Tank Wall encloses two large circular terraces, to the south and east of the building right in front of the new gallery entrance and café. The Oil Tank wall is an above-grade extrusion of the existing below ground Oil Tanks.  I love it.  It’s a strong feature which heightens your awareness of the past.  I think the building was always meant to strongly echo its past as well as its future…because it has an interesting history.

Tate Modern’s The Turbine Hall is housed in the former Bankside Power Station, designed originally by Sir Giles Gilbert Scott (He was the architect of Battersea Power Station too!). It was built between 1947 and 1963. Before it was developed the steel framed brick clad building with it’s 99m chimney was divided into three main areas: the Turbine Hall, the Boiler House to the north, and the switch house to the south.

So you see, bearing in mind the Turbine Hall, the Boiler House and the Switch House…yes, a nice trio.  It is a bit sad that the Switch House was renamed.  I guess when someone donates a lot of money, they like to have their name included.  And it’s kind of understandable.  Because I got a tiny bit of a kick out of my little name being in the Tate Modern, so I am sure the same kind of kick, but a little bit larger, applies!  So the name was changed, a year after the opening, and reflected Blavatnik’s wishes. Bearing in mind the size of the donation, I think it was probably diplomatic to reflect Blavatnik’s wishes.  Nicholas Serota, who stepped down as the Tate director at the end of May 2017 said he was “delighted the new building now bears his name”. Blavatnik made the Tate pledge in 2011 and the Blavatnik Family Foundation’s donation made up a substantial amount of the £260m needed to complete it.

So I do wonder if the name “Switch House” was meant to be it’s proper name… I’m sure it was… It would be in accordance with the other buildings.  Yet Len Blavatnik, (an industrialist born in Ukraine) came up with the cash in 2017 when Tate Modern found that the new Switch House extension had left it with a £30m funding shortfall. So I shouldn’t be surprised that a year after it opened, the Switch House was renamed the Blavatnik Building.  And I’m quite happy with my own name in very small print on an super contribution to the “Ideas in Motion: borders, bodies, and the universe exhibition”.


USSR-born billionaire made one of largest donations in Tate’s history to help fund building temporarily named Switch House

What Style is that Painting?

This was one of the questions I was asked at this year’s Kingston Artists’ Open Studios.

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!)

Yet “style” can be a trap.  I believe a consistency can be found which comes from the person themselves. Styles may change but the interactions between mediums and styles are what keep an artist’s work dynamic.  I don’t need to stick to one style… It’s  more a matter of honing my focus and being reflective and innovative. Sometimes that makes an artist’s work rather an eclectic mix.  Diverse at times. That’s good, not bad.  Don’t worry about how your work would look on a supermarket shelf.  Don’t worry about if you are consistent enough.  Do your work for your self, unless you particularly want to do it for other people.  That’s fine too.  But exploration, discovery, experimentation, and going beyond what you can see or anticipate or plan…. These keep things exciting imo.

Do you need exciting, engaging, images for a book cover design?

Do you need exciting, engaging, images for a book cover design? If so, then take a look at my website jamartlondon.com, for a start.

My artwork is particularly suitable for themes of: faith, religion, philosophy, Christian, church, all faith traditions, inter-faith, spirituality, the subconscious, psychoanalytic themes, mindfulness, contemplative practices, healing, health, both physical and mental, trauma recovery, metaphysical and psychological focused writings, the devotional life, and many other subjects.

Indeed, pretty much any subject matter or theme which benefits from a more abstract graphic image; one which also conveys basic feelings and ideas in an open and experimental manner; would benefit from it’s clarity of communication being enhanced by one of my art images.

From the lyrical abstraction of some of abstract expressionist style textured paintings, to the geometric abstraction clear edged imagery, which I also produce, the value of non representational imagery in book cover design which is both colourful and interesting, and stimulates the eye with colour and striking composition, cannot be under estimated.

If you are looking for something particular, do contact me, because I only display a small amount on the internet and may even be able to create something specific to your needs, or be able to locate something from my extensive archives which meets your need.

DACS administrate my licensing agreements and organise the use of my art work images quickly and conveniently. They are very helpful and can guide you through the process if you are unfamiliar with it. I normally follow their guidelines with respect to the fees for licensing, as these are set in line with the industry standard.

DACS do offer a good reduction in fees for registered charities. Occasionally it may be possible for slightly reduced rates to be negotiated in other circumstances.

To find out more about how you can arrange to use my imagery, see here:




Artist’s Statement – Jenny Meehan

Artist Statements are funny things…Mine does change over time and circumstances.  Which is in accordance with my priorities and focus at the time of writing. This is no bad thing.  Often it is very helpful as the need to critically assess and evaluate my vision and objectives, as well as look back into the past and reflect on how things are evolving is a useful practice which needing to write an artist statement helps.  Here is an example of an early artist statement I wrote many years back:

I have been creating two and three dimensional art since 2005. Art is about exploration. I view mine as a natural and evolving process which is primarily to do with the emotions and spirit, though I do enjoy playing with concepts too. My Christian faith, relationships, and artistic contemplation and production are the main driving forces in my life.

