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Keim Galaxies Launch; Dynamic Imaginative Artworks created by Jenny Meehan with images of Keim Mineral Paints in the Mixing! – Dwell Time Issue 2 –
March 2, 2020
Keim Galaxies Launch
Not quite completed, as one or two more to do, but mostly done!
I move out of the office into the Studio Tent in the Spring… Well, I need to reconstruct the tent because it has suffered with the wind and rain, but should be sorted by April. In the Summer I tend to paint, and then it's back to working inside in the Autumn, with more time spent at the computer.
But I am ready to start publishing the Keim Galaxies. I am also playing about with animations, which I very much enjoy. So that adds another dimension, especially with the music. It would be nice to be more creative with the music, but I am just using tracks from copyright free sources right now. I quite fancy getting out my djembe and experimenting with that and the images, but as always, my mind flies off, and I need to keep focused!
I've been a fan of Keim Mineral Paints for many years, and over time, my palette has been leaning heavily towards the traditional and classic colours of mineral and earth pigments. So what a delight to work with them in a different way with digital imagery!
The Keim Galaxies range from the subtle and spontaneous, to the bold and highly ordered. I introduced some obviously geometric elements, but while putting them into play, I also aimed to keep a sense of fluidity where possible. I've played with contrasts in line, clarity, shape, pattern, scale, and colour, thereby forming an interesting range of imaginative "Galaxies" I hope you'll enjoy.
These designs are evidence of beauty expressed through an adventurous, creative, process. They are perfect for interiors which embrace the natural mineral and earth colours. Choosing ecologically friendly paints for exterior and interior decoration will help us towards a sustainable future. These designs will perfectly complement any eco-friendly interior setting where traditional paint colours are utilised. Many of these designs will also work to add a contemporary twist in a historic/heritage setting, due to the harmony of the colour palette.
The Keim Galaxies were made possible through the kind donation of un-manipulated digital images of paint buckets from Keim UK, which were used as the starting material for art/designs. PLEASE NOTE; THIS WAS A PROJECT I CARRIED OUT INDEPENDENTLY, IT WAS NOT A COMMISSIONED WORK AND HAS NO FORMAL LINKS WITH KEIM MINERAL PAINTS.
The titles of the Keim Galaxies were created through imaginative ingenuity, and were gathered from many sources, including personal memories, music, dance, and the emotions they illicit when viewed. Spirituality, faith, prayer, and joy in life informs all of my visual art working.
I continue working with the Sol-Silicate paints, loving the colours and everything else about them. It feels good to use eco-friendly, environmentally-friendly paints with traditional colours in a new and innovative way, bringing quite a contemporary twist to the colours which are often to be found in both the interiors and exteriors of heritage buildings. As with all my paintings, I do work on them for several years before they get shown, so for now the Keim Galaxies at least provide something to show for the time being!
Because there are rather a lot, I will post up at the end of this post rather than in the middle of it. I have been working on these for many months, so its interesting to see them as a collection. The image resolution/quality on this blog is deliberately low, but doesn't reflect the quality of the original digital images.
Deaf, deaf, Hard of Hearing, Lipreaders, + Face Masks
and Matching Accessories, including Bags, Notebooks, Badges and Clothing!
Featured Collection for 2020 due to Corona Virus Pandemic are over 50 Inclusive Designs by Jenny Meehan
Link direct to the whole collection here: https://www.redbubble.com/people/jennyjimjams/shop?artistUserName=jennyjimjams&asc=u&collections=1511687&iaCode=all-departments&sortOrder=relevant
Wonder Video
Follow the link to see my video "Wonder".
Dwell Time Issue 2
I'm delighted to have been selected for the second "Dwell Time" publication. This is a great project, and the realisation of a fantastic vision and mission. I'm delighted to be part of it!
"Award winning, not-for-profit arts publication reflecting on mental wellbeing. Produced and curated by Alice Bradshaw, Vanessa Haley & Lenny Szrama in collaboration with Penistone Line Partnership. Founded in 2018. Currently funded by Penistone Line Partnership, ACORP, Northern & CrossCountry."
My contribution:
Which was published online in July 2019, and has been selected for the printed publication.
Here was my own reflection on the work I produced:
"This piece is called "Sticky Note to my Self". The realities of life are sometimes very hard to bear. Like printed matter, certain facts stare us in the face, and however hard we try to pull them off, it's just not possible. I chose facts about the Penistone line, because of the publication which is part of the Dwell Time project, but this artwork refers to my own significant train journey to London for psychotherapy on a weekly basis for five years. This sticky note reminds me of my internal journey from one place to another…going in either direction over different units of time.
Thankfully with the right help and support, over the years, the overarching movement is in the direction of health: MOVING and BEING. I hope this is helpful to you in some way."
Chaiya Art Awards 2020
Drat. While one of my submitted paintings was long listed, and selected in the 106 when it came to finally curating the exhibition it fell out of the loop!
Got this:
"We want to thank you for submitting your creativity to the Chaiya Art Awards on the theme "GOD is … " We received over 700 entries in a variety of mediums including painting, drawing, sculpture, glass, textiles, photography and video. The quality of submissions was very high and we have chosen 106 works to be longlisted.
Congratulations on successfully making it onto the longlist with Light Touch"
But that is a far as it went!
So easy to happen, but disappointing because I would have loved to have my work in this exhibition. Being a person of faith and m spirituality being such a prime focus, having work in this kind of exhibition would have been great. Blurb from the Chaiya Art Awards website:
"How do 50 artists respond to the phrase God is … ?
From over 700 entries, the 50 artists featured, of all faiths and none, in this curated and juried exhibition, invite us to muse with them their experiences through canvas and paper, photographs and video, cloth and stitch; 3D metalwork and pottery; bronze and stone sculpture alongside an interactive robot.
The panel of five judges, all well respected experts in their arts arena, will choose and announce the winner of the £10,000 along with other prizes on Press night. Visitors will also have their say by voting for the artwork on display during the exhibition for the public prize of £1,000.
This exhibition is an invitation to look beyond, to discern what cannot be seen and grasp what cannot be described.
10% of all artwork sold goes to our Charity partner UNSEEN – working to end human trafficking and modern slavery.
EVENT: CHAIYA ART AWARDS 2020 – Winners Exhibition, Affordable Art Fair
DATES: 10 – 19 April 2020
OPEN: 11am – 6pm every day (till 4pm on last day)
VENUE: Gallery@OXO, Bargehouse Street, London, SE1 9PH
Entrance is free. Artwork for sale, prices from £50 – £12,500″
Well, it's going to be a great exhibition, so I will certainly enjoy looking at what did make the final selection!
It's Time for Keim!
So, as promised, here is the collection so far. I am going to have to move onto some paintings over the Summer, but I get the feeling that like Keim Paints, this experimenting with the colours in this way may well be almost as addictive as painting with the paints!
Just skip over the blurb about licensing… I need to include it!
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
The image resolution/quality on this blog is deliberately low, but doesn't reflect the quality of the original digital images.
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
The image resolution/quality on this blog is deliberately low, but doesn't reflect the quality of the original digital images.
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
The image resolution/quality on this blog is deliberately low, but doesn't reflect the quality of the original digital images.
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
The image resolution/quality on this blog is deliberately low, but doesn't reflect the quality of the original digital images.
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
The image resolution/quality on this blog is deliberately low, but doesn't reflect the quality of the original digital images.
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
The image resolution/quality on this blog is deliberately low, but doesn't reflect the quality of the original digital images.
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Jenny Meehan (Jennifer Meehan) – How to Contact Me
The image resolution/quality on this blog is deliberately low, but doesn't reflect the quality of the original digital images.
Redbubble.com and the "Keim Galaxies"
I am gradually posting the Galaxies up onto my portfolio on the print on demand site Redbubble.com. It's going to take some time. Take a look here to see how far I have got. If you want any particular "Keim Galaxy" up on Redbubble.com sooner rather than later, just contact me via the contact form here on my blog and I can put it up within three days.
https://www.redbubble.com/people/jennyjimjams/explore is the best link to take a quick peruse of which designs I have posted up on Redbubble. This is my MAIN redbubble.com portfolio and the one I post up the "Keim Galaxies" Series.
Kingston Artists' Open Studios
I am flagging this annual event up, because time really does fly! We now have the dates for this year's Kingston Artists' Open Studios! The 2020 Kingston Artist's Open Studios with be on June 6/7th and 13/14th! Kingston Upon Thames artists open their homes and studios. Open to all. Come and meet us!
More info on the Kingston Artists' Open Studios website here; http://www.kingstonartistsopenstudios.co.uk/open-studios/
The catalogue is not out yet, I don't think, but will be very soon. You can see previous Kingston Artists' Open Studios Catalogues on the Kingston Artists' Open Studios website and also sign up to receive more detailed information for this year's Kingston Artists' Open Studios when it comes out. You could sign up to my mailing list by using the contact form on this blog, and I will keep you posted. I only send out a newsletter once or twice a year.
Jenny Meehan (Jennifer Meehan) – How to Contact Me
Well, that's it for March! I need to repair my studio tent now, so I can do some painting!
About Jenny Meehan
Jenny Meehan – UK based painter-poet artist-author
Specialism: Geometric and Lyrical Abstraction
Artist Journal: https://jennymeehan.wordpress.com/
Image licensing via DACS Designer and Artists Copyright Society (DACS proposed fees are negotiable contact me in first instance)
Copyright Information – Jenny Meehan
Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licences or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.
Any persons discovered to be reproducing, copying or using images by Jenny Meehan without prior consent, authorisation or permission will be put on notice that Jenny Meehan is the copyright owner and asked to immediately cease and desist the infringing activity. If a satisfactory response and / or compliance is not forthcoming promptly, the matter will be pursued. For clarification of the laws of copyright, please contact the Design and Artists Copyright Society (DACS). http://www.dacs.org.uk
Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.
Licencing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. It can be done online through their request form:
For an overview on image licensing on the DACS website, look here.
Please NOTE: the "Quote" suggested is a proposed fee in line with the industry standard. While I do stick broadly to the industry standard with respect to fees, I appreciate the need to stick to a budget in publishing, and the quote is a proposed amount. I normally have some flexibility!
DACS will automatically propose a licensing fee in line with the industry standard. However, please note, this is a negotiable fee. I am happy to be flexible about the initial fee proposed, and it's not a problem if the initially proposed fee is outside your budget. Administration of the licensing process is facilitated through DACS, who liaise between us with respect to the exact fee agreed. Depending on circumstances and the nature of your project, I can offer fee reductions for a certain percentage of licensing arrangements.
If you use their online form and attach the low resolution image of my artwork which you have found on the internet, they will know which image you seek permission for. You can also contact me directly in the first instance if you wish to, of course. Any arrangements will need to be made through the Designer and Artists' Copyright Society, but I can often offer the opportunity to alter images, for example, putting in different aspect ratios or colourways, so it's really helpful to communicate with designers and clients first with respect to the actual image required.
So, feel free to contact me if you are looking for a particular type of artwork image, as I have a large archive of images. I will also be able to let you know the maximum size the digital image is available at. If you then wish to licence the artwork image, you would then contact the Design and Artist Copyright Society to arrange the licencing agreement according to your requirements. Once paid and agreed, I then supply the high resolution image directly to you.
One Month of Studio Space – Inclusive Re-design of the International Symbol of Access (ISA) by Jenny Meehan in Shape Open Exhibition – "Butterfly Net" Poem and Art inspired by Osteoarthritis at Humanizing Medicine, part of the "Being Human" festival at Barts Pathology Museum
November 4, 2019
Temporary Studio Space!
I am delighted to now be sitting in a studio space! It is miles easier than working at home, and though I can only afford to rent it for one month, I know I will make the most of it. Having a dedicated space for art working is very helpful and does induce some new opportunities. Even being able to leave things out is productive.
The studio tent is too cold right now in November. Though it's excellent in the Summer to work outside, it's not possible at this time of year. The kitchen table at home is often another place I work on, but that too has it's limitations.
If you would like to assist me in funding a studio space, then please do make an offering through my paypal me page. Studio spaces cost around 200 to 350 per month and that's out of my league at the moment.
Pop the following in your browser:
paypal.me/jennymeehan and just follow the instructions putting in the amount you would like to gift to me.
Another way to help me financially is to buy my work. I have plenty, ranging from original paintings to open edition or numbered and signed prints. Just contact me via the contact form on my website if you are looking for something particular. I also have an instagram account which is an excellent way of seeing a range of my art working in quick and easy way.
