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October 23, 2014 / Terrill Welch

In the News and more good News

Yaaaaaahoooo! Yippee! Ta da! Almost! Do I sound enthused? I sure hope so because my Open Studio Double Event is coming up fast! How many sleeps is it to November 8th? Here is the scoop…

Open Studio Double Event – including over 60 original oil paintings

On November 8th and 9th of 2014 

From 11:00 am to 4:00 pm

or 24/7 online

At 428 Luff Road Mayne Island, British Columbia Canada for face-to-face guests

(#19 Mayne Island Brochure and #1 Artisan Studio Tour maps)

And on a special event page at TerrillWelchArtist.com  for online guests! Drop on by to check out the “what’s up” at:

http://terrillwelchartist.com/artist-terrill-welch-open-studio-november-8-and-9-2014 or just click on the photograph.

Artist Terrill Welch Open Studio event November 8th and 9th 2014 Poster

Psst! For the curious, as shown in the poster, Terrill Welch and her art were mentioned in the British Columbia Provincial newspaper, The Province, in a feature article by reporter Paul Luke on Sunday, October 19, 2014. Though the photographs are all at the top in the online version, you can read the full article at http://www.theprovince.com/business/Need+career+change+Here+reinvent+yourself/10304341/story.html

I think this is about all for now.

 

Question: What would be your quotable quote if a reporter was to call YOU this afternoon?

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

ONLINE GALLERIES include -

Artsy Home for most original oil paintings currently available

Redbubble for most photography prints

 

 

October 16, 2014 / Terrill Welch

Garry Oaks viewed from Brown Ridge – Canadian landscape painting

Terrill Welch:

Today’s new painting release is Garry Oaks on Brown Ridge. Enjoy!

Originally posted on Terrill Welch:

These muted hues have endurance and awe brushed into their presence. So often painters seem to feel the need to resist the gray and brown and heaviness of our southwest Canadian rainforest. This is a mistake because there is beauty to explore in these melancholy landscapes. There is fuel to feed our own inner strength. We need not brush it over with artificial colour. We need only to seeking deeply into the hues and hold this wonder on our canvas. These are this artist’s musings as Terrill Welch worked on this oil painting inspired by a resent hike when the mist was rolling along the ridge, the air damp on her skin and her body warm from her steps.

GARRY OAKS ON BROWN RIDGE 14 x 18 inch oil on canvas

Garry Oaks on Brown Ridge 14 x 18 inch oil on canvas contemporary Canadian landscape art by Terrill Welch 2014_09_15 025

Detailed view and purchase information available by clicking on the image or HERE.

Following the goat paths where…

View original 212 more words

September 24, 2014 / Terrill Welch

An Artist’s visit to Paris in June

What remains in my mind’s eye is the soft champagne and pearly whites of morning

Good Morning Paris  by Terrill Welch 2014_06_15 056

with the occasional splashes of reds.

Chez Marie by Terrill Welch 2014_06_15 059

But there is much more to Paris France than this isn’t there?

Up by the Basilique du Sacré-Cœur and through the trees is Paris.

A Paris morning through the trees by Terrill Welch 2014_06_15 044

She is a grand city that the world loves with a passion befitting its status.

Paris June 2014 by Terrill Welch 2014_06_15 049

Even if a visitor skips going to see the Eiffel Tower and prefers to remember the flights of spiral stairs as I did,

Stairs to 1st floor studio in Paris France by Terrill Welch 2014_06_15 084

Paris will steel our hearts even if we are reluctant lovers.