Trees and plants, metal objects, the human figure, and many different types of man- made constructions, are subject matter I favour. I like to explore different styles of expression using a range of media; primarily paint, photography, poetry, metal and paper. The brokenness of human experience fascinates me, but also the potential for growth and renewal. My work has a positive outlook, as I think that it is often through suffering, touched by God’s grace, that the beauty of the human soul is revealed. The idea of strength combined with vulnerability is particularly attractive to me.

My art is a sacramental practice, and the mystery of faith and its reality beyond our human rational mindset is something which interests me. I also see my work as an articulation of fragmentary experience; it’s how I make sense of the world. Alongside my general fine art practice I am interested in liturgical art using a variety of media. Since 2008 I have put most of my creative energies into developing my skills with paint, which I love. Intensely.”

I quite like this one…It gives a gentle overview, which includes a lot about spirituality and faith and the importance inspiration wise of my religious tradition.  It’s not very focused on any particular current project of the time…I wanted to keep it very broad and tried to cover a large area with it.  Maybe a little too much of an overview I think, looking at it now.  However, the purpose is important, and it was written for my website at the time, so in that sense I think it was a pretty well fitting piece of writing.


Lovely West Dean College and West Dean Gardens!

west dean gardens west dean, drawing by jenny meehan

Drawing done in West Dean Gardens

Drawing by Jenny Meehan in West Dean Gardens Sussex.

Another one….

drawing by jenny meehan in West Dean Gardens Sussex

Another one!

I will post some photos at some point.

This year I was experimenting with Collagraphs.   Very nice medium… Right up my street.  I have been working with black a fair bit in my studio tent recently…. experimenting, so the rich black ink was a welcome sight and the textures are always so dynamic in terms of the marks they can make.  So it was a delight.  Take a look on my instagram to see some of what I produced, though as is always, I have taken home a lot of work to do which will keep me on track in that area for some time.  I’m not interested in working large or producing editions…Small unique prints are more interesting and why produce more of the same?



Shape Open 2019

Very please to be taking part in this year’s Shape Open Exhibition.  It’s great my two years of increasing physical disability before a much needed knee replacement proved so fruitful in unexpected ways.  Not easy, but to take part in the Shape Open 2019 with my work “What Does this Symbol Say?” feels very appropriate, because the creation of my artwork is intimately connected with my own experience of disability.


Inclusive International Symbol of Access Design by Jenny Meehan

Here is the text I submitted:

“My re-design of the International Symbol of
Access is inspired by my own need to rethink
what disability is due to a period of restricted
mobility prior to knee replacement surgery.
Finding myself in need of using an accessible
toilet, for example, helped me to realise how
inappropriate the existing symbol was.
I’d like people viewing the work to add their
thoughts as to what it expresses to them. If the
ISA was to change, this could have a powerful
impact in many societies and open up
dialogue and awareness in a very beneficial
Opportunities to rethink are intimately linked
with with conversation about disability, and art
is a key player in helping peoples awareness
to increase through engaging with new ways
of seeing and experiencing things. In my
view, the focus for progression in all things
needs to encompass a strong sense of moving
forwards and upwards, and this new icon has this. ”


The reason why I think my design is a good option:

It’s got the right angle of what was the seat of the wheelchair and also the round circle which was the wheel.  It has the three main elements of the existing wheelchair symbol but rearranged and reinterpreted. Open arms convey welcome and reception of.

My symbol has also the following strengths:

It retains the circle, helping recognition, as society adjusts from the old to the new
It works in both static and mobile situations (ie previous crit of the dynamic wheelchair version)
It suggests refuge (a circle as something which encompasses and surrounds in a protective way)
It suggests entering into…. key for accessibility…the pointed end of the v shape enters into the inside of the circle
It suggests freedom…. The arms (v shape) are outstretched and open. This is freedom for the disabled person
the feeling of this icon is buoyant and expansive…
the small circle and upturned V shape resemble the top half of a person’s body, meaning it still contains the two key elements from the old symbol, a circle and a human body, just in a slightly more open and abstract way.
The whole icon has a sense of outwards and upwards… things are moving forwards.
The whole icon is more inclusive, and shows inclusion visually too… ie the person goes into and comes out of the circle. Helpful when used to signify that facilities are designed around the person.

Facilities are designed around the person, and the symbol is designed with the person, not the wheelchair, being central which is more appropriate.

Unfortunately the process for getting the International Access Symbol changed is probably near impossible, as there are so many bodies and countries and boards which it would need to go through.  However, this hasn’t stopped me creating this. It’s making it’s debut into the world in the perfect place.