My instagram is jamartlondon_jennymeehan
So what will I be doing in this studio space…? I am bouncing several ideas around. I have several ideas, but the main point is to have the freedom to experiment. However, a big plus which I will be enjoying, is that I have a big wall and so I will be able to work on a bigger scale than I have previously done, and have the experience of painting on a large scale while standing up, as normally I have my paintings on the ground.
Interestingly it was a wall which I discovered in my wanderings through the rear access roads of Chessington many years ago which served as an incentive to start to paint and explore paint and substrates in more depth.
Someone had painted it as above which I loved.
Which Paints?
I have brought along with me a few acrylic paints and some Sol- Silicate paint. I prefer my Keim paint to any other, and the pigments used I much prefer, but I have brought along some acrylic paints as well.
I tend to favour the use of inorganic pigments in my painting. Its a route I started to travel on after completing a mural using silicate mineral paint and I continue to work with silica sol paints in particular. These incorporate earth and mineral pigments which are produced in simple chemical processes. They are also permanent with great lightfastness. So no worries about fading over time.
Today organic synthesis chemistry offers a virtually endless number of artificial colouring substances. They are all secondary products of crude oil with the corresponding high loads on the environment when being produced and disposed of. I prefer the traditional mineral and earth pigments. I find when I do use others, I have to tone them down and knock them back by huge amounts. The one area where I do enjoy the cruder, wilder, synthetic colours is when used in dye sublimation printing, and if suitable, I enjoying translating some of my digital imagery onto fabric.
But I have brought along a few, though I suspect I may be muting them considerably!
Backwards is the new Forwards
Part of my practice as a visual artist to reflect, recall and remember.
When it get's to this time of year I do tend to look backwards.
One of the highlights for me was having my re-design of the International Access Symbol accepted and shown as part of the Shape Arts Open Exhibition this year.
Mainly because it was exactly the right place for something like this to be shown. And because this piece of art /design is the fruit of my own personal experience with using disabled facilities because of personal need.
Inclusive Re-design of the International Symbol of Access (ISA) by Jenny Meehan © 2019 All Rights Reserved
Above you can see some of the fruit of my labour! The labours of my life!
My re-design of the International Symbol of Access retains the buoyant feeling so important in "No Problem/Moving On" ) I designed this symbol in February 2019 with clear concepts in mind. My own experience of temporary disability before and after knee replacement surgery certainly inspired me to work on an alternative symbol to the International Symbol of Access. I got sick of the sight of the wheelchair symbol!
But I want to know from many people who face disability of different kinds what it expresses for you personally. Having knee replacement surgery and the reasons for that have changed my and awareness, but I have also been reminded that for a lot of people they have mobility restricted long term. Is a redesign of the International Symbol of Access (ISA) needed? What do you think?
My design came from personal experience. I felt uncomfortable using disabled toilets marked with the wheelchair symbol but I needed to use them. It made me think about the essential elements I felt should be conveyed in the symbol. You see the circle, previously a wheel, transformed into an opening. You see the right angle, previously a seat transformed into the outstretched arms. You are accommodated. It's a person centred design with a clear message of inclusiveness which is key. Having my own less visible, temporary, experience of difficulties and restrictions of mobility I hope my expression in this design conveys something positive and affirming.
There is also an expression of a person coming through, forwards and upwards and outwards. I can identify with that… I have certainly been on a journey with my own mobility. (One which slightly continues, as still with osteoarthritis and also my un-operated knee does affect me.) But I don't need to use disabled toilets any more for the time being at least.
When I look at the wheelchair symbol it makes me think how many people it misses out. It reminds me of how differently I was treated when I was using a stick and/or a crutch (not always favourable, by the way!) and also reminds me that though the tools and objects we can use to help us are important, they can get in the way when it comes to perceptions other people have of us as PEOPLE, first and foremost.
To celebrate the inclusion of my re-design of the International Symbol of Access in the Shape Open Exhibition 2019 I am making merchandise available on Redbubble.com so that if this symbol resonates with you, you can access it on printed products!
You can get those here:
I would really value your thoughts and experiences though so contact me via jamartlondon.com or in the comments of this blog.
One of my favourite products using my design on Redbubble.com is the clock. The reason for this being that with time things do change. Also time can change anyone's situation. I didn't expect to experience mobility difficulties and restrictions, but in time I did. Also things may change for me in the future. We all take what we have for granted. It's a good practice to think beyond what we know. And things do change.
I think the wheelchair symbol should change, but no doubt any change is fraught with restrictions, and so many countries would be involved and so many approvals made, that it may never happen. However, this doesn't mean it's not important to think, talk about, and envision. It's a tool for conversation ,thoughts and sharing experiences at the very least I hope.
My design is also published in the catalogue from Shape Arts Open Exhibition 2019 which you can buy from Shape Arts.
There was a fantastic selection of art on show.
Here is general info on ShapeArts:
Black and White – Humanizing Medicine at Barts Pathology Museum
I'm really into black and white at the moment!
I have a long standing interest in healthcare…Started years ago when I worked as a Dental Nurse and has never gone away! I was very pleased to find out about the "Humanizing Medicine" call out for artists.
Being Human: A Festival of the Humanities was held at Bart's Pathology Museum on Tuesday 19th November 2019 5.30 – 7.30pm It was a truly fascinating place! I loved it. Photography of specimens is not allowed, but seeing them and hearing about them was an amazing experience.
It was a celebration of the human side of medicine…Holding an art exhibition is such a great way to do this!
There are many amazing specimens to see. Here is a taster:
Butterfly Net Image and Poem – For the Humanising Medicine Exhibition
"Barts Pathology Museum is based in St Bartholomews Hospital at West Smithfield and houses over 5,000 medical specimens on display over 3 mezzanine levels of the Victorian museum.
Prior to the appointment of the current Technical Curator, Barts Pathology Museum was in a state of disarray. As medical teaching changed, the need for the study of anatomy and pathology pots declined.
Without funding the specimens and the infrastructure of the building suffered and it wasn't until a couple of years ago that a donation was secured to renovate the collection. Grant funding was provided by The Medical College of Saint Bartholomew's Hospital Trust, a registered charity that promotes and advances medical and dental education and research at Barts and The London School of Medicine and Dentistry.
Events were originally scheduled for after the completion of this project but the museum has opened slightly earlier than expected due to its physical arrangement. The conservation and cataloguing still continue."
"Barts Pathology Museum, a part of Queen Mary University of London , is a medical-humanities hub and venue for public engagement and education. Our events showcase research and the arts from our own institution as well as other universities, independent researchers and other museums. Our activities are in accordance with Human Tissue Authority recommendations on Public Display of medical collections and the University Museums Group guidance, and are sensitive to the dignity of the collection.
Ant Parade by Jenny Meehan
I have this work back now after it was exhibited as part of the North Pennines AONB Partnership's Cold-blooded and Spineless project Subterraneous exhibition. Subterraneous is part of an AONB Partnership project and Cold-blooded and Spineless was funded by the National Lottery Heritage Fund. It was great to be part of that and it looked excellent.
I have used the base design which was exhibited and developed it a little so that it is available via Redbubble.com.
Above is the link to the Greetings Card, but its available on 32 products and in different colour ways. Buying merchandise with my designs on gives me a small royalty percentage which I use towards the continuation of my creative project, so do please purchase something if you like it. It's a great way to get something unique and support an artist at the same time. Items are not sold in large amounts… There are so many talented artists on Redbubble.com, which is great. So if you want to collect some examples of my work in an easy and affordable way, then buying examples from Redbubble might be a way of doing so. Items are not signed by me, of course, but does this matter? In the end, if you like my work and you want it, I want you to have it, in the easiest and most affordable way. Yes, I sell my original paintings for much more, but I don't think any false idea of exclusivity has any place in what I do.
Down Memory Lane
Down Port Hill,
It was just "the lane".
We rode our bikes, me and my brother,
down the lane held into the beautiful hedgerow.
The china in Preston Cottage was (I discovered later) designed by Alfred Meakin.
I made sure I had a milk jug as an adult, of the same design
because from it's lip
spoke fond memory
Of time.
when you and me could play,
putting our hands into waters
which leapt over
all obstacles
Bottom left image is of Preston Cottage, which I think is still now called "Next Week" in 2012. Other images show Preston Cottage as it was in the 1970's when our family used to go there for our holidays. The view on the top right means so much to me…We used to run through that gate to the bottom of the field where it was possible to make a bit of a dam and play in the pool of water which formed. Preston cottage was extended to the side… When we stayed there it was just two bedrooms. The water supply was the spring and the water came out brown a lot of the time!
We would get our eggs from Mr and Mrs Tucker, the farmers at Preston Farm. They had lots of chickens and cats, along with cattle, and they were always very friendly and kind. Preston Farm now is listed as run by D.g Pile. So I take it it is still a working farm of some kind.
EX31 4NH Kentisbury
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.
Woman in a Chemise by Picasso
Change for jamartlondon.com
It's very annoying but I have just found out that because Adobe Flash is being discontinued and I built my jamartlondon website with a flash based editor, the only way I will be able to continue to edit it in the future will be with the ever increasingly out of date adobe flash add on I have on one of my computers. And when that computer dies, which it may well do soon, as its very old, then that will be that, for editing my website.
I can start to build one from scratch, but for the time being I need to put my energy into other things, so I will be tidying it up while I can, and then keeping it online, but static. You will still be able to use the contact form but I think I will be using this blog and other ways of showing my recent projects, work and activities online rather than my website. I will get around to making a new one in the next couple of years but it will need to become a useful port of call but not a means of knowing what I am doing beyond 2019. Never mind.
It's very, very, far down the bottom of this page, but you can see some recent examples of my Instagram shares right at the end of this page. To see the various widgets on this blog (when you are viewing it using your mobile) without needing to scroll down into the depths of eternity, just select the page under the MENU which starts Jenny Meehan (Jennifer Meehan) Artist – Author – Painter -Poet and, as that's a SHORT page, you can see all kinds of handy widgets such as Google Translate and Instagram without wearing your finger out with excessive scrolling!
Graveyard Glimmers Mosaic and Poem – Thelma Series – The Upper Room by Jenny Meehan – "Boat House" Monotype – Jenny Meehan "Icy Landscape" – Jenny Meehan "Eternal" – Jenny Meehan
October 2, 2018
The Grave Yard Glimmers
Under grey ground
my shattered self, recovered
crept gentle, back to the moment
a younger me-child
Summer holiday sunshine
picking, glass, stones, off graves
was an open treasure chest.
Even while the body laid low…
sighing with relief…
anticipating release…
for each passing moment.
Simple time steps.
One strand of self to
back to me.
Porous ceramic spreads moisture
Yet only a shadow
meeting edges
I am sorry that I left, and still sometimes leave
these parts of me behind.
Much later, my rape was a vacation of another kind.
I hover, momentarily, over my body
unable to take in, even in consciousness
the un-do- able
which was done.
It takes years to cry.
And bodies lie under the floor
even in houses.
Light still
makes glimmers
Glimmers in eyes
Glimmers in finding
all broken
but beautiful.
l hold hope, for you
my friend, and myself
on dream-like, flattened
slates… to write all over
a past story, a new one…
We wash the silver ore, and smelt it
in the smiles of those we love.
Jenny Meehan
August 2018
Looking forward to working with mosaic in November, tutored by Vanessa Benson, whose inspirational course at West Dean College this year has kicked me off in this direction!
Realising my poetry and all the visual work I do are inseparable. Well, I knew this already, but now I know it more. Also, I will always be a materials orientated artist. One who handles my own materials.
The most annoying saying "Everyone is an artist". Is everyone a plumber too? The role of an artist has a broad skill set attached.
Everyone is innately creative, yes, but everyone is not an artist. I hate walking past Cass Art and seeing the motto… it's something like "Let's fill this town with artists". Sounds like a nightmare to me. Do you want a town filled with artists? Would be quite a poor town, for a start! But it would, of course, be ideal for the local art shop!!! At least they are honest!
