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August 13, 2016 / Terrill Welch

Art Studio Gossip

Gossip overheard in the artist’s studio this afternoon…

Standing on end and shouldering themselves into a rough order along the curved hallway, these landscape paintings whisper loudly to each other.

Gossip overheard in the the artist's studio by Terrill Welch

“What are we doing here? I don’t even have my edges painted yet!”

“Me either but I hear that is happening tomorrow. Apparently, we have a big gig coming up for September and October.”

“Yeah, I heard eight of us large ones will be showing in Victoria, BC ” says Seaside Mayne Island, as he heaves himself to a slightly better angle to be heard, without actually shouting, from the great room.

Then Evening And The Arbutus Tree leans over the railing from the loft.

“She told me that she wants to call the show ‘Above The Stacks’ because we are going to be in a new library and most of us will be way up high above the books. I said she had to add ‘Land and Sea’ to the title or no one will know that it is going to be us.”

Long Beach Vancouver Island sighs as the tide recedes farther up her midriff.

“You know” she comments patiently while stretching out one long sandy leg, and then the other “it is way too soon to be getting excited. There are still a couple of weeks to wait. No use wearing out all our shine in the studio.”

Then she winks and the light sparkles off of her sea “I do believe Emily Carr is somehow involved again.”

All the paintings in the studio start whispering at once. In fact one little fellow gets so excited that he falls over flat on his face in the magazine article he had been trying to read upside down.

Sea and Sun Cox Bay Tofino BC grumbles “You had to go and wake the little ones didn’t you!? You know they are too small to go in this show.”

“There will be other shows” Long Beach Vancouver Island replies. “After all, there are not many place that can handle the eight of us.”

The late summer afternoon warmth starts to make all the paintings drowsy – large ones, middle-sized ones and small ones. Sssshhhh!

The studio is quiet.


What are you whispering about today?


© 2016 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

August 11, 2016 / Terrill Welch

Large Painting of Blooming Point PEI a meditation on World Peace

Canadian Contemporary Artist Terrill Welch

A painter can sometimes keep it simple and say that the painting painted itself. On occasion, this may even be the case. But not for this 40 x 60 inch canvas. It came with intentions that were sparked by a conversation with David Sandum, a Swedish painter and print maker living in Norway. He is also the author of the award-winning memoir I’ll Run Till the Sun Goes Down. We have been colleagues and friends for more than half a dozen years, or at least as much as one can be when living an ocean apart. The context for this painting was a dialogue following the latest in a series of terrorist attacks, this time it was Nice, France. The anger, bewilderment and confusion was felt bone deep. When one is a painter, there often seems to be only one thing that can be done in a situation like…

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July 29, 2016 / Terrill Welch

In the Words of Strangers

By now you may have guessed, as a Canadian artist, I often have conversations strangers about my work when I am traveling. It comes with geographic proximity to my landscape subjects and other human beings. These engagements are frequently brief and fleeting in nature but this does not diminish their impact as a kind of concrete gentle-kindness to fortify my solitude as I put brush to canvas over and over again.

detail wave Sea and Sun Cox Bay Tofino BC 24 x 48 inch oil on canvas by Terrill Welch July 15 2016 IMG_7009

This same kind of engagement also happens through the vast and complex inter-connectedness of the world-wide-web.

Oh, I suppose could tell you about new works painted, several art shows and painting sales in the month since I have been home (my website has this information if it is desired). But, it has also been an unprecedented time of quiet recognition of my work. Complete strangers often contacted me to make requests about sharing my work elsewhere online. In the process, they frequently articulated why they wish to do so. Sometimes their words leave me rather stunned and deeply humbled with gratitude. Here are a couple of brief snippets as examples…

Received in my inbox today:

“I discovered your paintings from a Google image search of paintings of the Canadian coast. I grew up in ….. BC and spent much time sailing through Desolation Sound and the Gulf Islands. You’re paintings truly capture much of the beauty inherent in the
region. I was wondering if I could share one….”

Fog Inside Passage 12 x 24 inch oil on canvas


Details and purchase information available HERE.

What do you think my answer was to this request!?

And here is part of a public comment this week on my website contact page:

“I have to tell you –though I hesitated to write this because I did not want to provoke anything which might disturb whatever wonderful thing it is that enables you to produce these works–I have spent numerous hours at the Musée du Quai d’Orsay fixed on one or another impressionist painting–usually one by Van Gogh. Your paintings have a similar effect. Your artistic sensibilities, while uniquely yours, seem to have a resonance with what I see communicated through Van Gogh’s pieces. Please don’t take offense at a comparison. Your work is truly original and beautiful–as is his. No mere imitator of Van Gogh, however talented, could ever hope to match this peculiar sensibility. I’m convinced that it must be something innately shared and, for me, your work expresses it in a way that’s of course your own. But these works could easily hang beside anything in the Orsay’s permanent collection.