I designed my inclusive international access symbol in February this year.  I later used it to create another different design with a specific emphasis on mental health; “State of the Art”.  State of the Art is an emblem with specific personal links to my own psychological and emotional trauma recovery, while “What Does this Symbol Say?” is a symbol design which relates to my experiences of physical disability, though of course the two are related!

I’m looking forward to the private view!  Info here  (from Shape website):


Join us for the Private View of the 2019 Shape Open on Thursday 5th September from 6.30 – 8.30pm.

This event will be BSL interpreted.

The exhibition will be available at Nunnery Gallery until 19th September.

The Shape Open 2019 exhibition explores the theme ‘In Circles’ in the context of disability. Disabled and non-disabled artists were invited to submit work for Shape Arts’ seventh annual Open exhibition that ignites debate and discussion on disability from a wide range of viewpoints.

This year’s exhibition theme ‘In Circles’ questions whether progress for disabled artists is being and can be made within the arts, if our work is counterproductive and a circular argument, or if we can shift institutional thinking.

The exhibition showcases work across a wide range of art forms from artists around the world.

The 2019 Shape Open exhibiting artists are:

Tony Allen, Richard Amm, Faith Bebbington, Coreen Bernard, Lizz Brady, Claire Callow, Sam Castell-Ward, Annie Ho Cooper, Daisy Cowley, Nikki Davidson-Bowman, Catriona Faulkner, Alice Rose Floyd, Steven Fraser, CL Gamble, Laura Graham, Michael Gurhy, Steven Hardy, Jack Haslam, Liam Hassan-Beserekumo, Tzipporah Johnston, Elora Kadir, Nihan Karim, Glynis Lamond, Carrie Mason, Campbell Mcconnell, Andrew McPhail, Jenny Meehan, Charlie J. Meyers, Bella Milroy, Aidan Moesby, Steve Musk, Elfrida Osbert, Alice Partington, Beau Rouse, Amna Sharif, Anne Smith, Mark Tamer, Andrea Vicentini, Aminder Virdee, Ophir Yaron, and Chan Chung Yuen.

A winning artist, selected by a small panel including Shape Open Patron, Yinka Shonibare MBE (RA), will be awarded £1,000 at the Private View; a second artist will receive the People’s Choice Award of £250, as voted for by visitors of the exhibition throughout its duration. The People’s Choice Award is kindly supported by Crucial Colour Ltd, part of L&S Printing Co Ltd in Worthing, West Sussex.

Full details can be found here: https://www.shapearts.org.uk/Event/shape-open-2019

Travel Information
Opening hours: Tues-Sun, 10am to 5pm
Address: Nunnery Gallery, 181 Bow Road, London, E3 2SJ
Nearest station(s): Bow Road (District and Hammersmith and City lines) is a 6-minute walk away, and Bow Church (DLR) is a 3-minute walk away.
Bus: 205, 25, 425, A8, D8, 108, 276, 488 and 8 all service the surrounding area.”


Last, but not Least… North Pennines AONB Environmental Conservation Organization Subterraneous Exhibition at Bowlees Visitor Centre

I have my work on show at Bowlees Visitor Centre.  The location of the centre is within the North Pennines Area of Outstanding Natural Beauty/AONB and UNESCO Global Geopark.  It looks like a lovely area.  I cannot visit the exhibition but hopefully they will publish online a lot about it soon.

There’s an article here:


I am very pleased to have my art work in this art exhibition!

My “Ant Parade” surface pattern design is something I was very pleased with and I like my work to be seen and enjoyed by others as much as possible.

Text from the above:


“More than 50 creations are on display in the Subterraneous exhibition at Bowlees Visitor Centre which continues to September 29 as part of the North Pennines AONB Partnership’s Cold-blooded and Spineless project.

Funded by the National Lottery Heritage Fund, the project raises awareness of invertebrates and highlights their importance to our environment and our lives.

Subterraneous will uncover the world of invertebrates, largely hidden from view.

The work has involved artists from the North Pennines and further afield.

Furry creatures will invade the exhibition space at Bowlees Visitor Centre and a variety of sculptures, sound and images will emphasise the importance of invertebrate conservation.

Works include ancient fossils in sandstone, vibrant insects made from recycled silk ties and even a sculpture that functions as a soil ecosystem.

There will also be an “infestation chair”, covered in a screen-printed design, celebrating the beauty and complexity of insect life.”


I like the sound of that chair!


North Pennines AONB, Environmental Conservation Organization, Subterraneous Exhibition at Bowlees Visitor Centreant parade by jenny meehan , surface pattern design, bugs, insects, ants,

ant parade by jenny meehan ©jenny meehan North Pennines AONB Environmental Conservation Organization Subterraneous Exhibition at Bowlees Visitor Centre


I am pleased to be supporting the North Pennines AONB Partnership’s Cold-blooded and Spineless project by exhibiting my work in the  Subterraneous exhibition.

Subterraneous is part of an AONB Partnership project.

Cold-blooded and Spineless is funded by the National Lottery Heritage Fund.