What artist can resist plein air painting of double courtyard on Rue Rodier in Paris France

plein air painting of double courtyard Rue Rodier Paris France by Terrill Welch 2014_06_17 086
The day before I promised myself that I would photograph and paint this double courtyard. After a full day at Musée d’Orsay, I had little time, light or energy left but decided to make a go of it anyway. To me, Paris is not just about the Louvre, D’Orsay, Jardin Tuileries, Eiffel Tower and street-side cafes. It is not about high fashion either. In fact, I have seen very little evidence of that. Nor is it just good food. What Paris is to me is the ability to share small amounts of private space with such regard and politeness for each other. During the 45 minutes or so I worked on this painting more than twenty people came and went in the courtyard. Some just said Bonjour Madame or Bonsoir Madame but most stopped to say a few words and they did not give me a hard time about not being able to understand everything and were more than willing to switch to English once I asked – in French of course These courtyards are an intimate connection between neighbours… not quite friends for the most part and not as close as family but more familiar than the street, or the cafe and much more familiar than most North American neighbours are with each other. Once the outside door closes, this is home and it is treated as such even if it is shared with probably more than a hundred people. This is Paris to me. In fact, this is very much France to me. This I know I will remember – fondly.

Double courtyard Rue Rodier Paris France 25 x 35 cm plein air acrylic painting sketch

Double courtyard Rue Rodier Paris France 25 x 35 cm plein air acrylic painting sketch by Terrill Welch 2014_06_17 080

 But we did go to Louvre too. Looking out from one of the upstairs windows we can feel its magnificence.

Louvre Paris France June 2014  by Terrill Welch 2014_06_16 048
Walking the halls leaves a person with shivers running down their spine.
walking the halls of the Louvre by Terrill Welch 2014_06_16 008
Morning sun rolled into Napoleon III apartments and splashed against the ceiling.
morning sun on Napoleon III Apartments ceiling Louvre France by Terrill Welch 2014_06_16 021
This painted wedding-cake style room in the Louvre is so outrageously over-the-top it almost made me laugh but I couldn’t pick my bottom jaw up fast enough to get out even one “ha-ha.” I just kept turning in circles saying unbelievable, look at that, unbelievable! It seemed most appropriate that we happened upon this room shortly after visiting the queen of the Louvre herself… you know, the one with the smile ;) We hadn’t actually planned on giving her any courtly attention but the morning was reasonably quiet so we followed the entourage along and dropped in for a few minutes. In case you wanted to know, Mona Lisa is doing well for her age and is still smiling. I didn’t take her portrait as I knew the light wouldn’t do her justice.

Where the Musée d’Orsay  does not allow photographs, the Louvre does. So I took just a few photographs of paintings for my own study. These are shared with you for the same personal use study purpose.

A favourite artist of mine was Camille Corot. His landscape from Avignon called “Villeneuve-lez-Avignon La Tour Philippe le Bel” from 1843 struck a significantcord with me as I had stood in about the same place painting 171 years later.

Villeneuve-lez-Avignon La Tour Philippe le Bel 1843 by Camille Corot photo for study by Terrill Welch 2014_06_16 033
Across the Way Villeneuve lez Avignon France 25 x 35 cm acrylic painting sketch was a work I had completed just days earlier.
Across the Way Villeneuve lez Avignon France 25 x 35 cm acrylic painting sketch by Terrill Welch 2014_06_012 106
I now have a completed larger studio painting…
VILLENEUVE LEZ AVIGNON FRANCE 24 x 36 inch oil on canvas
Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_08_08 069
Camille Corot is mostly known as a landscape painter but it is a few of his portraits of women that are having a lasting impression. This detail of La Dame en Bleu is from the last figurative painting that Corot painting in 1874.
detail La Dame en Bleu 1874 by Camille Corot by Terrill Welch 2014_06_16 118
They are so melancholy while holding a solid kind of inner-defiance that has surfaced for me only after careful observation. I wonder – how did he do this? What was his relationship to these women? Below is a detail from “Zingara au tambour de basque” that he painted between 1865 to 1870.
detail Zingara au tambour de basque 1865 to 1870 by Camille Corot photo by Terrill Welch 2014_06_16 110
Corot would have been about 74 years old when this work was finished. Is the answer to my question in his biographical information? I have ordered a book this morning from Amazon called “The Secret Armoire: Corot’s Figure Paintings and the World of Reading” by Mariantonia Reinhard-Felice to help me answer this question.