It is no wonder to me that collectors snap up your paintings as soon as you finish them. If I had a fortune or was a curator at a major museum, I’d be collecting your paintings with the same interest that I’d have for any work by Van Gogh or Matisse or Raoul Dufy.”

Signed “P.”

One of the paintings of particular interest to this individual is Spring Tea, 16 x 20 inch oil on canvas, one of three paintings showing this weekend on Mayne Island at “La Vida Rústica” — multi-disciplinary reflections on the rustic life.

Spring Tea 16 x 20 inch oil on canvas plein air by Canadian Artist Terrill Welch 2015_04_25 140

Well, I must say, I really don’t know what to say when faced with such frank remarks…. except thank you, thank you – Thank You!

What is particularly powerful and meaningful to me is the clarity with which the paintings moved these commenters – it is as if the brushstrokes were felt even more than they were seen. There is no higher compliment or recognition as a painter I could ever wish for my work. This is a clean and perfect match to my intention and the driving force that brings me back to the studio again and again.

May the painting continue, without interference, and yet gently supported by the words of strangers!

On that note, I think we shall conclude with one of the latest paintings and the first large works from Prince Edward Island the East Coast of Canada.

In Studio placing last brushstroke on first large East Coast #PEI painting by Terrill Welch  IMG_6453


Can you share a time when you were moved by the insight and kindness of a stranger?


© 2016 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

June 15, 2016 / Terrill Welch

Until later Prince Edward Island as I leave with more painting sketches

Has the past three weeks really gone so fast that I have not intrigued you with my gallivanting from shore to hill to shore again? Well it seems so though I did share ten sketches on the website update, there has been more – so much more! But one must choose what to share I think, otherwise boredom will have you on the next global surf for website spectacular viewing. We must get on with it!

Let’s see…. oh yes, we shall start with just a few of the latest painting sketches and then a handful of photographs of subjects I find particularly fascinating.

I can never seem to get enough of the red dirt and sandstone of Prince Edward Island!

South Shores PEI study 8 x 10 inch acrylic sketch on gessobord

South Shores PEI study 8 x 10 inch acrylic sketch on gessobord by Terrill Welch IMG_5264

Cape Bear on edge study 12 x 9 inch acrylic sketch on gessobord

Cape Bear on edge study 12 x 9 inch acrylic sketch on gessobord by Terrill Welch IMG_5259

Wind Swept Murray Head PEI study  11 x 14 inch acrylic sketch on gessobord

Wind Swept Murray Head PEI study 11 x 14 inch acrylic sketch on gessobord by Terrill Welch IMG_5245

Hilltop View Above DeSable River PEI study 8 x 10 inch acrylic sketch

Hilltop View Above DeSable River PEI study 8 x 10 inch acrylic sketch by Terrill Welch IMG_5492

But in truth, it is the relationship between land, sea and sky that keeps my attention no matter if it is red or white sand and stone.

Fogged In At Basin Head PEI Study  8 x 10 inch acrylic sketch on gessobord

Fogged In At Basin Head PEI Study 8 x 10 inch acrylic sketch on gessobord by Terrill Welch IMG_5530

But there are also the lighthouses…

West Point Lighthouse 1875 PEI

West Point Lighthouse 1875 PEI by Terrill Welch IMG_4851

Colourful fishing huts…

Georgetown Harbour PEI

Georgetown Harbour PEI by Terrill Welch IMG_4896

And the churches…

This one comes with a story about its photographic capture even:

I almost didn’t get this photograph of the Roman Catholic Church of the Immaculate Conception, built 1848, in Brae, PEI. You see, there is at least one or sometimes two churches, of some sort it seems, within walking distance of pretty much every farm and fishing village on Prince Edward Island. There are large churches, small churches, plain churches, beautiful churches and unusual churches. Many, like this one, only open the doors for special occasions and eventually may be lost to more central houses of worship that can be reached easily with a vehicle. But, in a day’s adventure on this gorgeous island, we see a lot of churches!