Find out more here:

  • @HeritageFundNOR

And here:

Twitter @NorthPennAONB  @northpennwild

Facebook @NorthPenninesAONB   

Instagram @northpenninesaonb

My text on Ant Parade

Ant Parade 2019

This small square piece of fabric is an example of one strand of my creative practice which involves experimentation with geometric shapes and patterns. The original form of the ants has been obscured and distorted through my visual interpretation, which I developed in order to emphasise the way ants work together.

Ants live and work together in highly organised societies called colonies. In fact, most ant colonies are so united toward the common purposes of survival, growth, and reproduction that they behave like a single organism, or a “superorganism.”

Pattern is an underlying structure that organises surfaces or structures in a consistent, regular manner. Pattern can be described as a repeating unit of shape or form, but it can also be thought of as the “skeleton” that organises the parts of a composition.

So these little invertebrates, do share a hidden, less obvious skeleton, of sorts. It’s the case in life that often the structures which hold the body together are not obvious at all, and sometimes completely invisible.

Pattern exists in nature as well as in designed objects; it is interesting to look at the parallels between art and nature, also appreciating the less obvious ones. Some formations are obvious and some are not.

An army of ants may well consist of creatures classified as invertebrate, but it’s certainly not spineless! A spinal column gives the body form and function. There’s a hidden spine in this ant parade, which I have interpreted visually in an abstract manner.



About Jenny Meehan British Contemporary Fine Artist and Designer

Jenny Meehan jamartlondon.com

I am a painter-poet/visual artist, contemplative/poet/writer, art educator, teacher and spiritual mentor (Progressive Christian faith centred) based in East Surrey/South West London, UK.

Support my art working by buying products of my design on Redbubble.com and also of course, original fine paintings, available direct from me!
Geometric and lyrical abstraction from London/Surrey based female British Contemporary Artist.

I’m interested in spirituality (particularly Christ centred spirituality), creativity, emotional and psychological well-being, trauma recovery, and mindfulness.

I exhibit mainly in the UK, and am a member of Kingston Artists’ Open Studios (KAOS).

I have trained both with SPIDIR and through a variety of other training bodies as a spiritual guide/mentor.
I am a trained teacher (PGCE) and hold occasional small groups in developing painting and drawing skills, as well as offering occasional individual tuition.

Contact me via the contact form on my website http://www.jamartlondon.com

If you are less interested in original fine art and paintings, but would like to have something with my imagery on it, then go to:



Where you can buy selected art and design.
For the more geometric abstract strand of my art and design:
https://www.redbubble.com/people/JennyMeehan/portfolio has more, and for lyrical abstraction painting-prints I will be putting work up on the other redbubble profile:

I gain a small royalty percentage which helps me towards the cost of materials and exhibiting my work. Every little helps.

You can contact me via the contact form on my website jamartlondon.com

Some of my original paintings are available for purchase when no longer required for exhibition, and I am happy to license images of my work via the Designers and Artists Copyright Society (DACS).

All content 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.

Please note that all images of my artwork are subject to copyright law: All rights reserved. In the first instance, contact me, and I will refer, as/if appropriate.

If you are looking for artwork, particularly abstract, colourist, expressionistic lyrical abstraction type painting images suitable for book covers etc, then do contact me as I might have something to suit which will be quick and easy to license via DACS





November and December!

December 11, 2018

©jenny meehan contemporary female abstract artist kingston upon thames surrey art culture

jenny meehan prints ©jenny meehan

November and December are when I tend to turn my attention to updating my website and various other computer based tasks.  A good time for more socialising too!  While I love and need much time in solitude, I am an extrovert by nature and there are so many fun things to do at this time of year! I have packed my studio tent away for this year.  It’s too cold now, and the days are shorter anyway.

Above you see, along with my feet, some prints which were printed for me as part of a prize awarded!  It was the 2nd Prize in Digital Art Category of Chester Art Centre Open Exhibition 2017.  One hundred pounds worth of digital printing!  What a useful prize!  I have put them in frames and prepared them ready for next years Kingston Artists’ Open Studios. They are archival quality prints, and look fantastic.  I am very pleased with them. Though I won’t label them limited edition,  because I feel that is somewhat irrelevant in today’s digital age, (with so many printing options available), because I don’t print and sign much work nowadays, they should probably be labelled 1/1….    for it is very unlikely I will produce anymore.  But I don’t know what I may want to do in the future with them.  For this reason, I tend to just sign and number my prints without specifying how many I will or won’t make.  As said, the reality is that I don’t spend much time on printing my work now or getting it printed.  Too busy creating, innovating, and experimenting!

I have made several visits to the British Museum in the later part of this year.  Glad of it.  Great place to wander through and appreciate the wealth of historical artefacts; all in one place.  I love looking at historical artefacts and discovering more about the past. I admire craftsmanship and find religious beliefs and learning about different cultures very helpful.  Kind of liberating.  The focus of so much creation is bound up in religious belief.  I find this helpful to bear in mind.