But there is more the Louvre than Corot and so much more to Paris than the Louvre isn’t there?

Well, we shall have to save it for another day. It is time for this artist to get ready for an afternoon of unrelated meetings on this September afternoon back in Canada off the southwest coast of British Columbia.

What does Paris in June mean to you?

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

September 16, 2014 / Terrill Welch

Saturna Island and rendering overlapping memories

Mid-August brings blackberries, hanging fruit and puffs of dust as our sandal clad feet catch the spots where grass has given way to daily meanderings. The farm geese play watch dog and the cows search for shade under a large maple. As we find our way up on the large porch, floor planks register the weight of our human presence.

the country porch by Terrill Welch 2014_08_16 028

The main part of the house is about 125 years old. It is the oldest dwelling remaining on Saturna Island off the southwest coast of Canada. My eldest grandson and I are staying four nights at the Breezy Bay Bed and Breakfast on a co-operative farm.  Our hosts, Erin and Jamie, appear to be in their early thirties and are youngsters amongst the mostly graying heads of about 300 full-time inhabitants. This our third summer visit to the Saturna Island. We have come to revisit favourite places and to simply be together in a home-away-from-home.

We slip our shoes off at the door and pad into our introduction of the polished patina of a place that bridges the past and present with grace and warmth equal to that of its caregiver. The library up stairs is just off our bedroom and its books seem oblivious to the “hotspot” it offers for a wifi connection.

the library by Terrill Welch 2014_08_16 015

The working country kitchen though is where I can truly feel my shoulders relax. This a home. It is our home for the next four days. We can do this. This could by my grandmother’s kitchen. This can be a place where memories last.

working country kitchen by Terrill Welch 2014_08_16 024

The breakfast room confirms my observations about rendering memories.

breakfast room by Terrill Welch 2014_08_16 019

When on the last day we leave this room filled on all-you-can-eat crepes, my grandson quietly comments – I am going to miss these guys.

And indeed we will. For though this is the first time we have stayed in this particular place on Saturna Island, Erin and Jamie have a way of making us feel like we are family. For reasons beyond both my grandson’s and my control, we must make a-home-away-from-home, or at least away from my home. Though this is often a raw emotional place of frustration and loss for me, I have come to accept that, for now, there is no other choice. We must rely on others to create the intimacy of home for our vacation time together. In this respect, we have been lucky and this year has been extra special, a healing suave on my unfulfillable expectations.

I want to embed my memories for long-term retrieval and one way to this is to do quick painting sketches. So as the smell of banana bread warms the morning sun I find a spot to set up on the porch looking out towards Boot Cove.

Plein Air painting at Breezy Bay BnB by Terrill Welch 2014_08_15 213

The plein air painting isn’t exactly what I want for composition but it will do. I have the energy and of the moment. Is all I need for now.

BREEZY BAY BANANA BREAD MORNING – 8 x 10 inch plein air acrylic painting sketch

Breezy Bay Banana Bread morning 8 x 10 inch plein air acrylic painting sketch by Terrill Welch 2014_08_15 219

A week later, back in the studio I decide on a 36 x 36 inch canvas that has a lemon yellow ground and set to work on a large oil painting.

in progress Breezy Bay morning 36 x 36 inch oil on canvas by Terrill Welch 2014_08_24 009

I wanted space to walk into the painting by leaving ample room on the deck. I liked the idea of creating this kind of depth using the square canvas. It is intriguing to me how we can visually create this illusion on a flat surface. But it is not the only illusion is it? There is also the illusion that this is the life we seek – the life we deserve for our hard work. I will probably always think of this painting as “the myth of capitalism.” There is a luxury of time we have been conditions to strive and put in front for our paid labour. We will someday get to sit on a deck like this as a reward. This is not why I painted this but rather it is an after thought – one that curiously lessens my loss for my first choice which would have been to have my grandson with me at home while making my own banana bread and sitting on my own porch. I remind myself to count my blessings instead of bemoaning my inability to reach an ideal.

The painting is now finished.