I was reading recently that a survey found most artists earn between £1,000 and £5,000 a year. That sounds about right. I kind of felt relieved on reading it. It is hard when you live in a world where finance reflects value. I know I am doing what I should be doing in life, and feel extremely grateful, that finally, after years of waiting, I am able to work at the work which feels most natural to me. It's not to be taken for granted. But it isn't a "job" in the proper sense. And all the other work I have done in the past is very relevant, and has been valuable in many different respects. It's made me who I am. I wasn't unhappy in the work I previously did. Just not quite so fulfilled. But there are many aspect to being fulfilled in life, and there were parts of me which probably developed, in a good way, which I might have avoided, if I was art working then. Discipline is important. For an artist, if you have not got it, you cannot be productive, I don't think. Getting up each morning to do what you must, is part of every occupation, and we don't always feel like it!
And now, I cannot rely on a "job" to define who I am. It's sometimes challenging. Like being a mother, I guess. The key thing is, I think, not to confuse status or money with value. It's always a challenge! What I do does pay for itself. Sometimes I feel discouraged, but it's only passing. Thankfully enough good things happen to keep me motivated!
Thelma Narrative Series
My Thelma sculpture project was in 2014 and it is now 2018! In truth, the project is not finished, because I got a mould made of the essential base of Thelma and intend to make some plaster versions in order to experiment further. Indeed, I will. Yet for now, here are the images with text, which does seem to have a degree of being a complete work. The actual wax sculpture is in a box in my cupboard, and now and again I pick bits off it and add bits on! It is one figure, which I moved through a series of transformations without thinking about concepts in a conscious way.
This is probably my favourite in the series…It's the one I associate with the ongoing process of participating in psychotherapy! Hard work, at times, yes, but something which can be a tool in bringing freedom from the negative consequences of violence, abuse, and trauma. This time I spend in therapy is an investment I choose because I value self reflection so much. Participation in Psychotherapy can be viewed two ways. One, is that of being a practice of WELLNESS…Which for me, it now is, thankfully. (Mostly) It's like going to the gym to keep fit. (Mostly, not always! Sometimes it's painful and hard! Still challenging, still uncomfortable. Always will be! )
I find it very harmonious with being an artist, and working in the way that I do with other people with mentoring/spiritual direction/teaching art. The other way that psychotherapy can be viewed might be summed up with "Gosh, they must be very screwed up to need therapy" maybe? It is the idea that someone would only participate in psychotherapy if they really had to, because it wasn't possible to carry on without it. Because why would they want to do take part in something like that otherwise? Well, I do understand that perspective.
Personally, I did start my psychoanalytic journey in a very distressing place, and I knew it was what I needed, and things were often very alarming and extremely difficult. So it wasn't optional in any sense in 2011. Yet my journey, and the experience gained from working with a very good therapist, has been so valuable and positive, it seems needless not to carry on with it, as long as it bears fruit, which it does. I do review it from time to time, but so far, I reach the same conclusion, which is why stop for the sake of stopping? It might be different if I was not an artist, but it's become part of the process of my artistic creating, and it's so useful, even for that, even apart from the other benefits.
It feels like pulling a net through my own depths, pulling it along the sea bed. It's an effort, but somehow drawing deep in myself in this way produces a lot of goodness. Life is vastly improved, and I feel so much more alive than I ever used to be. So the effort is definitely worth it for me.
Thoughts on the sculpture…
Difficulty of wading forwards… Trolling is a method of fishing…. There is a huge sense of continuity and flow, in this one, with metal outside of the figure clearly relating to the which goes through it's core. Through the waters of my mind, in the psychoanalytic work I am doing. Found this, it's helpful..
"Bodies of Water and the Unconscious
Often in dreams, large bodies of water (oceans, lakes, pools) symbolize the unconscious. As with bodies of water, we often see the surface, but cannot easily see into the depths.
Also, the vastness of the ocean symbolizes the vastness of the unconscious mind. Jung observed long ago that the unconscious mind was much vaster than the conscious portion. His insight has been confirmed by fascinating developments in neuroscience, where new technologies, such as particularly sophisticated MRIs have enabled brain scientists to see that the unconscious processes in the brain dwarf the conscious mind in magnitude.
In those regions of the brain/mind lies the meaning of dreams. Jungian therapy is always aware that, for each of us, much goes on in the depths of those oceanic waters…" quoted from https://www.briancollinson.ca/index.php/2012/11/jungian-therapy-the-meaning-of-dreams-5-water.html
WOW! The unconscious mind….
Oceanic Waters!
Must be the faith aspect coming through in this one!
No doubt some theme of healing… And in this one, a mould was made, and the body cast in plaster.
Interesting looking back at these. Rather funny that I depicted my right thigh with what looks like a strip of metal along it. This was before my knee replacement and before I was having problems with my walking! Plaster for me is evocative of healing and holding, and showing this liquid flow over the now plaster form, is something I like a lot. The flow may be static in that the plaster is set, but it is suggestive of flow and continuity by it's very shape, and the meeting point between those forms of underlying form and dripped plaster brings some awareness of touch and being touched to my mind. As the final figure is the model cast, it's a new creation but still intimately related to the former figure in brown wax. I will continue working with this, and post up soon.
So this is September…OOOps… Late again, October!
Painting "Upper Room" by Jenny Meehan 70 x 50cm This is available, contact me if interested. Use contact form on my personal website jamartlondon.com http://www.jamartlondon.com/
Direct link to contact page; http://www.jamartlondon.com/contact/4569980742
Bit about my painting…
About Jenny Meehan's Paintings
My process led painting…romantic, expressionistic, abstract and lyrical, is simply the result of my own contemplative practice, which I work through in many ways. Let by instinct and intuition, inspired by my own life experiences, and several much loved artists, including Klee, Hitchens, Claude Venard, Matisse and Kandinsky, it provides the ground for the viewer's own interpretations and responses, and will be whatever you want it to be. My own titles reflect my own interpretation/,sense of meaning, but the beauty and openness of non objective painting allows you a place in the process exclusively yours!
The image doesn't show the extent to which texture, and various surface finishes are used in the painting, for example, I use tiny glass beads for their effects on light hitting the surface of the painting. Maybe they could be seen as a dance of light and colour? Certainly, as the light in the day changes, the appearance of the painting changes considerably, with different parts being emphasised and other parts sinking into the background. This painting is one which responds, and I hope you get pleasure from viewing it! See more at http://www.jamartlondon.com
Boat House, Monotype. ©jenny meehan
Sometimes the simplest of things can give pleasure. I am looking at this one at the moment, particularly as I think about how I will approach working with mosaic in November. I think to start with some kind of simple forms, rectangular, square, maybe a good start. I don't see myself going into the pictorial. I suspect I will need to seriously spend time considering the materials I use. They will suggest a way forwards, I am sure. And I want to make more effort with this linkage between my poetry and visual expression. I think that's key for me.
Icy Landscape ©jenny meehan
A major theme of my work is recovery from trauma. The subject of an internal landscape dominates my creative practice. Tiny glass beads are used in the above painting and they catch the light, transforming the appearance of the work at different times of the day.
"Eternal" Painting by Jenny Meehan
Eternal by Jenny Meehan ©jenny meehan
This is one of my paintings which has been licensed for use as a book cover. The cover designer was Alison Beek. I really like my paintings being used in this way, and it is a small source of income which helps sustain my artistic practice, so it's very much valued.
"Finding God in all things, hearing God's voice for ourselves and others…the Quiet Spaces Prayer Journal will help you to develop and maintain a life of creative prayer. With space to write, quotations drawn from Christian tradition and BRF's Quiet Spaces publication to aid reflection, this is ideal to buy for yourself or as a gift for anyone wanting to deepen their prayer life. It features quotations to inspire, allowing plenty of space to write.
Quiet Spaces Prayer Journal Spiral bound edition by Mrs Olivia Warburton"
Edited by Mrs Olivia Warburton ISBN-139780857465245Format Spiral bound, Publisher BRF (The Bible Reading Fellowship) Publication date23 Sep 2016Pages192Product dimensions 150 x 210 x 14mm E Weight338g
"Quiet Spaces is BRF's prayer and spirituality journal. Published three times a year, each edition journeys through up to nine themes drawn from the Bible, spiritual writers, the natural world, the lives of Christians from across the centuries or from Christian spiritual traditions. Each theme is explored in twelve prayerful ways using creative activities, your personal faith experience, poetry, liturgy, reflection, imagining and meditation, helping you into a heart encounter with God. Ideal both for those who have discovered the benefits of reflection, meditation and contemplation and are looking for a resource to guide their periods of quiet and for people coming to reflection and meditation for the first time."
I use my own copy!
This months post is September and October combined! It's my aim to write a bit less on my journal each month and work more on my poetry. As I mentioned at the beginning, a brilliant course on mosaic at West Dean college tutored by Vanessa Benson has provided some interesting routes in using mosaic, and along with my other ongoing experiments with silica sol mineral paint I want to immerse myself more in silence and music and poetry than longer blog entries. And drumming too. I am loving my djembe, and enjoying learning some traditional West African patterns.
I think I may have exhausted my writing capacity a little bit when writing "The Very Patient Knee Replacement Story by Jenny Meehan" last year! By the way, the knee is working wonderfully. It's an "Attune" knee. I am no longer disabled and able to live a full life. I am so grateful for the South West London Elective Orthopaedic Centre, and the NHS. My life would be quite different without such a positive experience.
Really enjoying these…
That's me for now!
Do take a look at my website. http://www.jamartlondon.com/
I will be updating it over December. I have a lot more work than I can show on the internet.
Spring! Sun! Kingston Open Studios fast approaching -Easter Art Installation at St Paul's Church of England, Hook – The Soldier and the Cross poem by Jenny Meehan – Signs of the Times geometric abstract prints – Drop in Drawing and Painting, daytime art tuition – Kingston Art 2018: My Muybridge' exhibition at Kingston Museum "Mind's Eye" by Jenny Meehan selected
April 20, 2018
Little Robin Friend
Well, my little robin friend is serving as supervisor in the garden right now! I go out there just for a look or for a rumble around the studio tent and I hear his chirp, see something flitting through the foliage, and there he is! Before I know what has happened, I find myself digging around in the earth… weeding, moving pots, filling pots with earth… I tell myself I am doing this because it needs to be done, but the truth is that while this is true, the most immediate reason is this little robin is telling me he wants me to work in the garden so he can have some insects, worms, and whatever else I reveal!
I am now to be found rustling around myself, not in the foliage but in the studio tent. This year I am keen on rollers it seems and have an assortment. I started using them last year in experiments and now I have gathered quite a few. It's good to have new tools to experiment with. So there's some action happening. There is a lot of tidying up to be done, and I am grateful for the studio tent. OK, it has its limitations, but I know of many artists whose studio space isn't much different, even when "indoors". The only difference with mine is that it gets rather damp and wet. I have extended it now. It consists of two tarpaulin covered market stalls and has now ventured into the side passage and outhouse. That's the wet and damp part, because there is a crack in the ceiling. It's reinforced concrete. The good news about having a large crack in your ceiling is that the water does drip down through it. I'm serious. It's better for the water to have somewhere to go than to build up above and then damage the concrete further. Well, that's how I have chosen to think about it!
In this new darkened area of my studio tent, or now my studio tent with outhouse extension, is that I can experiment with larger substrates and also light projection. I have been wanting to do this for ages, so at last a new door is opened. I have purchased some folding tables too, so I have more table space. It's great to have more space. I cannot quite use it fully yet because of the weather, but it's not as if I am waiting around to do things. There is always plenty, and more, to do.
Generally in life I am feeling less frustrated by the demands of the domestic using up time when I could be painting. It's always a huge conflict, but acceptance helps a lot. I am beginning to appreciate the benefits of having my focus fragmented into so many pieces, as it forces a kind of relinquishment which I think probably helps in the long run, even is somewhat frustrating short term. I have always had workaholic tendencies, and often found myself doing the work of two people (unfortunately not for double pay!) in past jobs, so I am aware of constantly overreaching and over stretching myself. This is not a problem as long as one is aware of it. It needs to be managed, addressed, and disciplined! And life… Needs to be enjoyed!
I remain secretive, as is appropriate, about current work in progress. For my eyes only! But always willing to look backwards!
Signs of the Times Series
There's a great feeling of rest looking at the smooth flat colours of the signs of the times laminated prints…I'd never bother trying to create that surface in paint which is why I continue to appreciate this series. And the compositions are still teaching me a lot.
Rush Hour is one of my favourites. You can buy a version of it here, on Redbubble.com.
I get a small royalty from any sale on Redbubble.com. Every litttle helps!