Ritual. Remembrance. Death.  Eternity.

These were the words I left with.

And a focus on the art working I do, which is purely focused on what I am doing.  Yes, it’s hard…Because there is a need to share, promote, and put things on the internet.  But as the years go by, I am learning to focus more, and in a more refined manner, on the work itself.  What it means.  What it says.  Why it matters.


We have so much.  It can get confusing!


Looking Back

Looking back, though not very far, here are a couple of images of my paintings from this year’s Kingston Artists’ Open Studios event.  If you like visiting Artists, seeing their work, and getting a chance to ask the questions you want, as well as maybe having the opportunity to buy an original piece of fine art much cheaper than you would probably be able to get it at a gallery, then an Open Studios event is just the thing for you.

Contact me via my website jamartlondon.com and ask to be placed on my mailing list and I will send you information on the Kingston Artist’s Open Studios event in 2019.  Surrey artists open their studios each year, and Kingston has a wealth of artistic talent just waiting to be explored.



kingston artists open studios jenny meehan paintings in situ

KAOS open studios jenny meehan paintings

On the left “Joy and Pain” and on the right (face on view) “Father, Son and Holy Spirit/Trinity”.

The latter painting has been licensed for use on one of the Bible Reading Fellowship’s publications, on the cover of a book by Nigel G. Wright titled “How to be a Church Minister”.  I am always very pleased when images of my paintings are licensed for use.  It’s great when they can be of practical use, and particularly, as a bit of a writer myself, I am pleased when they are employed in the service of writings relating to faith and spirituality. It’s wonderful to see my paintings used in design…As long as a licence has been issued!  Being a member of DACS (Design and Artists Copyright Society) has been one of the best moves I have made.

If you want to use any of my paintings, and are looking for something specific, do contact me, because the vast majority of my work is not shown on the internet.  I really do work hard, and produce quite an array.  It’s quick and easy to purchase a licence through DACS.  My paintings have graced many book covers.


©jenny meehan

waterloo clock ©jenny meehan

Love this clock!

In 2010 the specialist clock maker Smith of Derby removed the hands and many of the internal workings of the clock so they could be re-engineered to work with the latest technology. The  clock’s historic exterior was also  cleaned and decorated as part of the project.  The clock has been a central feature of Waterloo Station since the early part of the 20th century.  The clock was made by Gents of Leicester and is believed to date back to the 1920s.  My photography now is pretty much limited to the occasional snap here and there, such as this one.  I have a huge archive of the years I spent focused primarily on photography but I tend to use it for reference mostly.


under pressure©jenny meehan

under pressure ©jenny meehan

Yes, well, we all feel like this sometimes.  An example of some early experiments with Photoshop.  The image was based on a cut out and stencil mono type  I made at West Dean one year.  We live in a society and culture which exerts an awful lot of pressure on us, in a relentless manner.  What a challenge it is to even just BE.  How do we define ourselves from the inside out, in a strong and certain manner, in the face of all the media? What masks do we adopt and what happens when they fail and we fall? What happens when our vulnerability and fragility need to be faced, our self encountered, and avoidance and repression, distraction and entertainment, fail to keep us afloat?


Jenny Meehan on Redbubble.com

Redbubble is a great “print on demand” website and I have some of my images there.  The world is full of fabulous artists and Redbubble is a good place for buying merchandise which is original, exciting and contemporary.  The artists on Redbubble get a royalty payment from any items that you purchase there, so it is one way to support the creative community and help artists gain a little bit of income from their work.  Do take a look!


I only get a small royalty percentage, but it’s lovely to know someone has chosen something with my design/artwork on it.  It’s one of those welcome emails…And a small, but vital encouragement to me!   I don’t print very much of my own artwork anymore, as I prefer to focus on painting and poetry, but using a company like Redbubble.com does mean if people want to buy something printed they can quickly and easily, and it doesn’t take my time up in order to produce the item.




Follow the link above to see one of my patterns.  Using the “Spring Will Come” image.  Now the patterns I make tend to be with pieces of stone and glass, as my new venture into mosaic continues.  But however they are made, there is something very satisfying about making patterns.




jenny meehan jamartlondon photography monochrome jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden

jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden

An early photograph of mine taken at West Dean Gardens.   I am posting up rather random images, because I have spent time looking through my archives.  Pathways of various kinds have always held my interest.  Way forward. Need to move forward.  Sense of direction.

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden

This little decking area is no more in West Dean Gardens.  They have removed it.  The pond area has changed a lot. This is such an elegant bench. I have so many photos and drawings of seats, benches, chairs…resting places.  The need to stop. Dwell. Cease moving. Contemplate.

jenny meehan jamartlondon photography monochrome jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden

jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden

And so many photographs of plants, trees, vegetation, and all growing things!  Growth, natural form, being essentials for the eye, in appreciation of variety, vast variety, endless variety, of God’s amazing ongoing creative power and endless inspiration to be found by looking at it!