It is released for sale over on my website at “New Painting Squared with a Breezy Bay Morning on Saturna Island.”

 

What blessings have you recently noticed in the midst of reflecting on deeply felt loss?

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

August 26, 2014 / Terrill Welch

Terrill Welch paintings – they ain’t cheap are they?

This morning as I was painting the edges on two new paintings that are now released on my website at Terrill Welch Artist, I thought of a recent comment I accidentally heard being proclaimed in front of my display at our local Mayne Island Farmers’ Market a few weeks ago - they ain’t cheap are they!? To be fair, the lovely person making the comment was speaking to her friends and did not realize I was coming up right behind her. I warmly laughed and agreed with her – my work is not cheap. In fact, deciding to purchase one of my paintings or photography images is a serious financial decision – one that requires thought, conviction and often planning. As the morning sun provides its gift of bright light into my home studio, I think of all the reasons that this is so.

late August morning in the home studio by Terrill Welch 2014_08_26 012

There are the usual and obvious observations including:

1. Market Demand – in the past few years almost 50 paintings of various sizes have found their way onto the walls of private collectors. At some points during the past four years prices had to be raised twice in one year to calm the speed of sales which were happening before work was released or even completed.

2. Limited Supply – I am not a hugely prolific painter. Each year there are somewhere between 30 and 50 paintings completed. At this rate, in my life time there will likely be less than 5,000 original paintings available in the world. Original paintings by a specific artist are limited due to the very nature of being painted by the artist’s own hand. My landscape and still life photography images are even fewer in number.

3. Broad Market Reach – Due to the breadth and depth of social media, I am able to connect with discerning art collectors on global platforms. Though my local physical community on a small west coast island is just over a 1000 people, my online community has the reach of a good-sized city and is populated by those who love art and who love my paintings. There are fans who regularly leave comments and share my work. There is a team of writers who provide commentary on specific paintings every month. There are fellow artists and photographers who share, encourage and inspire me to push the edges and explore what it means to brush paint onto a canvas. All of this strengthens the market reach and the asking price for a specific painting.

But there is more to it than this isn’t there?

The decisions around pricing art work and purchasing art work are also subjective and emotional. My paintings come through my engagement with life. I instill the canvas or camera with the vitality of my everyday experiences. These experiences are not cheap. They are priceless. They are all any of us every really have beyond family and friends. Frankly, I can never translate and release these renderings for pittance because my heart would break. It would mean that our lives and how we choose to translate our experiences have little value. I cherish life. I therefore act accordingly and apply value to my work that comes from that life. The outcome is long-lasting exchanges and deep connections with art collectors and fans. This somehow completes the circle between inspiration, creation and release of work to a life of its own, in places I frequently have never even been.

Yet, I want and do find ways to share them freely with you and the rest of the world. If you are reading this post you can view my work in detail in my online galleries as often and for as long as you like.

ONLINE GALLERIES include -

Artsy Home for most original oil paintings currently available

Redbubble for most photography prints

In addition, the images on my blog and website can be saved for personal use as screen savers or printed to be sent as cards to your friends or posted on the fridge for that day when you can make an offer.

It is only when you want to own an original painting or a photography image that it ain’t cheap!

So, in closing, I want to thank the person who said loudly and clearly what we all know and seldom discuss – original art is precious and not always accessible to own but we can still admire it and enjoy its presence in markets, pop-up shows, home studio visits, traditional galleries, online platforms and in museums. In these precarious times, we have access to viewing and enjoying more fine art than possibly any other time in history. Thank you for visiting, enjoying and collecting mine :)

More about buying original paintings on my website at Seven Tips For Buying Original Paintings .

What is your favorite answer to the question –  they ain’t cheap are they!?

P.S. The new paintings released are:

OYSTER BAY LATE JULY 12 x 16 inch oil on canvas

Update September 2, 2014: This painting is now sold but by clicking on the image it will take you to where my current work that is available can be viewed in detail with purchase information.