Traveling with a landscape photographer, who is also the driver, can get more than just a little bit tedious. There is a lot of stop and go. There can be lot of turning around and going back even. So, by the time I spotted the Brae church through the trees and a ways over the fields and trees, my sweet husband was just about ready to crumble into a two-year old’s meltdown of angry despair. He is an extremely patient man but there are limits. Turning on the signal and thinking as fast as I can, I shout – LAST PHOTO OF THE DAY! while simultaneously and silently praying to the gods of fading light that I might be able to keep my word without regret. I didn’t dare look sideways at him, not even out of the corner of my eye. I just kept driving and searching for a photograph of the church from various angles as we approached. I knew I was only going to get to stop the car once without the floodgates of frustration overflowing the banks of spousal goodwill… and I was going to have to be quick about it. We were approaching the end of a long day, both of us hungry and tired.

At first I couldn’t find the shot. There were power lines everywhere and very little to use for context. Then I saw a small bridge and zipped across. Turning into the Brae Harbour Rd, I spin a slow u-turn and park. I leap out of the car and jog across the road. I had it! Last photo of the day – with nothing more than a heavy sigh and a grinning shaking of his head as he asks – did you get it!?

Phewffff! Love wins another round!

Roman Catholic Church of the Immaculate Conception 1848  Brae PEI

Roman Catholic Church of the Immaculate Conception 1848 Brae PEI by Terrill Welch IMG_4862

And then there are red dirt back roads….

Eliot River Rd PEI

Eliot River Rd PEI by Terrill Welch IMG_5362

Fresh leaves gracing Currie Rd PEI

Fresh leaves gracing Currie Rd PEI by Terrill Welch IMG_5394

Farrar Rd PEI

Farrar Rd PEI by Terrill Welch IMG_5397

No matter where we went, from North Cape to Cavendish to Summerside to St. Peters Bay, to East Point to Georgetown, to Murray Head to Rocky Point or just on the streets of Charlottetown, we were welcomed with exemplar Canadian kindness! Prince Edward Island has managed to cultivate the best of rural and urban living in its small province and it is a place that warms the heart and lifts the spirit. We will be back. We have made a promise to ourselves to have me come and work in the fall to early winter, maybe in 2017, to capture the landscape again in painting sketches and photographs during the autumn season. For now, I must go home and start working up the Prince Edward Island landscape onto larger canvases using the reference material I have gathered over the past seven weeks. I owe a huge thanks to all the islanders who have welcomed me and shared their favourite places and advice. There are too many to name but you know who you are! Thank you!!! Until we meet again!


I usually end with a question but I actually have not one to ask today so…


What question might you like to ask today?


P.S. Save the date for Mayne Island, B.C. – West to East Coast Art Show featuring new landscape painting sketches and recent large oil paintings by Terrill Welch on Sat. July 9th 1-4 pm and Sun. July 10th from 11 am – 4 pm at the Mayne Island Community Centre, 493 Felix Jack Road.

Terrill will be displaying over 18 of her new east coast painting sketches (prints of these works can be ordered) from her trip to Prince Edward Island this spring along with recent west coast landscape paintings that will be available to purchase.

During this pop up show, Terrill will be painting live and demonstrating how her work goes from a collection of sketches and photography reference materials to the final large oil paintings.

Come experience the magic of these landscape renderings of Canada’s west and east coasts as they are captured and translated by Terrill Welch with her brushes and paints onto medium and large canvases.


© 2016 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

June 2, 2016 / Terrill Welch

A Painter’s Sketch of Prince Edward Island and Interview with CBC Host Karen Mair

For your reading, viewing and listening pleasure this morning. Enjoy!

Canadian Contemporary Artist Terrill Welch

Sun, rain, snow, wind, frost, thunderstorms and summer-time warmth, along with the opening of lobster season and the arrival of the season’s first cruise ship, have all been part of painting sketches the east coast during the past five weeks on the Prince Edward Island in Canada. Fourteen painting sketches have been completed so far. Ten of these works have been selected to share today, along with a link to a radio interview with CBC Mainstreet PEI host Karen Mair which aired earlier this week.

These quick sketches are part of reference research for larger oil paintings and are not for sale at this time. However, prints can be made available and a link to purchase these will be provided upon request. Now, from Charlottetown to far-flung beaches on Prince Edward Island between April 27th and May 2nd 2016 …

Harbour Charlottetown PEI 8 x 10 inch acrylic plein air…

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May 15, 2016 / Terrill Welch

A few painting and image snippets of Prince Edward Island

During the last two weeks, I have taken my camera and brushes to Cavendish, North Rustico, Dalvay Beach, Savage Harbour, Blooming Point and St. Peters Bay on Prince Edward Island, Canada’s smallest province. Though it is May, the weather is mostly wool-sweater cool, with the occasional breezy sunny day.  The potatoes are being planted and the daffodils and magnolias are blooming. However, it can still get down below freezing at night. But the light! It is a photographer’s and painter’s jewel-of-a-life-time in the early mornings and anytime before ten o’clock on this fine island during the month of May. Working our way along the north shore towards the east, let’s have a look and see what we have for you in the albums.