I continue my professional development in the visual arts through the short course programme at West Dean College when I can.  It works very well for me, and I find it has been far more useful to me than a fine art degree.  My degree is in Literature, and I also studied a substantial number of modules in History as part of my degree at Kingston University.

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden

Another sweet West Dean moment!  And yet another of numerous images of water.  Water.  Sea. Rivers. All things watery. I love water and rocks, and all the images I have taken, while I don’t tend to refer to them directly, feed into my consciousness and inform my paintings.  I think the years I spent taking pictures were a good training in terms of composition particularly.  I also reached the point where I had so many pictures they did not interest me so much, and this may be one of the reasons I jumped into abstraction!

jenny meehan jamartlondon photography monochrome jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden

jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden


Lovely light.

jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography monochrome ©jenny meehan west dean college time enjoying the garden

On my most recent course at West Dean College, the box needed a tidy up, but in this image the rounded shapes are very neat and tidy!


black and white landscapes jenny meehan jamartlondon photography monochrome

jenny meehan jamartlondon photography landscapes in uk ©jenny meehan west dean college time enjoying the garden

Another West Dean Gardens delight.


It’s a bit of a brief journal entry, I know. But I am so much absorbed in my work at the moment.  There’s some great relief for me at the present time in not writing so much.  Just being totally immersed in experimenting doesn’t seem to need any kind of documentary.  I am almost tempted to stop writing this journal.  I won’t do that, but it may be shorter and sharper.

Many years ago I used to enjoy the Abstract Critical website.



There were some interesting discussions… It helped me put my brain into action, and introduced me to thinking about abstraction at a time when I was still battling internally with if I should really let myself go down the abyss!

Reading what Alan Gouk had to say was exceptionally helpful to me.


Happy Christmas!

Now I must go.  As said, I think it likely that I will now continue just to post once every two months.

angel print for all saints church of england kingston upon thames angel campaign submission by jenny meehan

Angel print for All Saints church of england CofE Kingston parish church kingston upon thames angel campaign submission by jenny meehan


You can purchase a print of the above art work by me on Redbubble!

Rain, Rain,Rain.

I just want to put the final coating of Keim 694 Waterbased semi-permanent anti-graffiticoating ON THE MURAL.  It’s sitting here in front of me, but cannot be used “if rain could fall within 5 to 6 hours”.  The way the last few days have been going, all my expected times and days have melted into the ground and evaporated!  I haven’t even seen the mural since John last came in to finish the cartoons, so I haven’t even seen it finished yet!  Hopefully one day next week….

Once I have coated the mural with the anti-graffiticoating, I will be working on a presentation on the whole process for the school.  And then the work really will be finished.  I have to say a really big thank you to Keim Mineral Paints again for their part in the project, which in the end turned out to be very significant, because I found their silica-sol paint “Soldalit” of great use for the linear parts of the painting, and John used this for the cartoons too.   I now intend to continue to use Soldalit for other exterior murals I paint, as the colour range is fantastic, and though I like to mix up my own colours, (as I did for the colour areas of the Trafalgar Mural, using the Beeck Full Colour mineral paints), it does save a lot of time if the colours are already mixed.

I’ve learnt a lot from this project….

1.  I love and hate the weather, but it’s kind of nice to be subject to it.

2. Some companies have great customer service, and others need to improve.  However great, you can only build on the foundations below you.  That means, every little person matters.

3.When you paint murals on party walls, it can take a long time and a lot of effort to get permission to do so, but if you use a porus silicate mineral paint, there is no good reason for refusal, as the wall can “breath”, so no damp issues arise.

4. Don’t assume anything

5. Children are worth working with.  My thanks to the lovely children who painted with me, and to all those wonderful artists who produced such amazing cartoons under the expert and sensitive guidance of John T Freeman.  If the mural was bigger, all the cartoons would be in the mural…every single one.

6. It will ALWAYS take longer than you think, and extensive preparation, including research, is always worth it.

7.  The composition has to be right.  If it’s not, don’t bother.

8.  Silicate Mineral Paint offers the best colour quality possible, far superior to acrylic paint in terms of its ability to reflect light.   Having spent hours looking at the difference, I have no doubt in my mind about this matter. It’s beautiful.  It is more demanding to use, but it’s worth it. And Keim Soldalit, their sol-silicate paint is much easier to use than the Beeck.

9. Take the rough with the smooth…In this case, quite literally.  The wall surface was rough!  Painting straight lines on such a surface doesn’t make much sense, but as they say, “where there’s a will, there’s a way” and nothing’s impossible.

10. Give generously, receive generously.

It might seem a bit early to put this down, but as the rain is stopping me from going any further, I might as well do this now.  I would like in the future to put together something on practical techniques for mural painting with silicate mineral paints to help others who might consider using this type of paint for exterior or interior murals, but to be honest, I have so much happening right now I cannot see myself being able to do this for sometime.