Oyster Bay Late July 12 x 16 inch plein air oil on canvas by Terrill Welch 2014_08_08 060

and

HOT SUMMER REFLECTIONS 18 x 14 inch oil on canvas

HOT SUMMER REFLECTIONS an unexpected tribute to Van Gogh 18 x 14 inch oil on canvasby Terrill Welch 2014_08_08 092

View both of these paintings and other work in detail with purchase information at my Artsy Home online gallery HERE.

Enjoy your week and the coming of my favourite season – autumn! :)

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

July 27, 2014 / Terrill Welch

Seven Brilliant Etiquette Tips from Charming Home Studio Art Guests

Summer is in full-swing and you love, love LOVE to visit artists in their home studios while on vacation. As an artist with a home studio, I am equally as thrilled to have you. However, if you want to be that special home studio guest who is cherished by the artists you visit, then these tips are for you! Here are seven brilliant etiquette tips from some of my most treasured, pleasant, feel-good and please-come-back-again home studio guests.

Tip one – book an appointment at least a day but preferably three days in advance.

Home studios are living/working spaces and  they can always benefit from a little organizing and prettying-up before guests arrive.

Terrill Welch Home Studio Visit 1 July 2014 by Terrill Welch 2014_07_27 006

Tip two – see if there are any of your friends that want to come with you and let the artist know how many are in your party.

A prepared home studio visit is almost always enhanced when there are a few more people enjoying it.

Terrill Welch Home Studio Visit 2 July 2014 by Terrill Welch 2014_07_27 007

Tip three – if it is not obvious, ask about taking your shoes off at the door. 

You are going into someone’s home as well as their studio – home protocol trumps studio.

Terrill Welch Home Studio Visit 4 July 2014  by Terrill Welch 2014_07_27 018

Tip four – do not be afraid to ask questions and to look closely at your favourites.

Most artists are happy to tell you about the background of a piece and show you the work in different light. I frequently move work around for guests as the light is always changing. Seeing work at its best in a home environment isn’t as easy as when there is gallery lighting. Even taking it out into natural light is no trouble at all and can be a lot of fun.

Terrill Welch Home Studio Visit 4 July 2014 by Terrill Welch 2014_07_27 023

Tip five – Look as closely as you like and do not feel any pressure to buy just because you made an appointment to view.

We make appointments to view houses, test drive cars and to hold puppies without feeling obligated to purchase. We can do the same when view art in a home studio environment.

Terrill Welch Home Studio Visit 5 July 2014 by Terrill Welch 2014_07_27 021

Tip Six – If you are enamored by the artist’s work feel free to come back for more than one visit.

I have new work in my studio all the time and welcome repeat visitors. This allows home studio guests to become more familiar with the depth of an artist’s work and to develop a deeper understanding of what goes into the creative process. These factors I believe contribute to the enjoyment of the art that you may purchase now or at a later date.

Terrill Welchy Home Studio 6 Visit July 2014 by Terrill Welch 2014_07_27 027

Tip seven – Charming studio guests find a way to communicate a meaningful thank you for the artist’s time.

Studio visits do take time. There is no way around it. The most obvious show of appreciation is when a home studio guest goes home with an original piece of art. But there are so many other ways to acknowledge the artist who has hosted you in their home studio. Some of my favourite “thank you gestures” have been:

1. buying a small handful of greeting cards of your favourite art for those special occasions,

2. bringing a small gift like a jar of homemade jam or cookies or fresh-cut flowers from the market,

3. taking the artist’s photograph with her work and sharing it with your friends along with the artist’s business card,

4. taking a photograph of your favourite work to post on your fridge as a reminder for the day you are ready to purchase,

5. sending a quick email “thank you” and telling the artist what you enjoyed most about your visit,

6. signing up to receive the artist’s blog and then send the link to all your social media “friends” telling them about your home studio visit, and

7. taking the artist out to lunch and telling everyone you see how much you loved her art and wish that you could purchase it all. Yes, this has happened, more than once actually :)

Terrill Welch Home Studio Visit 7 July 2014 by Terrill Welch 2014_07_27 008

Let your imagination be your guide but a meaningful thank you goes a long-long way on the charming scale of being an unforgettable and cherished home studio guest.