Cavendish is the setting for the fictional Anne of Green Gables stories and these stories are the most commonly referenced attribute when I mention Prince Edward Island. I found that it was impossible to resist a wee ramble up to the Cavendish cliffs with its rather tame wild rabbits (there are signs NOT to feed them but, from the behviour of the rabbits, I don’t think this is heeded).

Sitting with the view at Cavendish PEI is for my mother who deeply enjoyed “the Anne books.” I, on the other hand, humbly admit, to never turning a page in even one of these books.

Sitting with the view at Cavendish PEI by Terrill Welch May 11 2016 IMG_3745

When I whispered this to someone in a tweet, she replied “I am pretty sure you can get your Canadian citizenship revoked if this gets widely known… or get voted off the island.”

Okay, I will think about reading them… maybe this fall or winter when I am working in the studio on larger oil paintings of this area. After all, I really don’t want to get dangled off the cliffs of Cavendish.

Cliffs of Cavendish PEI by Terrill Welch May 11 2016 IMG_3816

Something to think about while I am waiting for the ground paint to dry for a quick plein air painting sketch.

waiting for the ground paint to dry Cavendish PEI by Terrill Welch IMG_3797

As you can see, in the few minutes between photographs, the clouds are moving so fast that the sea cannot settle on a colour. I love this about the sky and the sea and how they talk and sometimes even shout at each other.

quick plein air painting sketch at Cavendish PEI by Terrill Welch May 11 2016 IMG_3809

Pulling on my heavy wool sweater, sleeves rolled up, I work as quickly as I can. The waves coming ashore provide a diversion from my stiffening fingers.

Wave connecting on the shores of Cavendish PEI by Terrill Welch IMG_3757

I end my reference work with “Shores of Cavendish in May PEI” 8 x 10 inch acrylic sketch on gessobord.

Shores of Cavendish in May PEI 8 x 10 inch acrylic sketch on gessobord by Terrill Welch IMG_3821

I could stop here and it would be a complete blog post. However, this is not wise. I do not have much time for blogging. Even though the post will be long by the time I am finished, we had best continue. This is a good time for you to get a beverage of choice and snuggle right into the adventure……

Earlier on this same morning, long before it was warm enough to want to stand still and paint, I meandered around North Rustico which is just a little further to the east of Cavendish. Pleased with my reference images, I am not sure yet if I will make it back for a painting session. It was about 7:00 am or so when I took these.

North Rustico bathed in early morning sun PEI

North Rustico bathed in early morning sun PEI by Terrill Welch IMG_3688

There is nary a fishing boat in sight at the Warf because lobster season opened on the 1st of May.

Seagulls Nest Rustico Harour PEI

Seagulls Nest Rustico Harour PEI by Terrill Welch IMG_3701

North Rustico Lighthouse PEI where red sand drifts up from the shore and onto the dirt road.

North Rustico Lighthouse PEI by Terrill Welch May 11 2016 IMG_3733

Continuing east, over hill and dale along the coast, a person will eventually arrive at Dalvay Beach. On this particular day I am joined by CBC Host/Producer of Mainstreet PEI, Karen Mair, who does an interview with me for a 5-6 minute guest appearance sometime next week on her show.

Standing on Dalvay Beach cliffs plein painting PEI by Terrill Welch IMG_3869

I am a happy painter – more red sand and warm hues to work with.

Dalvay Beach PEI 9 x 12 inch acrylic sketch on gessobord

Dalvay Beach PEI 9 x 12 inch acrylic sketch on gessobord by Terrill Welch IMG_3903

I am sure that one can’t truly claim to have been to Prince Edward Island unless they have ground red sand between their teeth after being blasted by a cloud of grit on the beach or stomped the red mud from their shoes before going in doors. This was my plein air adventure on Mother’s Day.

PEI red mud by Terrill Welch May 8 2016 IMG_3373

A friend who moved to Charlottetown three years ago took me to her favourite beach at Blooming Point. It is a warm day with fog drifting in off the water. The filtered light is perfect!

Mother's Day Blooming Point Beach PEI by Terrill Welch May 8 2016 IMG_3423

My friend walked with her dog and read while I painted.