That was a long time ago! The good thing about the laminated "Signs of the Times" is they can be hung in bathrooms and kitchens. I have one which has been hanging in our bathroom for years, and it looks just fine. No mould or any deterioration. If you would like to buy one of my own signed versions contact me via my website as I have one or two still around. I am not planning to print any more, as Redbubble do such a great job of producing good quality prints.
This is another favourite of mine…Again, available from Redbubble.com
Here's an artist's statement which was submitted with some of the series "Signs of the Times"
Artist Statement – Jenny Meehan
My current body of work, some of which you can see on the enclosed images, is basically a series of experiments with shape and colour. After having worked throughout last year on a series of very lyrical and process led paintings, I realised that I felt the need for more structure in my work. Fuelled by an interest in conveying emotion and thought through elements of abstraction, while at the same time seeking that sense of formal balance which I consider essential to my work, the series of digitally produced laminated prints which I have called "Signs of the Times" relate to my own life and experiences.
The current series will also form the foundation of further paintings in the future, and bring to my painting practice an element of planning. I think that, far from being rigid and inflexible, this will introduce an initial underlying structure which I will be able to use in a very exciting way as I experiment with the relationship between solidity and fluidity in future paintings. Each step in the process of developing my work opens up numerous possibilities, and I cannot be sure exactly of what will happen, which is rather exciting. I do not take a scientific approach to my art, but view it as a process which defies logic, by necessity, and embraces the irrational and spiritual within me.
So these works, though they stand in themselves and I consider them finished, like everything one does are neither an end nor a beginning, but part of an evolving and organic process which I feel pulls me along with it, to some extent. I feel very fortunate to be able to work with visual language and consider it a great privilege to do so. "Signs of the Times" is an interesting experiment in relating thoughts and emotion to visual language in a very direct way.
Jenny Meehan is a Fine and Applied Artist based in South West London/East Surrey, United Kingdom. She works mainly with painting, drawing and digital photography and also writes poetry and an artist's blog. Jenny also teaches small groups and individual in her studio space. More examples of her practice can be found at http://www.jamartlondon.com .
There are still some "Signs of the Times" in progress, as I work in a piecemeal fashion over periods of several years. It's a very enjoyable way of working with shapes and colours!
Easter Art Installation at St Paul's Church of England, Hook
I was very pleased to be able to create this installation in service to the Church and in order to help the prayers and reflections of any who ventured into the building during Holy Week. I will post some additional images soon when I have worked on them, but this gives you an idea. Other members of the church also created some beautiful places to reflect. It was well worth the effort.
Lots of images!
It all seems rather a long time ago now!
Was a bit last posting up the April blog entry! Open Studios is rapidly approaching and this is a very busy time of year for me!
Not quite done with the contemplative theme though…
The Soldier And The Cross
This is an old poem I wrote a few years back. I didn't display it as part of the installation in the church but I have re read it, and edited it slightly.
The Soldier And The Cross
For a moment
I thought you a bit of a wimp…
To turn,
And say to me
"What have I done to you?"
I saw…
In your innocence…
A victim mentality
related to my response to suffering…
A powerless moment
of weakness
and subjection.
And ALL in me,
ALL that grasps onto power…
Felt repulsed
disgusted by you.
By the sight of you.
It was true…You had done nothing,
Yet, I hated you,
and your holiness
frightened me.
I am the accuser.
I have raged against you
And despised the look of love on your face.
In paranoid fear
I have threatened you with my wrath
And struck the blow
which tears across your face.
I have hardened my heart
against your love
and pushed you
hard, straight down
against the ground.
In acts of violence
I have hated, and hated more.
I have hated you
More than I dare say.
So how do I stand?
Do I have a place to stand against you?
And can I stop your
from breaking me?
If I believe,
just for one
that you might choose to forgive?
©jenny meehan
Drop In Drawing and Painting
I have finished the sessions until September. I am a trained teacher and I like to use my teaching skills to help people with the development of their own visual expression.
I will be running some more sessions from September. I shouldn't call them "Drop in" really, as I do need to know in advance if people can come. So if you are interested in these do contact me, and I can send you more details. They are suitable for all levels, as the input is very much individual. The advantage of them is that it is possible for people to just come for a "one off" session, rather than needing to sign up for a whole course. This gives more experienced artists a chance for some input as they feel the need, and in pace with their own work flow. It gives beginners a chance to experiment creatively with support and a level of input normally only possible with individual tuition. I don't plan a structured session, but the structure is determined by the individual needs of the students attending. I do normally throw a few ideas about for possible areas to explore and experimentation, which all those attending are invited to spend some time on if they wish, though normally people come with existing work, or work in progress, or an idea of what they would like to do, or are trying to achieve. Contact me via my website if you are interested. There is sometimes a bit of a waiting list, as I don't hold many. http://www.jamartlondon.com/
Time Passes Painting by Jenny Meehan
I have this painting on the wall at the moment and am getting a lot out of it. It's an early abstract painting but I am still learning from it. I might well take it along to the Kingston Artists' Open Studios event this year.
I have started removing some of my canvas paintings from their frames and will sell them unframed now. It means I can sell them for a bit less, (£180) and I have found that often people either like to select frames themselves or like to display them unframed. It takes a lot of time for me to make frames, which I have been doing up until now, and it is also very expensive. As the pace of my painting has increased, I am less inclined to spend time with framing.
Kingston Artists' Open Studios (OS18) will be taking place on 9/10th and 16/17th June 2018 from 11am to 5pm each day. I will be enjoying the kind hospitality of one of my KAOS artist companions just a short walk from Kingston Town centre, not far from the Kingston Gate of Richmond Park.
It would make a lovely day out to follow a few of the trails in and out of artist's homes and studio spaces, so do come along!
For more details, please contact me via the contact page on jamartlondon.com. I will put you on my mailing list and send further information as soon as available!
Hope to see you! Jenny Meehan
If you would like to give money to help support my creative practice I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
paypal.me/jennymeehan and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. Unfortunately there doesn't seem to be a way via this system for me to send a "Thank you" to you, so you will need to just simply know that I appreciate it very much indeed!
Upper Room Painting by Jenny Meehan
This one isn't on the wall, but it's the one I use for the background of my website jamartlondon.com.
It's available for purchase if you are interested.
Good News
I have had my painting "Mind's Eye", image above (sorry, not tarted up image yet!) selected for the exhibition at Kingston Museum this year, details are:
Kingston Art 2018: My Muybridge' exhibition at Kingston Museum 4 May – 7 July 2018 Wheatfield Way, Kingston upon Thames KT1 2PS
Bit of a departure for me in this one, using images. Like collage..
Jenny Meehan (Jennifer Meehan) is a painter-poet, artist-author 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.
Her website is www.jamartlondon.com. (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)
Contact Jenny via her website:
If you would like to give money to help support my creative practice I can accept it quickly and easily through the Paypal.me process. Simply put the following in your browser:
and follow the prompts. Please consider supporting my work in this way if it strikes a chord with you and you are able to do so. Unfortunately there isn't a system in this facility for me to send a thank you. But if you do use it, then understand that I am grateful!
Another way you could support my participation in the visual arts could be by praying for me, if that's part of your daily life. As mentioned above, I also put some of my visual art work on the "print on demand" website redbubble.com. People buying merchandise with my designs on through redbubble.com results in my gaining a royalty for the use of the image concerned.
Signing up as a follower on this WordPress blog also helps, as does sharing the posts when you receive them. Anything you can do to help me is much appreciated! Time and money is limited for me, and it's a challenge being a mother-artist in terms of promotion and increasing awareness of what I do. I put my energy into producing my artwork. For the rest, I need any help I can get!
Jenny Meehan (Jennifer Meehan) BA Hons (Lit.) PGCE offers art tuition. Please contact Jenny through the contact form at www.jamartlondon.com for further details. Availability depends on other commitments.
Jenny works mainly with either oils or acrylics creating both abstract/non-objective paintings and also semi-abstract work. She also produces some representational/figurative artwork, mostly using digital photography/image manipulation software, painting and drawing. Both original fine paintings, other artwork forms, and affordable photo-mechanically produced prints are available to purchase.
This artist's blog is of interest to artists, art collectors, art lovers and anyone interested in fine art. Those interested in British 21st century female contemporary artists, women and art, religious art, spirituality and art, and psychoanalysis and art, will probably enjoy dipping into this Jenny Meehan Contemporary Artist's Journal.
Art collectors are often interested in the processes, techniques, interests and influences of the artists whose work they collect, and sharing my thoughts and perspectives through a blog is an important dimension of my creative practice.
My main focus is directed towards process led abstract painting, and you can view some examples of this on my website jamartlondon.com. I encapsulate my painting as being romantic,expressionistic, abstract and lyrical. Art collectors interested in lyrical abstraction, abstract expressionist, and essentially romantic art, are likely to find my paintings an interesting and exciting addition to their art collection. Art collectors can view a list of exhibitions I have taken part in on my websites exhibitions page; http://www.jamartlondon.com/#/exhibitions/4570944550
Art collectors can see selected examples of my original paintings organised by year on jamartlondon which gives you a brief overview of the development of my painting over the years:
I am a self-representing artist, whose aim is to ensure I continue to develop my painting practice in an innovative and pioneering way, rather than attempt some kind of commercial success, and whose aim is also that my work is historically relevant, rather then celebrated in that so called and illusive "art world". I hope to add to the number of people who value, collect, and develop an interest in my paintings and to thereby sustain and develop my practice over many years.
"Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem 'Kubla Khan'; Jenny Meehan's artwork "Alph, The Sacred River 1" -Posting Recent List of Exhibitions- Snippets of Psychological Interest re: Depression, Anxiety, Trauma, Recovery and Management
October 13, 2016
As per normal, skim down, as I have written far too much for a single post, but added and added and added!!!!
Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem 'Kubla Khan' written by Samuel Taylor Coleridge in 1816.
Good news. My work has been selected for this touring exhibition "Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem 'Kubla Khan' "
Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem 'Kubla Khan' written by Samuel Taylor Coleridge in 1816. This is a celebration by the Friends of Coleridge supported by Somerset Art Works, working in partnership with the National Trust, CICCIC Taunton, and Art at the Heart, RUH Bath.
CICCIC Memorial Hall, Paul St, Taunton TA1 3PF 7 October -12 November 2016 . Special PV 21 October 2016
Mid November – January tbc
RUH Bath Mid January – Mid April 2017
Coleridge Cottage Nether Stowey Mid April – May 2017
I am delighted about this. Coleridge is a poet I both studied at degree level and very much enjoy. So pleased to make my own response present in this way. The work I submitted is here, shown above, along with the information I prepared to accompany it.
Jenny Meehan is a well established South West London based artist whose art work evolves in a process led way, dependent on both intuition and imagination. She studied Literature at Kingston University and after working as a teacher for several years has spent the last ten years developing her creative practice, which includes painting, printmaking and poetry.
The artwork submitted responds to the water element in the poem 'Kubla Khan'; "Alph, the sacred river" whose mysterious flow runs through its lines. Resonating with emotional highs and lows and "meandering with a mazy motion", it carries the listener along with it.
Water is a subject matter which often preoccupies Jenny, occurring as a repeated motif in many of her paintings and prints. An interest in the subconscious and the resulting exploration of "caverns measureless to man" attracted her to this image in the poem.
Other Information
Jenny Meehan
Title of Work: "Alph, The Sacred River 1"
Image sent with email. Price: £ 200
Dimension 36 x 27cm
Medium: Ink jet Print on Cartridge Paper 1/10 Limited Edition
Over the Summer we stopped by outside Coleridge Cottage Nether Stowey. We had got a little lost but when I saw the sign I took it as an added bonus to see the cottage, if only from the outside!
It does not seem to be open every day, but a few times a week. I am very pleased to think of my visual art residing in the same building as the poet himself. I am very pleased with the way I framed it.. I found the frame over the Summer and instinct told me to buy it…I knew it would be useful. It works well with the flow feeling of the print. I am also pleased that there is an illusion of reflection happening. The photograph here was taken without glazing, yet there is an appearance of reflection which is apt for the piece. I have now glazed it, and it looks doubly reflective! Suitable for a poem by Coleridge!