Why bother? Or more bluntly – what is in it for you?

Most importantly, these are just a nice things to do and you will feel good about doing them – I promise. And you will get invited back. Beyond this, when an artist remembers a charming home studio guest then there are those special invitations to private viewings of yet-to-be-released work – either in person or online. The charming guest may also be given perks and consideration that are not openly shared publicly – a book, tote, throw pillow or small study of the artists work may be tucked in with a large purchase. You may receive a personal note when a work has come available that you mentioned you were interested in considering.  After all, artists are no different from everyone else – we love, love, LOVE considerate and charming guests.

 

What is the most brilliant and charming etiquette of any guest you have received – ever!?

 

Postscript infomercial (you had to know it was coming): Terrill Welch welcomes guest to her Mayne Island, British Columbia,  home studio by appointment. Feel free to send an email to her at tawelch AT shaw DOT ca to set up a time to drop in and be one of her charming home studio guests. Also, most of Terrill Welch’s original paintings can be viewed in detail and purchased in her online Artsy Home Gallery HERE. With almost 50 works finding homes in private collections during the past three years it is a good idea not to dally.

Okay, that is a wrap! Now back to painting, la, la, la…… see you soon ;)

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

July 19, 2014 / Terrill Welch

Painting The Vitality of West Coast Grey Landscapes

Terrill Welch:

May we always find vigor, vitality and strength in our greys!

Originally posted on Terrill Welch:

This July morning has arrived with a heaviness in the west coast grey that seems to be promising rain as the building wind flaps through the clothes left on the line overnight. You may think this would be a non-inspiration kind of day for a painter. But I find the opposite to be true. This kind of morning often has my hands itching to reach for the brushes and to set a canvas on the studio easel. But today there is no time. I have a birthday dinner this evening and a full day of studio visits to host tomorrow. So this is what I offer you instead: a collection of six of my grey paintings that are available for purchase…

Reef Bay Morning Experienced - 14 x 18 inch oil on canvas

I remember the sea, and the soft rush of water as it comes ashore. I remember the…

View original 389 more words

July 17, 2014 / Terrill Welch

The Diamond on the hill is Villeneuve lez Avignon France

What is it that has us gasp in awe when we look across an expansive vista? I believe it is because we are able to find ourselves within a much larger context. We experience our relationship to our surroundings in a different way than when inclosed by trees or buildings. This experience is a challenge to capture in a painting or photography without separating the viewer from the view and leaving them standing outside of a landscape. You will know this from your own, sometimes disappointing, photography efforts when you say to yourself – but that wasn’t what it was like at all! If you have been having conversations with me for a while, you know that I like to have my viewers experience my paintings from inside the landscape or seascape. I believe I may have succeeded in this desire in my latest painting which has us looking down onto the Rhone River at Pont D’ Avignon and across the view to Villeneuve lez Avignon, France.  Before I explain further let’s look at the painting and you can experience it for yourself.

Villeneuve lez Avignon France – 24 x 36 inch oil on canvas

Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_16 030

If you just want to experience the painting for its own sake I suggest that you read no further. However, if you are curious about what happened in this canvas please feel free to join me by reading the rest of the post.

This is a good-sized painting so let’s look at it again with a bit of context around it.

on the stairs for context - Villeneuve lez Avignon France 24 x 36 inch oil on canvas  by Terrill Welch

Even though the painting is harder to see at this second angle in the early morning light, it does give us a feel for its size and how it looks relative to its surroundings. This is the same idea as what viewing a distant vista does for us. In the second photograph I want to move around and maybe get closer for a clearer view. The same thing happens when looking across a valley. How many times have you walked out on a viewpoint and then moved from spot-to-spot to make sure you were viewing it from the best vantage point? I believe this action of searching is what keeps us inside a landscape rather than viewing it as a spectator. So you might ask – how did I attempt to replicate this exercise for just our eyes in the painting above?