Plein air painting at Blooming Point PEI by Terrill Welch May 8 2016 IMG_3418

Blooming Point Beach PEI 8 x 10 inch acrylic sketch on gessobord

Blooming Point Beach PEI 8 x 10 inch acrylic sketch on gessobord by Terrill Welch May 8 2016 IMG_3421

There is a large painting to come from these reference materials of Blooming Point. I can feel it in my bones!

Then there is this one day where the wind howled and I had to hang onto the car door to keep it from coming off its hinges when I stepped out to take photographs. In fact, 92 % if the island’s power was generated by wind on this day. Despite the wind, the afternoon light was stunning.

The relationships between land, sky and sea has never been stronger.

Atlantic Ocean north shores PEI by Terrill Welch May 9 2016 IMG_3505

Shores to sea, Savage Harbour PEI

shores to sea Savage Harbour PEI by Terrill Welch May 9 2016 IMG_3577

St Peters Roman Catholic Church built in 1927 next to a ploughed field PEI

St Peters Roman Catholic Church 1927 ploughed field PEI by Terrill Welch May 9 2016 IMG_3618

The red field brings up the third aspect of Prince Edward Island notoriety – potatoes!

Fields of red St Peters Bay PEI.

fields of red St Peters Bay PEI by Terrill Welch May 9 2016 IMG_3646


Well, there you have it!  A few snippets from the past couple of weeks. There is more of course but it shall wait for another time. I feel as if I have collected what I came to gather. Now? I am on bonus time – with still another month left to explore! I am beaming widely and relaxing into our adventure here on the east coast of Canada. So, I leave you with this novella-length post and I am off!


What creative adventure are you relaxing into today?


© 2016 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

April 29, 2016 / Terrill Welch

What a Difference a Day Makes arriving in Charlottetown Prince Edward Island

It is 2:30 am when the taxi dropped us off into the quiet dark of Water Street. We have arrived in Charlottetown, Prince Edward Island from Victoria, British Columbia after making two connections – one in Vancouver and one in Toronto. The key was right where it was suppose to be along with a note from our hosts. We slipped into our small well-appointed circa 1857 house apartment. I send a quick note to our emergency contact that we were safely at our destination and it is lights out. This lasted until 5:30 am when I awoke to the beginnings of an east coast day. I toss and turn for an hour and then give up. There is nothing to do but get out there and join the rising sun! I head around the corner and down a small hill and I am at Confederation Landing.

Lower Water Street Charlottetown PEI by Terrill Welch IMG_3040

The upside down world of the harbour seems most fitting.

upside down world in the harbour Charlottetown PEI by Terrill Welch IMG_3044

There is a stunning art installation that will keep me coming back many times.

Art instilation at Conferdartion Landing by Terrill Welch IMG_3029

There is frost on the boardwalk.

Frost on boardwalk Confederation Landing by Terrill Welch IMG_3023

Pussy willows just budding out.

pussy willows in morning sun PEI by Terrill Welch IMG_3034

Crocuses coming up under the shrubs.

Crocuses morning sun by Terrill Welch IMG_3026

All these wonderful signs of early spring! Little did I take to heart just how early a sign of spring it really was.

After a solo breakfast at a place down the street recommended by the city worker near the landing, I make my way over to the long boardwalk of Victoria Park. David is much more sensible and is peacefully getting a goodnight or rather day’s sleep.

boardwalk Victoria Park Charlottetown PEI by Terrill Welch IMG_3047

Around the corner an old farm sits disappearing even with its well-worked fields.

all but gone PEI by Terrill Welch IMG_3070

I see my first small lighthouse and smile. It has been a good morning.

Lighthouse near Brighton Rd Charlottetown PEI by Terrill Welch IMG_3071

I go back to the apartment, fall into bed and sleep for another couple of hours. Our host and his daughter knock to welcome us and we have a great visit about this and that and everything. My paint supplies hadn’t yet arrived at his office. Our luggage will be coming later today as it wasn’t able to keep up with us yesterday – just ordinary friendly chit-chat in that warm PEI kind of way.

Once they leave, I started poking at David to get up so we can more easily get into eastern time.

We go for lunch at Terre Rouge and I have the best seafood chowder -ever! David decides on baked mac and cheese. I eat his salad. We each have a glass of wine. Even though this is breakfast for David, it is three o’clock in the afternoon. Have I ever said that we travel well and even better together?

Note: If you are planning a summer visit and think you might like to try Terre Rouge, a reservation was made while we were there for July 19th for two. I asked the server if this was common and she said anyone who had been to Charlottetown during the high-tourist summer months knew to make reservations ahead of time. So there you go, decide where you would like to eat in July and make the booking for the occasion at the end of April. No problem.