The Keim website is worth a look.  https://www.keim.com/en-gb/keim-library/the-mineral-principle/

They have been stellar in their customer service, and helped immensely.  I’m very grateful.

I now have work to sort out for exhibition at the Rose Theatre in October, Gallery 63 in September, The CornerHOUSE in December and later on Leatherhead theatre in May 2012, which is great, but means the mural work has to stop for a while.  I am working on a mural in a garden, just a simple grey and white one  .I would like to do another exterior mural at the school later next year.  I’m also in the process of applying for the Artists Access to University Scheme, at Kingston University in order to develop my practice.  That should be enough for now,  plus running the house, and all that domestic bliss!

By way of a little deviation, some images of other things I have been creating!




I can’t resist the odd photograph now and again.

Pencil sketch done at West Dean College during last stay recently

Another part of the journey….


Look at the mess, beautiful, isn't it!

This is the kind of studio space I would like to have all the time!


I’m back from a most excellent course at West Dean College in Sussex once more.  The short courses there enable me to introduce new elements to my practice and though I can only afford to take part in very short courses at the moment – Summer School is now completely out of the question – I still find even a course of two days duration is enough to effectively act as a kind of trampoline from which I can throw myself on and bounce off into new directions.   I sometimes wonder if I need any new directions, as I hardly have time to develop the ones I am already exploring, but I trust in the knowledge,( which does seem to be the case), that because my work is based on a foundation of truth and an honesty of expression, that even in the midst of apparent chaos, of diverse experimentation and of sometimes very different “styles”, there is a constant about it which roots it into the earth and prevents it from blowing away completely.

This course “Fantastical Painting Using The Dynamics Of The Imagination” tutored by Christopher Gilvan Cartwright was very helpful to me indeed, most particularly in the respect of me understanding and developing the ability to critique my own work.  It is a great pain to me that I work in such an isolated situation most of the time, and this of course denies me the opportunity to exercise in a more conscious way the thought processes, which while they are a by product of the work, and certainly not the centre of it,  still provide much interest ,and sometimes useful pointers, when I am considering where to take a particular piece of painting or sculpture.  So this was very useful indeed, and not the usual type of input gained from very short courses, more the type of thing I would engage in on a degree course or similar.  I needed this level of input, and it was very timely indeed.  The tutor was very good at giving focused feedback and suggestions to all members on the course with  a very well differentiated approach which was much appreciated by all. 


A lot of my oil paintings from the most excellent “Landscape and Figure Painting in Oils –  The British Tradition” course by John T Freeman are not finished but there are a few I have finished mulling over, so here is one of them which has undergone the necessary process of being sent through the computer for viewing over the internet.  John T Freeman is one of the most gifted teachers I have had the good privilege to have stumbled upon.  West Dean College and Gardens is  a great place, and I love meeting people dearly, and there are so many people who love artistic expression, it’s all a bit heavenly.  Yes, I am missing it.   It is a privilege to go there too.

My photographic work has over the course of time lent further and further in the direction of blocks of rich colour and I would like to explore this direction using a different printing process to that of photographic reproduction. One that opens up some new possibilities.   And ink… I did try it out this year at the West Dean Summer School in a taster session, and it was POWERFUL stuff! I did not like the smell or the consistency, so maybe that does not bode well, but the COLOUR!  I do feel I want to continue the strands which have emerged from my photographic art, and this is certainly one of them.  I think it’s going to be a useful tool for some interesting work in the future.

One of my experiments carried out at West Dean College, 2010

I am exploring many exciting and interesting ways of manipulating paint and it is opening up lots of expressive opportunities.


Take a look at Jenny Meehan’s website jamartlondon  to see some of her more recent work!  http://www.jamartlondon.com/

Back from West Dean, and other holiday trips here and there, to find the publicity information for “Muybridge In Kingston” on my doorstep.  Very glad to see it too, as I had no knowledge of the “John Lewis Art Prize Photography Competition” which is one of many events going on as part of this focus on one of Kingston’s most innovative people.  Events at the Stanley Picker Gallery, Kingston Museum and the Tate Britain, look very interesting and varied, and I will certainly be going to some of them. 

I also just had to enter the “John Lewis Art Prize Photography Competition”.  Though I am focusing on my painting, I do periodically return to my camera and computer, and as the John Lewis competition has its focus around the John Lewis building in Kingston, how could I resist?  My “John Lewis Partnership Foundations 1987  inkjet artwork (which was displayed at the Stanley Picker Gallery “Kingston Contemporary Open” Exhibition in 2007) beckoned me once more.  But to use something I have worked on in the past in a new way is much more exciting, and it’s one of the joys of being an artist…taking something old and making it new in some way. 