First, I stood on the very hillside that the viewer does when looking at this painting. I personally did the act of searching for that “best vantage point” by moving around the top of the hillside. Then I did a painting sketch. It was during the act of doing that painting sketch that I became familiar with the forms and structure of the landscape. We can read more about this in my earlier post “Artists Camille Corot and Terrill Welch Visit Avignon France 171 Years Apart” but for ease of comparison, I will post again the painting sketch

Across the Way Villeneuve lez Avignon France
plein air 25 × 35 cm acrylic painting sketch on 185 lb paper.

Across the Way Villeneuve lez Avignon France 25 x 35 cm acrylic painting sketch by Terrill Welch 2014_06_012 106

In the earlier post I talk about crunching the landscape slightly in my mind’s eye to fit the canvas shape. But now I am not so sure that is the only reason it was adjusted. Let’s have another look at the underpainting with bits of masking tap marking lines of intersection and tension.

compositional tension in Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 005

If we look at the plein air sketch and the larger canvas these same lines of intersection and tension exist. Whereas in reality, if one was a surveyor and painted to measure this tension is stretched out much further. So what happened? I believe it is the process of walking around the vantage point for the best view. In doing this we gather information about the expanse and reconstruct it in our mind’s eye to provide us with the best view of all aspects. In this case, the elements of interest are brought closer together adjusted in size and clarity exaggerating the tensions and lines of intersection. The diamond shape of Villeneuve les Avignon is our eye’s anchor but we do not look at it closely do we? At least I didn’t. By having these conversations with myself while I painted I began to unravel how we can experience a landscape painting from inside of the view rather than as a spectator. The result is that the view is created as one might do for themselves if they were to be standing on the hillside gathering the experience in their own mind’s eye. We the viewer are therefore inside the painting through the intentional design and execution of the work. To do this I first had to understand the compositional intersections and tensions and then combine three different painting techniques from the realism of the arches on the bridge to the impressionism of the morning light hitting the trees to the abstract expressionism of the buildings on the hillside. This combination of technique is not evident in the plein air sketch however.  I developed this deliberate conscious use of brush and paint as I began working up the underpainting.

work-in-progress Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 010

I started to see the results though about here nearer to the end of the painting.

work-in-progress 2 Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 021

I knew what I needed to do but I wasn’t sure I could make it work because culturally we have stripped these approaches into separate schools of practice. We have learned to understand paintings as if these are three separate painting languages. But from my recent visits through many European museums I find that artists are often multilingual. They will often find the perfect brush stroke using whatever painting language they have access to through their experience. This separation of painting languages is to some extent the work of art historians generalizing major movements in art and our understanding of  painting over time – which is directly influenced by our world experience as it intersects with our internal self. So I made a deliberate attempt to break these separation rules and stretch across as much painting history is covered by the Pont D’ Avignon itself. I wanted the viewer to view the painting as if they were standing on the hillside constructing the view within their own mind’s eye. This was much more important to me than conforming to painting schools of style and technique. I think that the strength of this approach is evident if we revisit the plein air sketch and then final painting. The same life and vitality of a quick sketch was carried over into the larger painting but the visual strength that the larger painting has is missing from the earlier painting sketch. At least that is what I experience. I would love to hear what you experience as well because the risk of mixing several languages of any sort is to be miss-understood.

 

Can you tell us about a time when you consciously merged separate approaches or languages to achieve a desired result?

 

Please note that the larger painting will be release at a later date – it is still resting :)

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

July 7, 2014 / Terrill Welch

Why Paint a Landscape of Avignon France?

 

Fingers pressed to lips and on tiptoes I invite you to quietly join me in the loft studio this morning. You see, I don’t believe that my page full of “to do” items including paintings to be shipped to their new homes and time management will exactly approve of this diversion. But if we keep it quiet, maybe no one will notice us. So come on up. It is a little early so we will need to turn on the studio lamp.