After a wander around the old town area we decide to go back to the boardwalk in Victoria Park. The beautiful large old dames along the shore are in perfect afternoon light.

white dames along the shore Charlottetown PEI by Terrill Welch IMG_3084

We decide to sit in the late day sun on a freshly varnished bench in this highly polished city. A woman walks by and says “Nice to not be sitting in snowbanks isn’t it?”

I agreed and let her know that we didn’t see snowbanks last winter as we were from the southwest coast of Canada. This lead to a lengthy exchange which let us know, among other things, that the first cruise-ship arrives on May 2nd. This explains why there was a whole hive of city workers scrubbing and cleaning away the leftover remnants of winter.

After the woman walked on, David turns to me and comments “you have 32 new friends and you haven’t even been in Charlottetown 24 hours!”

He may be over-estimating, slightly, the number of people we have spoken with since arriving but not by much. Everyone we meet seems to take their role as a city ambassador seriously. They are proud of their island and their city. When we ask, many people tell us they have lived here their whole lives.

As a way of explanation, people give a soft shrug and say something like “it is a good place with good people, no need to really go any place else.”

There is only one other place we have visited in recent years that can match PEI for warmth and friendliness. This a small community on the outskirts of Florence in Italy. This kind of generosity of spirit and kindness is not something one should ever take lightly. We crawl into bed that night already feeling settled and at home. Tomorrow will be another day and what a day it is….

The bright sun and light-sweater-wearing of the day before are lost behind drifting snowflakes and just below freezing temperatures.

snow covered boardwalk Charlottetown late April PEI by Terrill Welch IMG_3107

There is a white blanket on the boardwalk and the harbour is slow to wake.

Harbour morning late April Charlottetown PEI by Terrill Welch IMG_3099

The air is crisp and refreshing and the crocuses look to me as crocuses should, their beauty always most accentuated when wrapped in snow.

crocuses dusted with late snowfall Charlottetown PEI by Terrill Welch IMG_3102

I see a break in the cloud cover to the north.

light dusting of snow April 28th Charlottetown PEI by Terrill Welch IMG_3114

I am thinking the snow flurries won’t last as I admire the conte-red of the sandstone lining the Charlottetown harbour.

conte red sandstone lines harbour Charlottetown PEI by Terrill Welch IMG_3109

But I am wrong. It is snowing again as I head back down our street and it continues off and on for the rest of the day.

Water Street early morning April 28th by Terrill Welch IMG_3122

Like any seasoned traveling artist, I know a window of opportunity when I see one. We gather ourselves up to go and get groceries for the next couple of days. I always love organizing a kitchen with the things we appreciate.

shopping day Charlottetown PEI by Terrill Welch IMG_3125

There are little black-cap birds using the bird house outside the window and neither they nor us really mind the snow at all. I make chicken stew with PEI potatoes for supper, along with a side of salad greens smothered in delicious olive oil and balsamic vinegar from “Liquid Gold – tasting bar and all things olive” and artisan buns from Breadworks, difficult to find but so worth it! I served a Prince Edward Island medium dry Gamay Noir from Matos Winery & Distillery for a perfect pairing – a beautifully light-bodied red that should satisfy right into warmer weather.

By just before sunset the skies clear and I meander off to Victoria Park for a stroll. The grand ladies along the shore are looking extra fine this evening.

Last Light April 28 3016 Charlottetown PEI by Terrill Welch IMG_3163

Tomorrow will be Friday and I promise myself that I will sleep late and I do.

I rise at 8:45 am to make coffee, a cheese sandwich, apple slices and carrots. My paints arrived yesterday afternoon and it is going to be a painting day! I check the temperature and it is plus six with sunshine. I head back to the harbour close to home. Then I run back and get my heavy wool sweater. The wind is picking up to a brisk clip. I decide it is still doable but need to use my big camera as a weight hung from the bottom of the easel to keep it from blowing over. I persevere. There are only a few other people out this morning in a city that seems to walk almost as much as drive. It is cold. My hands become stiff. I must focus hard to work the brushes and keep my teeth from chattering. Then I drift into that space that painters do and the quick sketch seemed to complete itself.

Plein Air painting Confederation Landing Charlottetown by Terrill Welch iphone

I am happy with it. The light here has a sharp edge that bites with harsh contempt for the camera long before midday. This is only our third day in Charlottetown. There are new colour harmonies to rendered and I am pleased to be back at work after taking time out for the actual travel and to get orientated in our new surroundings. I am looking forward to the weeks ahead as our second spring of this year unfolds before us. Welcome to Prince Edward Island, Canada dear readers!


What are you looking forward to this spring?