But time!  It’s so tight!  A bit like last time around…inspiration comes fast and thick…sometimes pressure can help things along a bit.  I started working today at around 12 noon and now the print is delivered to the Gift List Department at John Lewis, Kingston.  I am very grateful for the fact that I invested in a printer recently, and also that I had some inkjet paper to hand.  It’s hard financially, and always a struggle to work out what is a worthwhile investment…one which will be useful…but looks like past purchases have come into their own this time around, as I would not have had time to get the image printed elsewhere…not exactly as I required it.

The image is called “Years Go By – John Lewis Partnership Foundations 2010” and gets its title from one of many thoughts I had while creating the piece.  Because it contains parts of the previous “John Lewis Partnership Foundations” image  (in the picture frame and the screen) I felt I had to include this in the title.  My awareness of the rapid passing of time as I worked on it, especially with the deadline date being tommorrow, was something I wanted to include, and the passing of  time is also referenced in the image through the text in the store about beds! 

Because the events going on focus on the work of Muybridge, a figure from the past, and a creator of images (both still and moving) with the camera,  and the competition has its focus on the John Lewis Kingston Store,  to use my own past photographic work by bringing it forward in time and setting it within the John Lewis Furniture Department seemed like an interesting way to set up lots of new visual and conceptual  relationships.  I was thinking about people planning the interior of their homes, thinking about the planning involved right from the outset of creating  a new building, (even so far back as the first lines drawn by an architect), thinking about a blank piece of paper…the problems we all have with dimensions….(mine was the my image looked great square, but I wanted it to work on A3, as that was the format for the competition).  People choosing furniture also have to think about how objects fit into physical spaces.  I gave the figure from the 1987 image of the building’s foundations a prominent place in the image…I quite like the relationship between him and the lady at the top right who is looking at a selection of pictures and wondering no doubt which to choose.  I guess I am also hoping that my image will be chosen as part of the John Lewis Art Prize Exhibition which runs from the 8th September at “The Place To Eat” in John Lewis Kingston.  Only time will tell!!!

More information on Events which are part of the “Muybridge In Kingston” 2010 http://www.muybridgeinkingston.com/event.php

Here is my entry…

Entry by Jenny Meehan for the "John Lewis Art Prize" 2010, part of the Muybridge In Kingston events

This is another chapter in the story started by my first image of the foundations of the John Lewis building in Kingston. First image 1987, this one created in 2010. Interior of furniture department was taken last year I think from memory.

And here was the image which was shown at the Stanley Picker Gallery in 2007 as part of the Kingston Contemporary Open Exhibition…

Image of 2007 artwork "John Lewis Foundations Partnership" Jenny Meehan

Ah yes, it is my favourite place.  West Dean College is where it all started for me in 2005 when I attended the “Sculpture with Wire”  Course tutored by David Farrer.   My sculpture “Articulation” hangs in my studio as a beautiful reminder of a kind of birth… I nearly sold it a couple of years ago, but I am quite glad I still have it for now. I may well continue working on it in the future.  That course worked as a kind of take-off pad for me I think… to suddenly have a whole week to be creative made me realise how fundamental my creativity is to my existence.  And one course turned into several more over the years, mostly involving working with metal, but two in painting.  Short but sweet.

I am playing it safe this year and attending an excellent course by John T Freeman.  I know it’s excellent because I did it a couple of years ago.  (I say “playing it safe”  because I have attended a course which just wasn’t the right kind of thing for me before, and this is a very discouraging experience.)  The painting course is only for a week,  but I just cannot wait.

Image is one taken at West Dean Gardens in the Spring.  My heart’s gone out of making photographic images right now, but I take a little time now and again to fiddle around with past images with Adobe Photoshop.   And it is a very handy skill to have as an artist.  Good for putting work up on the internet, sending it here and there, entering competitions and all that stuff.  However, I worry at times that there may be glue on the stool that I sit on in front of the computer.  You sit down, thinking you are just going to check your emails, and then look up one hour later, and realise you are still there!  So I presently work as little as I can on the computer, and as much as I can with paint.

Having said that, occasionally I am tempted to play around on screen.  Hence  “Morning River, West Dean”, which was an image originally taken in 2007.   It’s a nice little game, but I would not claim that my current photographic images are anything special in themselves.  They are an artistic product without any great craftsmanship.  Some knowledge, a limited tool in the shape of my  distinctly unprofessional camera, and the computer magic of software.  Yet there is value in it for me all the same.  But I am not a photographer, no, I am not.  The beauty of it, for me, has all drained dry.  I am pleased with what I have done in the past, and I am keen to continue some threads started in the past,  but I don’t see much future in it for me.

This type of black and white image ” Morning River, West Dean”  IS something I will continue with, and rather interestingly, it is something in the vein of which I started with. Stuck all over my “Articulation” sculpture (2005) are black and white photocopied images of the branches of a tree in my garden.   I was struck so by the patterns of the branches of different trees, by the whole system of a tree, by the relationship between the overarching pattern or design and that of each unique individual tree.  So it appears I have come full circle!


Take a look at my website and see some examples of my current art working.

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!

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