With all the gorgeous west coast landscapes to paint you might wonder why I would travel half way around the world to paint a landscapes in France. The truth is I wanted the tension of a shorter, but still substantial, span of time. We might say that North America offers this with its more recent European occupation. However, what I experience on the southwest coast of Canada is thousands of years evident in the landscape and then the present interruption of humankind. Most buildings and such on the west coast still standing are less than two hundred years old. Yes, aboriginal people have been here for a few thousand years but they have left few footprints on the landscape. Europe and France in particular are different. We can still see evidence for easily over 600 years in one gaze looking across the Rhone River in Avignon France. This is somehow important to me as I intuit the tension in a landscape. We live in environmentally parlous times of exponentially climate change. In 2012 about half the world’s population lived in urban areas and this percentage is expected to continue to increase – quickly. the result is that our agrarian sensibilities and relationships to our natural surrounding on the whole are weak. For those populations that survive the next few hundred years, I believe this must become a strength. Yet, as we abstract our way through internal and external elements of our human creations, the natural landscape appears to hold little interest other than a thing of beauty and a place of recreation. This objectification of our natural surroundings places us and it at great risk through our false sense of possession or proprietary combined with ever-decreasing regard and understanding of the lines of tension and intersection of our relationship. These are my musings anyway and is the backdrop for my most resent painting MORNING BY PONT D’ AVIGNON (24 x 36 inch oil on canvas)   and its cousin below of the same size which is still in its underpainting state with bits of masking tap marking lines of intersection and tension.

 

compositional tension in Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 005

Judging from the plein air acrylic painting sketch I did, once the painting is completed these tensions will be mostly felt rather than seen (though now that I have so explicitly shown them to you, I am sure you will notice them more readily.) I anticipate that our eyes will keep roaming the scene searching for something until it unravels these tensions to the mind’s satisfaction. My desire is that we will know that it is more than a beautiful view, someplace to gaze,  to sit, to stroll or to sail. I want us to  intuitively sense the strength and fragility of this landscape – after all there are hundreds of years of human intersection with the environment visible in this painting and my intention is to inviting us to take the time for such an exploration.  Our west coast of Canada has a much harder time offering this same invitation. It is much more immediate, wild and possibly even too forgiving of our ignorance – until possibly it is too late. So I have called on a morning in Avignon France with her abandon bridge across the Rhone to give us a hand.

I know! Here you thought I was on vacation and this was all about just painting another pretty picture.  It could be I suppose. But I intend to instill such strength and tension in my brushstrokes that you will stay long enough to get past the beauty and to the substance behind this work. The act of painting is a spiritual exercise, a meditation, a recital of a poem and possibly even a practice of prayer. The subject in this case, in most cases, has to do with our fragile, temporary and continued existence.

Now, if you will excuse me, I must do a wee bit of painting before that  “to do” list comes charging up the stairs and demands to know where I have been.

 

What invitations are you accepting to strengthen your relationship to our natural environment?

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

July 2, 2014 / Terrill Welch

Canada Day winner of the FOUND IT painting draw

With entries from all over North America and beyond, the winner of the FOUND IT PAINTING draw for SEASIDE MAYNE ISLAND STUDY  is from my birthplace. Image that! An email has been sent to the winner and I am awaiting a mailing address. Though this painting had the possibility of going to many excellent homes, this one will be perfect. I  am sure it will be well-loved and very happy there.

Seaside Mayne Island study 10 x 8 inch oil on canvas by Terrill Welch 2013_08_02 021

Also, EARLY NOVEMBER SEA 14 x 18 inch oil on canvas has sold.

Early_November_Sea_14_x_18_inch_oil_on_canvas_by_Terrill_Welch_2012_10_18_072

Thank you everyone who participated in my Canada Day Special event. Finding homes for paintings is not always an easy task and you have made it an enjoyable, fun and rewarding exercise.

As always it is a pleasure to share my work with you.

Other work currently available can be viewed in my Artsy Home online gallery at:

http://www.artsyhome.com/product/Seaside-Mayne-Island

 

All the best of today to you!

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

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