© 2016 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

April 15, 2016 / Terrill Welch

Cherry Blossom walk in Mayne Island Japanese Garden

Clouds of pink blossoms fill the morning sky with petals drifting slowly onto the garden paths. It is Cherry blossom season in Mayne Island’s Japanese Garden. Come with me and we can stroll along together!

Walking the paths Mayne Island Japanese Garden IMG_2227

Or we can also say: the season of sakura is here! Want to go hanami? Shall we go over the bridge?

Bridge Mayne Island Japanese Garden by Terrill Welch IMG_2224

We turn around in wonder until our gaze settles, just for a moment.

ink outline standing together in Japanese Garden by Terrill Welch IMG_2298

However, there are so many other supporting actors besides these pastel-crinoline-petticoat-wearing drama queens.  Take this dapper Dove Tree blossom for instance. Elegant and handsome as they come.

Dove Tree blossom from China by Terrill Welch IMG_2343

Or maybe Rhododendron blossoms that are as large as my hand.

Rhododendron blossoms by Terrill Welch IMG_2284

Then there are the weeping Crabapple blooms.

weeping crabapple blossoms by Terrill Welch IMG_2350

But if we are honest with each other, I am sure we would agree that all we really want to see are Cherry blossoms!

Japanese Garden Cherry Blossoms Mayne Island by Terrill Welch IMG_2247

Of course, we could sit in the hut and contemplate the question.

ink outline of Hut in Mayne Island Japanese Garden by Terrill Welch IMG_2232

We could study the pond for a while as we debate the issue. But my best guess is that all we are likely to notice is the reflections of….. Cherry Blossoms!

Cherry Blossom reflections Mayne Island Japanese Garden by Terrill Welch IMG_2256

So, Cherry blossoms it is!

Cherry Blossoms by Terrill Welch IMG_2400

We close our eyes and what do we see?

Well, I don’t know about you but I see a cheese sandwich with a hot cup of peppermint tea. I am famished after all this walking, looking, composing images and then photo-editing Cherry blossoms!

What do you see if you close your eyes?

© 2016 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

April 3, 2016 / Terrill Welch

The Wildest of the Wild West Coast of Canada Adventures

Some people go on vacations. They want to kick back and relax. A holiday from the grind of their real life they say. Not me! My real life is already scrumptiously engaging and meaningful. Though a little sunshine in just the right place never hurts.

Sun and Sea dance Frank Island Tofino British Columbia by Terrill Welch IMG_1751

When I leave home, I usually want to do more of what I do already in an ordinary day.

Terrill Welch on holidays by Josie Olszewski

I therefore call these gallivants-into-the-unknown, adventures! This latest six-day trip was to Chesterman Beach over on the wildest of the wild west coast in southern Canada, Tofino.

Wickaninnish Inn and the Sea by Terrill Welch IMG_1723

There is nothing like rain in a rain forest. Just put on that rain gear and go for it! Neither the giant trees nor you will mind in the least.

Rainy day forest walk with Josie and O boys iPhone capture by Terrill Welch

Or maybe the weather breaks for a few moments so you head for the beach again to… dig a hole, or play in the creek, or maybe you want to practice your clambering skills? Definitely a life-long ability worth refining in rough terrain. You just never know when you might want to climb straight up a hillside for a better view or down over some rocks to get that perfect angle.

the art of climbing by Terrill Welch IMG_1761

Or, how about a little plein air painting? Five years old

Eldest O boy at five years old painting on Chesterman Beach iPhone capture by Terrill Welch

or fifty-seven years old, it is all good!

plein air painting on Chesterman Beach by Terrill Welch 2016-03-22 IMG_0734

If it is crazy unpredictable weather, go anyway. Get out there and stretch those limbs!

beach walkers on Chesterman by Terrill Welch 2016-03-23 IMG_0830

Sun, rain, hail or high seas you will love it! I am as sure of it as these three are.

Josie and the two O boys on Chesterman Beach iPhone capture by Terrill Welch

But, for a landscape painter, that isn’t the last of it is it? The adventure continues back in the studio. Here are two of the latest Tofino oil paintings.

On the Rocks in Tofino 24 x 30 inch oil on canvas

On the Rocks in Tofino 24 x 30 inch oil on canvas by Terrill Welch 2016-03-30 IMG_2079

and Chesterman Beach Sunset 20 x 24 inch oil on canvas UPDATE: SOLD April 8, 2016

Chesterman Beach Sunset 20 x 24 inch oil on canvas by Terrill Welch 2016-04-01 IMG_2064

These will be available in my online gallery along with other work if you care for more information.