Above: Copper Fern 1 by Jenny Meehan (Image of "Copper Fern" by Jenny Meehan)
Above: Copper Edge (Image of "Copper Edge" by Jenny Meehan)
Above: Copper Fern 2 by Jenny Meehan (Image of "Copper Fern" by Jenny Meehan)
Ah, October. Lovely spiders, everywhere. I walk into them. Watch them weave. And leaves are changing. Creeping edges of colour; yellow, orange, black, red. Damp green grass, and the birds sound louder. I like this time of year. Even the rain.
I planned to start some printmaking, but my right knee, with it's osteoarthritis, is making everything take longer. And so time is short; too short to start a new project right now. I cannot walk very quickly. I have had a lot of pain in the last few weeks. I am doing a lot of exercise, and physiotherapy, and "Better Bones" classes. But my bones are not better. It is what is around them that needs attention. My legs are certainly stronger. And I am less heavy. Let the weight loss continue. But how I wish I could walk for longer than 20 minutes, without a stick, and without severe pain at the end of it. I do not like this. It is a miserable matter. I cry and get cross. Cry and Cross! There may be a title for a painting there!
So, with domestic work, and various voluntary activities, plus exercise, exercise, exercise, the time is all used up. But I have managed to make some frames for paintings carried out over the Summer. Which I quite like doing. And need for next year. And I have also spent some time discovering more about Bessel van der Kolk…
Bessel van der Kolk
http://www.traumacenter.org/about/about_bessel.php Very interesting. Just listened to a talk by Bessel van der Kolk, MD called "Trauma, Body, and the Brain: Restoring the Capacity for Synchronicity and Imagination," an exploration of how the brain is shaped by experience and how our relationship to ourselves is the product of our synchronicity with those around us. Wonderful talk, very interesting and inspiring!
I have also been listening to several different talks which I was able to access through an online training summit, all focused on Neuroscience, Trauma, Mindfulness, and Attachment Therapy. I am a big fan of Margaret Wehrenberg (not personally, because I don't know her at all!!!) but certainly of her books which I have found very helpful personally, and as she was speaking on one of the sessions, I thought I would sign up for the summit…
Little snippets/notes from listening to Margaret Wehrenberg which I found particularly interesting and helpful…
She spoke on "The Purpose of Worry and How to Manage It" . Under this banner highlights for me personally were…
how fear and worry are different…
why do we worry? anxiety is a normal condition. it is they way we feel in response to ambiguity. sensation of anxiety gives us some motivation to look for and identify potential problems and look for them but with a disorder we feel anxiety in the absence of any actual threat or problem… get into "what if" thinking and worry becomes persistent, disruptive, and robs people of the joy of being alive.
fear and worry distinguished…if there is a distinct threat, basically something which has an objective observable cause… that is fear and it prompts action, look for a way to escape from what it is that scares us, we can imagine that we would be afraid…that is not the same as worry… worry is persistent however it never solves a problem where as fear can solve a problem
some people are wired up to be worriers more than others and have not very effective stopping mechanisms or brain shifting capacity… lots of her techniques attempt to equip the person to shift gears manually, and eventually this becomes more automatic with repetition using brain to change the brain.
stress creates conditions of anxiety as an outcome of stress… so stress reduction is key. ie body care sleep eat, causes people to feel generally uneasy.. thinking what could be going wrong…
anxiety is a condition looking for content… asking all the time what could be causing me to have this kind of arousal? seeking relief, ie with health anxiety.. internet searching!!! scanning for health concerns.. looking up symptoms and trying to diagnose themselves, does not typically help. Calmness while searching, act of reassurance in seeking, and while online person may feel calm, but better to respond to the feeling of a needing some reassurance through other ways not internet searching…
people believe if is it is possible to happen then it is probably going to happen….start to behave as if it is going to happen or is even happening right now. But it may only be remotely possible. Are you worrying about something which is possible or probable?
do you have a real problem, if so you can plan a way to solve it… so planning is a good tool a real antidote to worry
if you cannot make a plan then it is not a real problem, or at least not yet, so then worry is the problem itself.
Well, the above is a little taster. Excuse the note form. As said, I use this Journal not as a finished piece of personal narrative, but as an unfolding notebook/journal/record, for my own use as much as sharing it with any interested parties. If you would like to find out more about Margaret's work she has a website: http://www.margaretwehrenberg.com/ The two books I have read by Margaret Wehrenberg are "The 10 Best-Ever Depression Management Techniques: Understanding How Your Brain Makes You Depressed & What You Can Do to Change it" and "The 10 Best-Ever Anxiety Management Techniques: Understanding How Your Brain Makes You Anxious and What You Can Do to Change it".
I liked very much the writing style of the books as well as the content and organisation. I read "The 10 Best-Ever Depression Management Techniques: Understanding How Your Brain Makes You Depressed" when I was very depressed several years ago, and found the tone very helpful, as not patronising. I had a pre existing interest in the neuroscience, due to my brother's head injury, and I found the matter of fact approach, with reference to how the brain works, good for me personally. Also, being someone possessing sound intelligence and being of a practical nature, enjoying concrete and material things, as well as theory, I was glad to find something which suggested that I could manage what was happening to me and that I had some kind of influence over it. This is always a big step when feeling depressed, however it is a crucial one. There were so many small and accessible things suggested that one could do. This was just what I needed. I never had an expectation of quick and easy answers, and was looking around to access psychotherapy at the time, but as I was unable to access it for six months I needed something to help me manage things in the meantime. It might not suit everyone, but was perfect for me.
There were plenty of other speakers also. I don't have the inclination to share any more here, but one of the little bits of information I picked up from another talk was with regard to a term "Window of Tolerance". "Window of Tolerance" is a term coined by Dr. Dan Siegel, and is now widely used in understanding normal brain/physiology reaction responses, as well in trauma-informed treatment terminology, and in all areas of mental health. Efforts are made to assist individuals to learn how to widen their personal, unique Window of Tolerance, as well as to have methods to stay in the Window of Tolerance via self-soothing and self-regulating behaviours. When an individual "jumps" out, or feels "pushed" out of their Window of Tolerance on the upper or lower sides, the prefrontal cortex is essentially going offline, with only subcortical brain regions (limbic system-emotional brain, and brain stem) staying active, removing ability to think through actions and consequences. Before any type of talking or making sense of a situation can occur, individuals need to find a way back into their Window of Tolerance, through self-soothing and self-regulating behaviours, which will allow all regions of the brain to get back online, and our processing system to function appropriately.
Mmm, as you can see. I am really into this!
quoted from: http://www.drmariedezelic.com/window-of-tolerance–traumaanxiety-rela
I found this terribly interesting. Not quite sure what I will do with it, if anything right at the moment, but wanting to record it here in the Journal so that I will at some point look over it again, and it won't just disappear in the computer without memory!
This is such a psychological post in the Journal… I am also interested in numbing!
Numbing is a biological process whereby emotions are detached from thoughts, behaviours, and memories. As I look back into the significant period of depression I experienced, which was over the period from about 2010 to 2012, I am aware very much that the numbing I experienced was a traumatic stress reaction, and one which hid what was going on inside emotionally. It is this, and the feeling of separation from others, because of the emotional disconnect, which makes it all the more distressing. The impact of trauma is felt very greatly by the person, but is not very easy for others to recognise, because the emotionless-ness hides the distress and masks the levels of stress experienced. It is efficiently kept to oneself. But it is a sad isolation. Alcohol to self-medicate does not help either. You cannot deny your emotions on a long term basis.
A Brief Writing on It…
The detachment
The feeling of the
to connect
The gap, which imperceptibly widens
The falling apart, within, without
The without-ness growing like a huge plant
Which sucks the water from the soul
This is the abyss in which I have fallen.
It's a long time since I have written any poetry. Must do some this Winter. And must put some visual content in this post… I have been doing a lot of research recently and very little painting. The painting below dates from between 2007 and 2012… (around 2010 I think). Certainly carried out during those "wilderness years". Didn't like it at the time, but I like it now.
Love working abstractly… So interesting. But great to have something there to bounce off too!
Determined to do some painting, despite the obstacles in the way, the pain, the slowness of walking, the mounting of domestic tasks, the knowledge that as I stand to paint, the end result will be I cannot stand at all in the evening. I must instead tend to my knee with ice, massage, heat, and whatever else I fancy. Going out to network is out of the question. I do not anticipate pain coming to me… I am using mindfulness to good effect, however it seems doggedly faithful. And arrives an uninvited guest. What I will achieve in the future, with this situation of disability is a matter of concern to me, even while taking one day at a time. So I look back and enjoy what I have done. I will do more…It just looks like it will be more difficult. Knee replacement at some point. Often feel unsure of how long I can keep this up.
Posting Recent List of Exhibitions..
Here is what I have done so far in the way of exhibitions. Just skim down quickly if they are not of interest! Just need to remind myself of what I have done at the moment!
Exhibitions List Up to Date. To October 2016
Imagined Worlds Exhibition – A touring exhibition of artworks inspired by the poem 'Kubla Khan' written by Samuel Taylor Coleridge in 1816. This is a celebration by the Friends of Coleridge supported by Somerset Art Works, working in partnership with the National Trust, CICCIC Taunton, and Art at the Heart, RUH Bath.
CICCIC Memorial Hall, Paul St, Taunton TA1 3PF 7 October -12 November 2016 . Special PV 21 October 2016
Mid November – January tbc, RUH Bath Mid January – Mid April 2017, Coleridge Cottage Nether Stowey Mid April – May 2017
"The Art of Caring" ( second exhibition curated by Peter Herbert) at The Conference Centre, St Pancras Hospital, NW1 OPE 21st July – 13th October 2016
KAOS OPEN STUDIOS 11th / 12th and 18th / 19th June 2016 (Kingston Artists' Open Studios)70 artists taking part at venues around Kingston. Annual event.
Kingston Artists' Open Studios Taster Exhibition at Cass Art , 103 Clarence Street, KT1 1 QY in "The Art Space" Kingston Upon Thames. 6th – 20th June 2016
"Anagrams" at Kingston Museum, Kingston Art 2016. Juried. Wheatfield Way, Kingston upon Thames, KT1 2PS. 29 April 2016 to 2 July 2016
"Building Bridges, the Female Perspective" 8th March – October 2016 organised by Southwark Arts Forum & Tower Bridge Art at the Bridge #7. Tower Bridge Victorian Engine Rooms, Tower Bridge Road London SE1 2UP.
"The Art of Caring" Exhibition curated by Alban Low at The Upper Circle Gallery, The Rose Theatre, Kingston-upon-Thames 12th to 24th May 2016.
CornerHouse Charity Exhibition for "Straight Talking Charity at Cornerhouse Arts Centre, Surbiton, Surrey Nov 30th – Dec 31st
Challenging Behaviour Foundation Charity Exhibition Sun Pier House, Sun Pier, Medway Street, Chatham, Kent, ME4 4HF 3 November 2015 – 29 November 2015
Court Farm Cafe Group Exhibition, organised by Kingston Arts Cafe at Court Farm Garden Centre, Worcester Park, Surrey KT4 7QH October 2015 – January 2016
A Letter in Mind – The Art of Journey, Charity Exhibition at Gallery@oxo, South Bank, London SE1 9PH 8th October until 18th October 2015. My donated work sold for this worthy cause.
Brighton Sussex University Hospitals Trust National Transplant Week 2015 (7th-13th September) public art exhibition in Brighton UK at the Brighton Jubilee Library Jubilee St, Brighton, East Sussex BN1 1GE. Items 13 and 14 were my donations.
Jenny Meehan's donation can be found on page 10 of the following publication:
To bid, go to the Ebay store, here's the facebook link:
'The Story So Far', organised by Acton Arts Forum, at W3 Gallery, 185 Acton High Street, W3 9DJ . From 1 July to 14th July 2015.
KAOS (Kingston Artists' Open Studios "Selfie" Exhibition in The Art Space at Cass Arts, Kingston Upon Thames. 6 – 14th June
KAOS OPEN STUDIOS June 2015 (Kingston Artists' Open Studios) at venues around Kingston. Annual event.
"Flying Colours" Joint exhibition of prints, Leatherhead Theatre, Leatherhead (Jenny Meehan and Chris Birch) 3rd – 30th May 2015
"Day of Reflection on Spiritual Homelessness" at St Nicholas Church, Guildford GU2 4AW on 11th April 2015. Six paintings shown as part of a group exhibition.
"Tiny Bones and Lasting Stones of Memory" (poem and painting) shown as part of Holocaust Memorial Day – Keeping the Memory Alive Through Art Exhibition: Kingston University, 16th – 17th March; Kingston Museum, 26 March – 23 April 2015, Kingston College, 24th – 28th April 2015 and at the Council Chambers, Kingston Upon Thames 1st February (Third prize in adult category)
2014 Exhibitions
Holocaust Memorial Day – Keeping the Memory Alive Through Art Exhibition at the Council Chambers, Kingston Upon Thames, Sunday 1st February (Third prize in adult category)
KAOS Exhibition at All Saints Church, Kingston upon Thames
KT1 1JP 11th Nov – 25th Nov. Kingston Artist's Open Studios Group Exhibition
"Breaking the Chains" (Anti human trafficking) Exhibition at Tower Gallery, Memorial Community Church, 395 Barking Road, London E13 8AL. 16th October – 6th November. Selected
"A Letter in Mind"…The National Brain Appeal's Exhibition Charity Exhibition) at gallery@oxo, Oxo Tower Wharf, Bargehouse Street, South Bank, London, SE1 9PH. 2nd October – 5th October. Selected and donated work sold.
Dulwich Picture Gallery Open Exhibition, Gallery Road, London SE21 7AD 30th Sept – 12th Oct 2015. Juried, (Selection panel headed by Ian Dejardin, and including Rebecca Fortnum, Clive Head, Nicky Hirst and Elo Schuneman).
NewArt@Baker Tilly, Baker Tilly, 3rd Floor, One London Square, Cross Lanes Guildford GU1 1UN 7th June -20th September. Selected
Court Farm KAOS (Kingston Artists' Open Studios) Cafe at Court Farm Garden Centre, Worcester Park, Surrey. 3rd May – 27th July
Multiple Sclerosis Trust "The Secret Art Show" (Charity Exhibition) Spirella Building, Bridge Road, Letchwoth Garden City, Hertfordshire SG6 4ET. 30th April – 7th May
Artistsmeet Open Exhibition, Rickmansworth, Hertfordshire WD3 1EH. 3rd March – 6th May 2014 Selected.
"Drawn Together" Riverside Gallery, Old Town Hall, Richmond Upon Thames TW9 1TP. 1st March – 25th May 2014 Juried.
"Sacred Spaces" KAOS Exhibition curated by Jenny Meehan, Leatherhead Theatre, Leatherhead. May 3 – 31st 2014. Seven members of Kingston Artists' Open Studios.
"Speaking Out – Women Recovering from the Trauma of Violence" Embrace Arts at the RA Centre, Leciester University, Leciester. 13 January – 28th March 2014. Juried.
"Drawing Inspiration" Holocaust Memorial Day Trust, A-Side B-Side Gallery, Hackney Downs Studios, E8 2BT. 23rd Jan – 3rd Feb 2014 Highly Commended awarded. Juried.
"Recovery" Exhibition – Institute Of Mental Health/City Arts at Nottingham University NG7 2TU Nov 6th – May 2014
2013 Exhibitions
"Recovery" Exhibition – Institute Of Mental Health/City Arts at Nottingham University NG7 2TU Nov 6th – May 2014
Brixton Drawing Project Exhibition. Brixton East, Brixton, SW9 Sunday 6th October.
Orange Tree Theatre KAOS Group Exhibition. Orange Tree Theatre, Richmond upon Thames, Surrey 23rd Oct – 30th Nov.
PARTIA "Collective Nostalgia" at Aintree University Hospital, Liverpool. 1st Oct-1st Nov 2013. Selected.
Court Farm KAOS (Kingston Artist's Open Studios) Group Exhibition. Cafe at Court Farm Garden Centre, Worcester Park, Surrey. Sept 3rd – November 2013
"Not The Royal Academy" exhibition at Llewellyn Alexander Fine Paintings. London SE1 June – August
"Allotted" Curated Exhibition at The Beetroot Tree Gallery, Draycott, Derbyshire 15th June – 27th July 2013 Selected.
"Lines" Curated Exhibition at The Strand Gallery, London. Selected. June 2013
Cornerhouse Arts Centre, Surbiton, Surrey. Jenny Meehan Recent Work, Solo Exhibition. June 2013
Group Exhibition "Order and KAOS" (Four Painters from Kingston Artists Open Studios). Leatherhead Theatre (curated by Jenny Meehan) 4th-31st May.
Dugout Women's Inclusive Festival – The Hoxton Arches, Cremer Street, E2 8HD (2nd March 2013). Juried.
Open Exhibition at The Classroom Gallery, Nottingham. Selected. March 23 – April 5th.
National Open Exhibition 2013 at Electric Picture House Congleton, Cheshire. March 9th -30th. Selected.
September – December Alliance Healthcare Exhibition, Alliance Healthcare, Chessington Surrey (SOLO)
The Bog Standard Gallery, Artistsmeet, Watersmeet, Rickmansworth Hertfordshire. WD3 1EH December 2012
The Ark Centre Autumn Exhibition, Basingstoke, Hampshire RG24 9NN. October/November 2012
Artistsmeet Open Exhibition, Rickmansworth, Hertfordshire WD3 1EH. September/October 2012
Cranleigh Arts Centre Open Exhibition, Cranleigh, Surrey GU6 8AS June 2012
"Some Kind Of Narrative" Joint Exhibition at Leatherhead Theatre, Leatherhead, Surrey KT22 8DN Stephanie Greenslade – Jenny Meehan. 29th April – 25th May 2012. "
Hidden Artists" Exhibition at Denbies Picture Gallery 2012, Denbies Wine Estate, Charity fundraising event for NSPCC.
Jigsaw4Uinternational.org project "Strong Voices" Event 2011 at The Rose Theatre, Kingston Upon Thames in October. (sculpture and photographs). Charity event.
Cranleigh Arts Centre Open Exhibition 2011 at Cranleigh Arts Centre, Cranleigh, Surrey GU6 8AS June 2011 Juried Exhibition
"Hidden Artists" Exhibition at Denbies Picture Gallery 2011, Denbies Wine Estate, Dorking, Surrey. Fundraising exhibition for NSPCC.
"John Lewis Prize" Exhibition (of shortlisted work) at "The Place To Eat", John Lewis, Kingston Upon Thames. 8th September – 10th December 2010 Juried Exhibition
Pallant House Gallery/St Wilfrid's Hospice Open Art Exhibition at Pallant House Gallery, Chichester, West Sussex. 3rd June – 2nd July 2010. Juried Exhibition.
Surrey Artists Network Ist Anniversary Exhibition at Otters Pool Studio, Guildford, Surrey GU1 4QG Ist May – 22nd May 2010. Juried Exhibition.
Denbies Open Exhibition 2010 Denbies Vineyard, Dorking, Surrey RH5 6AA January 7th-17th, 2010.
"Doorway" Visual Meditation 2009 (Jenny Meehan and Mary Reid) at St Paul's C of E Church, Hook, Surrey. February 22nd.
2008 – 2006
Kingston Contemporary Open 2007 (Stanley Picker Gallery, Kingston Upon Thames, Surrey, UK). Juried.
Kingston Contemporary Open 2006 (Stanley Picker Galllery, Kingston Upon Thames, Surrey, UK). Juried.
SOLO EXHIBITIONS (Self Organised in Community Spaces)
" Jenny Meehan -Recent Paintings and Prints" Cornerhouse Arts Centre, Surbiton Surrey June 2013
"Paintings – Jenny Meehan " Alliance Healthcare, Chessington, Surrey Sept-Dec 2012
"Inking Outside The Block" (CornerHOUSE Arts Centre, Surbiton) December 5th to December 31st 2011.
Painting and Poetry – Third Prize in "Keeping the Memory Alive through Art", Kingston Inter Faith Forum, Kingston University, Kingston Upon Thames February 2015
Painting – Highly Commended – Needhams Open Art Competition 2009, Cambridgeshire, UK. Juried Exhibition.
Poetry – Finalist (second place) in "Literary Mary" poetry competition March 2009
Painting – Highly Commended – "Drawing Inspiration" Competition Holocaust Memorial Day Trust, January 2014
BA Hons English Literature (Kingston University, Kingston Upon Thames)
PGCE Primary Education (Roehampton Institute, Roehampton)
Kingston Museum
John Lewis Partnership
Bog Standard Gallery
Private collections in the United Kingdom
This is getting to be a rather long post… As often happens…
Walter Darby Bannard, 1934-2016
A lovely write here:
Notes from the Life of an Artist by Franklin Einspruch, an artist and writer based in Boston.
Sometimes I am caught by what I read, and this part caught me:
"I'll let you in on a secret: the scorn never mattered. Darby lived well. His was a life full of brilliant friends, talented colleagues, and passionate relationships. Throughout it all and up to the end, he painted. When he was painting, canvases tacked to the floor, surrounded by jars of acrylics, and an arsenal of squeegees, brooms, and brushes at the ready, his enjoyment was unassailable. Art rides in on pleasure, he says in the Aphorisms.
The pleasure carries something with it, something very precious to us that is inseparable from the pleasure itself.
I live with that something every day, but I can't say what it is. No one can. If you have an eye, you comprehend it in an instant; you feel it and you know it. That's that.
And now that really is that."
The above quoted from: http://www.artblog.net/post/2016/10/walter-darby-bannard/ Do take a look and read the whole post.
There is such a lot of distraction. But I will certainly be taking a look at http://wdbannard.org/ and reading some more!
Researching Family History
I have dug around a bit. Stumbled on this:
Some of my family history
While not possible to trace much of my mother's side due to lack of information, I was grateful to find this recently:
Born in Boscombe, Hampshire in 1882, Albert was the son of blacksmith, Colin Gray and his wife Selina. He had an older brother, Colin Bertie and a younger sister, Laura. In 1891 the family were living in Victoria Road, Pokesdown, where they also took in a lodger. They later moved to Hannington Road, Bournemouth. By 1901 Albert's brother was working as a decorator, whilst his sister was employed as a laundress and later as a dye cleaner in the textile industry.
Albert seems to have followed a similar career path to his sister. By the age of 29 he was a wash house foreman, in a local laundry. This is probably where he met his future bride, Gertrude Harradine. The daughter of a railwayman, she was originally from 104 Palmerston Road, Wimbledon but was boarding in Bournemouth, having found work as a laundress. The couple married at Holy Trinity Church, Wimbledon on 3 August, 1912.
During the war, Albert joined the Royal Field Artillery. He served with the 189th Brigade, part of the 41st Division. This was formed in Aldershot in 1915 from units raised in southern England. Comprising 3 – 4 gun batteries, the brigade was sent to France in May 1916 and was initially based in the area between Hazebrouck and Bailleul. As field artillery for the 1st Army, Albert and his comrades would have fought in the Battle of Flers-Courcelette. During this week-long offensive in September 1916, artillery and infantry tried, but failed to break the German line and leave an opening for cavalry attacks. In November the 189th brigade was also involved in the Battle of the Transloy Ridge, part of the third and final offensive of the Somme campaign. Fighting was made all the more harrowing by terrible weather conditions and a battlefield devastated by months of artillery fire.
Promoted to the rank of sergeant, Albert must have shown bravery and determination during his military service, as he was mentioned in dispatches. He survived the war, albeit briefly and died of influenza on 25 November 1918, just two weeks after peace was declared. He was buried at Gap Road Cemetery and is commemorated at Wimbledon Parish Church. His widow continued to live at 28a Wycliffe Road, Wimbledon, after his death.
I had gleaned some of the information myself, but this extract above, which I quote from http://cis.photoarchive.merton.gov.uk/entity/186931-serjeant-albert-william-gray.. contains much more detail than I had been able to obtain on my own.
That's it, for now!!!!
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 firstname.lastname@example.com 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.
Website Link for jamartlondon: www.jamartlondon.com
A selection of non objective paintings can be viewed on pinterest: https://uk.pinterest.com/Jamartlondon/
My prints and some merchandise which uses my artwork can also be purchased safely and easily through Redbubble.com
All content on this blog, unless specified otherwise, is © Jenny Meehan. Unauthorized use and/or duplication of this material without express and written permission from this blog's author and/or owner is strictly prohibited. Excerpts of writing and links may be used, provided that full and clear credit is given to Jenny Meehan with appropriate and specific direction to the original content. Images may not be used without permission under any circumstances.
Copyright and Licensing Digital Images Information – Jenny Meehan
Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.
Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements. There is a contact form on my website www.jamartlondon.com
Licensing an image is quick and easy for both parties and is organised through the Design and Artist Copyright Society. (Note, my images are not shown on the "Art image" selection on the Design and Artist Copyright "Art Image" page. This does NOT mean you cannot apply for a license to use an image of my work from DACS… They simply have a very limited sample selection of work in their "Artimage" page!)
"Christ falling beneath the weight of the cross" by Giuseppe Passeri – Inclusive Church Movement- Yoga, Psychotherapy and the Ignatian Examen in trauma recovery process – George Aschenbrenner, SJ From Consciousness Examen, "Head in the Clouds but Feet on the Ground/Contemplation" by Jenny Meehan -Outsider Art? Insider Art? Outside In Art or Inside Out Art? – Jenny Meehan Process Led Painting Experiments and Psalm 84
September 2, 2015
As usual, a very eclectic assortment of random things which have caught my interest…Skim over in that "facebook" kind of way and stop where you will!
Another post… As always, this is rather like an open journal…So I have been unconcerned if I ramble on… Yet you have the power of skimming as fast as you want and scrolling as furiously as you need to in order to avoid reading anything which is not a good use of time for you right now! And….. YOU CAN JUST LOOK AT THE PICTURES! So off I go!
Giuseppe Passeri (12 March 1654 – 2 November 1714) was an Italian painter of the Baroque period, active in his native city of Rome.
This drawing "Christ falling beneath the weight of the cross" by Giuseppe Passeri is a wonderful example of drawing, and when I look at drawings like this I do feel only awe! True masters of the art of drawing can only inspire… There is so much emotion in all those bodies, the forms radiate emotion… Not including the human form in much of my work right now, but apart from abstraction, it is my other main interest. I cannot credit this image as I took a photo of it from a book years ago and cannot remember the details!
Drop In Drawing
If you fancy trying your own fair hand to a spot of Drawing, then remember that I do hold a once a month "Drop in Drawing/Painting" group on either a Wednesday or Friday afternoon, once a month. Contact me via my website www.jamartlondon.com for more information if you are interested in this. Here's a little more information:
"I won't be planning a structured session but I am there to help people on a one-to-one basis with achieving their own objectives.
Many people just come now and again, so the more people who know about it the better. Please do mention to anyone you know who might be interested in trying something visually creative as the session is suitable for all abilities, from beginner to advanced, due to the emphasis on individual tuition.
You do need to bring your own materials and equipment. If you need some advice about what to bring, just email me and I can give you some guidance. I normally have a few additional resources available, if need be, ie, pencils and paper, chalk pastels and poster paint.
The idea of holding these sessions is that I am available to help you to develop your own projects and ideas. I will be there to add my technical and practical input, and help you by discussing your direction and the difficulties which may be encountered along the way, if you so require. As to what you actually do, this could be from drawing from the imagination, copying something from life, designing something abstract, or making a collage of text and images. Or simply experimenting and exploring what it is like to use a particular material or method of drawing.
I will provide some ideas if people like, but anticipate people coming along with some idea of what they might like to do beforehand. However, just a vague idea is just fine! If you want to use paint, then of course, certainly do, however, for practical reasons, you might need to work outside if you are painting on a medium to large scale and the group is running to full capacity.
These workshop style session will give you plenty of individual input and opportunities for feedback, discussion, and analysis, as you consider ways of developing your own direction. I also offer individual tuition in oil painting, painting with acrylics, and drawing which can be arranged if you wish. "
I haven't held any structured art classes (ie with set activities/objectives and/or areas of focus for the group as a whole) for ages because I have found that though they are great fun to plan (nice to use my teacher training and experience in this respect!) with a small group of four people (which is all I can accommodate) it makes more sense to offer a kind of individual tuition/workshop style approach and let people go off in their own direction completely! People also learn a lot from listening and seeing what is going on and talking and sharing some aspects of what they are doing, (if they wish) which is encouraged.
Inclusive Church Movement
Quote from the Inclusive Church website:
"Inclusive Church was born on 11th August 2003 at St Mary's Putney, at a Eucharist attended by over 400 people. The cause of this gathering was the deep unease felt by many within the Church of England regarding the resignation of The Rev'd Dr Jeffrey John as Bishop of Reading.
Working with individuals and partner organisations we seek to raise awareness about the ways that people feel excluded by the church.
An on-line Petition was set up requesting assent to a Declaration of Belief. The response was immense and we soon reached nearly 10,000 signatories. On 15th September 2003 a small group of supporters met to consider this overwhelming response, and concluded that Inclusive Church was here to stay.
Over time this group has met and developed. We are now "…a network of individuals and organisations whose make-up reflects the breadth and scope of the Church of England and beyond. We come from differing traditions and differing locations but we are united in one aim: To celebrate and maintain the traditional inclusivity and diversity of the Anglican Communion"
We work closely with a large number of organisations. The partnership work which has emerged over the past few years is very valuable – we work with, among others, the Association of Black Clergy, Women and the Church, the Group for the Rescinding of the Act of Synod, Lesbian and Gay Christian Movement, Changing Attitude, Affirming Catholicism, the Society of Catholic Priests, Accepting Evangelicals, Courage, Modern Church, Progresssive Christianity Network and Integrity (US).
Inclusive Church is so much more than a single issue organisation. We are committed to working for a church that is welcoming and open to all. We welcome other partnerships. If you would like to work with Inclusive Church please contact us"
I've included this because I stumbled on the following article on facebook recently, and it got me thinking about what a blessing being open to change is, and how important it is that those people who start to explore the possibility that God might actually be inclusive in all respects, realise that they are part of a very positive movement, and that there is a lot of help and resources around to draw from, as they consider themselves where they are in relation to all that is happening at the moment. Here is the post below:
This is a very well written post on the LGBT/Christian debate, which will be a helpful read in exploring thinking around the matter.
I have just started some FREE sessions of Yoga with the Our Parks scheme: http://www.ourparks.org.uk/. Well, it's amazing! I am enjoying it immensely and finding it very beneficial…already…. I have only been to two sessions! I have been trying out things at home a bit which has helped me to get into it too. I have found that, even though I have been working for three years on trauma recovery with my psychotherapist (lots of adverse childhood/early life experiences!) my body more often than not, full of tension, and still feels constantly uptight. It's odd, because I know I don't come across as an uptight person in any other sense, but my body seems to hold the fight/flight thing in itself rather dearly!
I found with the Yoga practice a lot of releasing of tension, and it was rather liberating. I think it must be the whole thing of connecting your body with your mind more, because this feeling of distance/disconnection between the two is something which I have been living with for a long time. So much so, that when I walked back from my first Yoga session, I couldn't quite believe how I felt so integrated. This is a huge deal for me. It might seem rather too soon for me to feel such positive effects on the one hand, but when I consider things which are particularly resonant for me, ie I did ballet from the age of 5 to 15, and the whole thing of me focusing on my body and movements brings to me to a place of re-connecting with my body/self which is emotionally profound. It helped me to see how much over all physical sensation and body awareness I have lost… The main physical sensation I have let lead me has been my stomach (I expect this has contributed no doubt to the whole over eating thing!), and now I am thinking that if I focus on other areas of my body, I might well end up a little more well balanced, and possibly less overweight?
The second session made me cry a bit (after the session)… not because of pain, I hasten to add, (there was some discomfort at times, but not pain!) but because of some of the mental blocks I faced, some of the self-judgement and having to accept my body as it is now, rather than hark back to my ballet days. It is pretty hard to realise that you used to spin around en-pointe and now you cannot even lift one leg up for a tiny amount of time and balance for one second! Well, good for humility, I guess. And will crush any spirit of competitiveness, for sure!!! However, though I may struggle, and feel challenged physically, mentally and emotionally, I will certainly push on through. Body injuries in various places/over-sized body/post traumatic self and wounded spirit, yes, … Here I come, you are all mine, we will go for it!
When I started psychotherapy in 2012, one of the most helpful things my therapist pointed me towards was that deeper kind of breathing, something I tend to think of as baby breathing, (not sure why?) but it's called "diaphragmatic breathing", oh, thank you Wiki:
"Diaphragmatic breathing, abdominal breathing, belly breathing or deep breathing is breathing that is done by contracting the diaphragm, a muscle located horizontally between the chest cavity and stomach cavity. Air enters the lungs and the belly expands during this type of breathing.
This deep breathing is marked by expansion of the abdomen rather than the chest when breathing. It is considered by some to be a healthier way to breathe, and is considered by some a useful form of complementary and alternative treatment.
Diaphragmatic Breathing is also known scientifically as Eupnea, which is a natural and relaxed form of breathing in all mammals. Eupnea occurs in mammals whenever they are in a state of relaxation, ie when there is no clear and present danger in their environment."
Interesting last line there…with accumulated trauma related stress in your life, the whole thing of doing anything which is a natural thing to do when there is "no clear and present danger in their environment" is immensely appealing… that made me smile and laugh when I read that!
Well, using that kind of breathing over the last few years has been very helpful, essential, I would say, at times of flashback/anxiety/panic attack especially, and also helpful to use in the psychotherapy session when things were overwhelming, and I needed to breath in order to stay present during trauma therapy…It helps you stay grounded. It was this positive experience with breathing in this way, plus my past ballet training (which did use some yoga stretches, so I felt kind of comfortable with it as a form of physical training…) which made my ears prick up when I found I could try it out! I am so glad I did.
I plan to devise a kind of Yoga-Ignation Examen combo practice! I have been using the Ignation Examen for a while.. I must confess normally just two or three times a week, though the aim was every day! Here's a quick description, quoted from the ignatianspirituality.com website:
This is a version of the five-step Daily Examen that St. Ignatius practiced.
1. Become aware of God's presence.
2. Review the day with gratitude.
3. Pay attention to your emotions.
4. Choose one feature of the day and pray from it.
5. Look toward tomorrow.
– See more at: http://www.ignatianspirituality.com/ignatian-prayer/the-examen#sthash.yquODWgJ.dpuf
So you can see it's very much an examination of consciousness.
"The Daily Examen is a technique of prayerful reflection on the events of the day in order to detect God's presence and discern his direction for us. The Examen is an ancient practice in the Church that can help us see God's hand at work in our whole experience.
The method presented here is adapted from a technique described by Ignatius Loyola in his Spiritual Exercises. St. Ignatius thought that the Examen was a gift that came directly from God, and that God wanted it to be shared as widely as possible. One of the few rules of prayer that Ignatius made for the Jesuit order was the requirement that Jesuits practice the Examen twice daily—at noon and at the end of the day. It's a habit that Jesuits, and many other Christians, practice to this day."
– See more at: http://www.ignatianspirituality.com/ignatian-prayer/the-examen#sthash.yquODWgJ.dpuf
The following is a deeper explanation, just an extract quoted from: George Aschenbrenner, SJ From Consciousness Examen, part of the Somos Católicos series
Examen of Consciousness
For many people today life is spontaneity, if anything. If spontaneity is crushed or aborted, then life itself is stillborn. In this view, examen is living life backwards and once removed from the vibrant spontaneity and immediacy of the experience itself. These people today disagree with Socrates' claim that the unexamined life is not worth living. For these people the Spirit is in the spontaneous and so anything that militates against spontaneity is not of the Spirit.
This view overlooks the fact that welling up in the consciousness and experience of each of us are two spontaneities, one good and for God, another evil and not for God. These two types of spontaneous urges and movements happen to all of us. So often the quick-witted, loose-tongued person who can be so entertaining and the center of attention and who is always characterized as being so spontaneous is not certainly being moved by and giving expression to the good spontaneity. For people eager to love God with their whole being, the challenge is not simply to let the spontaneous happen but rather to be able to sift through these various spontaneous urges and give full existential ratification to those spontaneous feelings that are from and for God. We do this by allowing the truly Spirited-spontaneity to happen in our daily lives. But we must learn the feel of this true Spiritual-spontaneity. Examen has a very central role in this learning.
When examen is related to discernment, it becomes examen of consciousness rather than of conscience. Examen of conscience has narrow moralistic overtones. Its prime concern was with the good or bad actions we had done each day. Whereas in discernment the prime concern is not with the morality of good or bad actions; rather the concern is with the way God is affecting and moving us (often quite spontaneously!) deep in our own affective consciousness. What is happening in our consciousness is prior to and more important than our actions, which can be delineated as juridically good or evil. How we are experiencing the "drawing" of God (John 6:44) in our own existential consciousness and how our sinful nature is quietly tempting us and luring us away from intimacy with God in the subtle dispositions of our consciousness—this is what the daily examen is concerned with prior to a concern for our response in our actions. Hence it is examen of consciousness that we are concerned with here, so that we can cooperate with and let happen that beautiful spontaneity in our hearts that is the touch of God and the urging of the Spirit.
– See more at: http://www.ignatianspirituality.com/ignatian-prayer/the-examen/consciousness-examen#sthash.Ygh4hnyG.dpuf
I am hoping that along with the classes, which I am happy to follow as they happen, I will develop my own pathway of combining Yoga practice with the the pattern of the Examen, (which I have got used to over the last year or so, so comes pretty naturally now), my general prayer practice and meditating on whatever the Holy Spirit brings my way. It's all good stuff. The whole "grounding" emphasis has been completely helpful to me. (And I will try to look after my feet, because they bear a lot! )
In celebration of this new found enthusiasm… What is needed here is a piece of art!
I'm calling this "Head in the Clouds but Feet on the Ground/Contemplation" (I often give two titles!)
Outsider Art? Insider Art? Outside In Art or Inside Out Art?
I've been shimmering over the net, skimming here and there for a bit for a while with respect to the category of "Outsider Art". This is very problematic a term, and though it is used a lot, it means so many different things to so many different people and groups. Now "Outsider Art" is maybe a world of it's own, but not the "world" of it's own that it used to be, because that exclusive and private world has now blow out in a host of other bubbles and into the atmosphere of the so-called "Art World"… Which is itself, not a world at all, but a network of activities centred around… yes, you know, money and connections.
You can see I am having problems from the start, and I haven't even started yet! I remember speaking to someone a while back who went to study art at degree level, or it may have even been an MA, and yet he got a fair amount of resistance to his own work in that setting because he was so self directed and knew what he wanted to do, and did it. Would he be termed an "Outsider Artist"? He could maybe be described as an "Inside but Outside artist"??? According to some thinking, the fact that he was in this kind of education setting would disqualify him straight away from calling himself an "Outsider Artist" (if he wanted to) because he had an awareness of the contemporary art "scene" "world" "culture" other artists, and also, had the capacity to think about his art and work in a certain way. But the education/training or rather lack of, as a criteria for discerning if it is appropriate to term someone's art or themselves as an "Outsider Artist" falls down flat on it's face, because there are of course many artists who have received training and education, and who through mental health challenges, traumatic brain injuries, or many other kinds of life experiences, or disabilities, find themselves in a place where they either no longer care, or are not interested, in anything as dubious and unreliable as the so-called "Art World" (whatever that may be or mean), and simply want to get on with their art working. They may also have received training, education and awareness from many other different sources, the internet, adult education, personal relationships, etc, and they may have gone to college, picked up a load of rubbish in terms of ideas about art, and happily dispensed with it because they realised that it was a waste of time and energy, for them at least. Does this work produced by sometime "trained" (could be questioned, I guess, if that is the right word!) but no longer interested in banging their heads against a brick wall with a lot of conceptual stuff, type art and artist count as "Outsider Art"? Is the difference an educational and or class one? is the question which quickly follows.
I put myself on the Pallant House Gallery "Outside In" web gallery for a while last year, mostly because of my experiences and journey with mental health difficulties/challenges, my participation in long term psychotherapy (which includes a great deal of interest in the subconscious!) and because I view my art work as part of my trauma recovery experience, (though certainly, this is only one aspect of it, as I view it as plenty of other things too!) I also put my work there for a little while because I wanted to align myself with those other artists who I could feel very much closer to in terms of values and purpose, I think, much more so than the alternative so called "Art World" construct, which didn't fit in with the direction I was looking in, and look in now, at all. However, I took myself off the Pallant House Gallery "Outside In" web gallery after a while because I was unsure if it was really quite "fair" to be there. I wondered how one could really make a judgement about such things, and I think I probably could be on there, but then I felt that bearing in mind that I am pretty good with words, I do have the kind of power because of that which many artists because of learning disabilities and such like, didn't have. So it felt best to leave that space for those who really needed supporting in that way, even though I wanted my work to be there symbolically as it being a place I would rather align myself with in terms of a values and focus.
Now "Outsider Art" is more of an "In Thing" this also brings much interest to Outsider Art, which kind of brings it into a different place, one which has many educated, intellectually incisive, and, well, able, people, mentally and physically, into it's realm, both as makers, collectors and dealers. If "Outsider Artists" are termed that by merit of disadvantages in society and in relation to that ever illusive "Art World" I need to ask: "How do you make judgements about disadvantages anyway? I could be described as disadvantaged compared to some people, (more so in terms of my past) but advantaged compared to others My period of what I will call, deconstruction, has brought me into a new place in thinking about brokenness in general, where I see it as a positive dimension to life, rather than something negative, and would even say that my difficulties in life, though being a disadvantage in some respects are also an advantage in others.
To use relative financial wealth/success or not is also problematic when thinking about "Outsider Art"…I cannot afford to do what I would do with my artwork if I had more finance, and this is a disadvantage, (I can hear the cries from pretty much all the other artist's I know echoing the same words!!! ) but on the other hand I have a level of security which rolls me firmly off the "Starving Artist" spectrum. I am a woman and a mother, and a "Stay at Home Mother", so these might also move me into a disadvantaged position in terms of the way that the "Art World" swings in favour of men (which is does, imo). But I also appreciate fully and know it well, that I am hugely advantaged compared to so many, even if my plans and aspirations tend to hit the wall because of lack of funds. In the end, the family need feeding and clothes.. (thank goodness for Lidl! and Asda). I could go to work and get a job which brings some more money into our household, but then I wouldn't have the time to do the art work I do. The art work I do I need to do, because this is something of my life blood in life, it keeps me motivated for living and keeps me sane, very often times! I do what I do because of necessity, as well as a choice, which I must say, I am constantly grateful for.
I can say that most of the exceedingly brilliant and wonderful artists I know could easily be termed "Outsider Artists" for a huge variety of reasons, yet all might differ in their life experiences and situations to quite a large extent. And most of them don't make much money, if any, or certainly no financial profit, from their art working and their art work. Many have various mental health challenges or disabilities…Even if they are not actually their own, they are closely involved with or caring for those who have them, and therefore their lives are entwined with a much larger spectrum of experience, which is, theirs, even though not tangible or obvious to see. And it is all felt and lived through. I keep in my mind just one of the things I learnt when I was finding out more about traumatic brain injury and it's effects on both the person with the injury and those close to them. Traumatic brain injury is often termed the "hidden disability" and when I recall my experience of coming to terms with my brother's, among other things, I am aware of this shared nature of tragedy, and the way our lives impact on others, and vice versa. There is a lot of hidden injury around. So we really cannot make judgements and have to accept that categories, of all kinds, are going to be problematic from the outset to the end.
So where might I take my meanderings, with respect to "Outsider Art"? Maybe I might ask myself where I would place myself? I would place myself as an "Insider-Outer" artist I think, because I have taken my inner life and let it out…but not just as catharsis, oh no, and not without training, or education. Not without awareness of the other artist's both past and present, and not without consideration or analysis…There is certainly plenty of analysis going on in the confines of my psychotherapy sessions. I am always pleased when something good happens and something gets chosen for an exhibition, because I want my art work to be used, because I am in this funny old world of ours and I am a funny little part of it…I don't identify myself with the word "outsider", well, not now, not any more. Isolation can be acutely felt, and it's not great at all. Outside says the wrong things to me…because I am not on the outside at all. We are all on the outside of some things, groups and places, but it is what is happening in the inside of our lives which helps us to forge the connections and relationships we need and love to experience.
I found this writing on the net with respect to Outsider Art and found it helpful to read.
Naïfs, Faux-naïfs, Faux-faux naïfs, Would-be Faux-naïfs:
There is No Such Thing as Outsider Art
James Elkins
This was originally published in: Inner Worlds Outside, exh. cat., edited by John
Thompson (Dublin: Irish Museum of Modern Art, 2006), 71–79.]
Quote from website: "The argument here is that "outsider art" and similar concepts ("naive art," "primitive art," etc.) are constructions of modernism, and only exist as ideals understood as contrasts to normative practice. It doesn't mean there aren't artists outside of the traditions of modernism and postmodernism, or outside of academic art—rather that the value we place on them is itself characteristic of modernism, so that "outsider" or "naive" art is not distinct from the modernist enterprise."
James Elkins is E.C. Chadbourne Professor in the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago.
Such a helpful read!
Details from recent process led painting experiments!
Well, here we are. PAINTING! I have popped some text on the top of these thinking this might be helpful to anyone interested in my painting who stumbles upon my work and wants to know quickly where to see more! As these images are fragments/close ups/details, they serve a great function for me in helping me remember various painting options and ideas when I sell (hopefully) the final painting. Also, because these highly abstracted paintings go through several stages, and sometimes morph rather unexpectedly along the way, it helps me to remember some of the lost paintings which are often part of the work, but can not be seen again in quite the same way in the final piece. They are very much there and present, and exerting an influence, however, sometimes covered, I still need to remember what was happening underneath if possible, particularly if I was trying out something new, (which didn't work/did work).
I am rather fond of the idea of "lost paintings"…The sense that what is in the past/gone/dead/buried, is lost but still present.
Painting and Physicality…
Come to think about it, it is the physicality, and the way I focus on the materials I use in painting that helps me feel connected with myself … I haven't thought about it much but it IS very therapeutic! I have around 20 paintings "on the go" at the moment, but they are not all moving forwards at the same time, and I am having a short break right now. Not sure what's happening with them, but some are falling into the water and flow category…solid/liquid, block, flow, water, waterfalling/waterfalls, some centring just on expression of some fundamental feeling/emotion, lots of pushing out experimentally in terms of trying out new things. There's a few shelters/tents/refuges/tower type imagery emerging. It's wonderful weather for drying paint!
Having a great time in the "Studio Tent" … Might start calling it the "Tent of Meeting"… This is influenced by me preparing a talk to give at St Paul's Church of England, Hook, in a couple of weeks on Psalm 84… (Lovely Psalm!)… In researching the talk, I discovered that the phrase "tent of meeting" is used in the Old Testament as the name of a place where God would meet with His people. " Usually, the "tent of meeting" was used as another name for the Tabernacle of Moses. However, before the tabernacle was constructed, God met with Moses in a temporary tent of meeting: "Now Moses used to take a tent and pitch it outside the camp some distance away, calling it the 'tent of meeting.' Anyone inquiring of the Lord would go to the tent of meeting outside the camp. . . . As Moses went into the tent, the pillar of cloud would come down and stay at the entrance, while the Lord spoke with Moses" (Exodus 33:7, 9)." (quoted from http://www.gotquestions.org/)
Wow, well there isn't a pillar of cloud at the entrance of my Studio Tent of Meeting, however, I do feel the Holy Spirit a lot inside it… and it is heaven to simply have that space, and to paint, pray, and meditate in there. It is a place of a lot of blessing and happiness! It's a kind of oratory!
Here's Psalm 84:
Psalm 84 Good News Translation (GNT)
Longing for God's House[a]
84 How I love your Temple, Lord Almighty!
2 How I want to be there!
I long to be in the Lord's Temple.
With my whole being I sing for joy
to the living God.
3 Even the sparrows have built a nest,
and the swallows have their own home;
they keep their young near your altars,
Lord Almighty, my king and my God.
4 How happy are those who live in your Temple,
always singing praise to you.
5 How happy are those whose strength comes from you,
who are eager to make the pilgrimage to Mount Zion.
6 As they pass through the dry valley of Baca,
it becomes a place of springs;
the autumn rain fills it with pools.
7 They grow stronger as they go;
they will see the God of gods on Zion.
8 Hear my prayer, Lord God Almighty.
Listen, O God of Jacob!
9 Bless our king, O God,
the king you have chosen.
10 One day spent in your Temple
is better than a thousand anywhere else;
I would rather stand at the gate of the house of my God
than live in the homes of the wicked.
11 The Lord is our protector and glorious king,
blessing us with kindness and honor.
He does not refuse any good thing
to those who do what is right.
12 Lord Almighty, how happy are those who trust in you!
Psalm 84:1 HEBREW TITLE: A psalm by the clan of Korah.
Well…. That is it for now… Till next month!
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 email@example.com 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
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