Now that is an adventure! My deepest thanks to the O family for inviting me along.

Stay tuned for the next traveling artist trip which will be to the East Coast of Canada for seven weeks on Prince Edward Island. Estimated time of arrive is late April.


Where is your next adventure going to take you?


© 2016 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

March 11, 2016 / Terrill Welch

In the Beginning there was Oil Paint and a Canvas

So you want to learn how to oil paint!? How does nine steps or building blocks to accomplishing this task sound? Does it make your brushes start dancing in their jar? Do your tubes of paint start squeezing themselves out on the palette? Okay, maybe that is just a bit too much to expect. But you get the idea. Painters have all started from somewhere near the same place….

The painting supply shopping is done and you are feeling slightly nauseous from the decrease in your bank balance. But you are ready with a few good oil paints and a handful of quality canvases. You have a couple of big brushes, a couple of medium brushes, one or three small brushes plus a tiny one for your all-important  signature. You have chosen some old clothes or a painting apron and you have scrounged up a painting rag. You have wrestled your portable easel together without running screaming into the night. You know to clean your brushes carefully with soap and water at the end of each painting session. You know that you are painting with your whole body and not your wrist and hand. If you can, you will stand to paint and when possible do it barefoot. You know to use all of the information from all of your senses, not just what your mind thinks your eyes are seeing. You know that “alla prima” is an Italian word for painting wet-on-wet in a first attempt. Now what?

With a flick of my painterly brush and fingers fluttering across the keyboard, let’s get started!

Today, we are going to begin en plein air (in the open air). Choose a canvas that is small to medium is size. Once you get to your painting location, possibly feeling a little like a pack mule with an unsecured load of pointed objects protruding from various bags and sacks, you are ready to decide on your subject. Once you have given the subject and composition of your painting careful consideration, set up your easel.  Swearing is allowed if no one is within hearing distance. Now, decide on your painting intention.

Painting intention: What are you loosely holding in mind as you work today? What is your aim? If you could direct the powers of the universe onto your finished canvas, what would the viewer experience?

Now you are ready to paint:

1. Your canvas can have a wet or dry ground colour. In this case, we have a dry ground in cadmium yellow. For our west coast landscape this is often the best ground in order to bring our many blues hues alive on a canvas. But, since this is early spring in a garden, the ground could just as well have been a taupe if it is a wet ground or a thin layer of raw or burnt umber if it is a dry ground. The use of a ground helps to break the barrier between painter and a stark white canvas. You become familiar with the size and shape of the canvas you are using in a very physical way by the time the ground is painted. You have made a start. The ground can sometimes make it easier to see the values or colour relationships as the painting is developing. It is also my preference to have parts of the ground showing through later on rather than the blank canvas.

1. start with a wet or dry ground by Terrill Welch IMG_9194

2. Set out your palette. In this case, I am using Lukas Berlin water-mixable oil paints. The pigments are rich, the clean up easy and the paint requires no use of solvents, making it more environmentally friendly than regular oil paints. My other choice, though a little pricey, is M. Graham walnut oil paints. Again, no solvents are necessary in my painting process. However, if you are using paints that require solvents, please make sure you have lots of ventilation. Eventually, each painter develops their own preferred palette layout. The most important aspect of this is that it becomes habitual in some way. You need to be able to easily remember where each pigment is located – without having to stop and think about it every time you want to mix a colour. I am left-handed. The arrangement below works for me. The lightest blue is at the bottom left. The lightest yellow starts in the top right and is arranged below until it gets to the deepest red. The top left is where I will mix my darkest hues, even though I need to reach across to my deepest red to make this happen. I sometime put out a flesh colour when painting landscapes as an alternative to adding white. Naples yellow is used in the same manner.

2. setting out palette by Terrill Welch IMG_9192

*Tip – Pigments mixed in various mediums and from different brands of paint behave slightly differently and may have different names. Learn how the brand you are using behaves by doing a few colour studies on a scrap of old canvas or panel.

Today, I have no black or payne’s grey on this palette. In fact, I recommend leaving this off until later in the learning curve of oil painting. Notice as well that there is no green or violet. These will be mixed for use as needed. If you haven’t studied a colour wheel recently in order to know what colours can be mixed to make another, don’t worry. For now – put your scientific adventure headband on and experiment. A detailed study of colour theory can come later and will continue for as long as you set about the process of painting. Paints are kind of like being presented with a spice cabinet and a garden full of herbs and then being told to gather together what smells right for the soup you are making. The first few times, you may come up with some rather strange combinations. However, eventually you figure out what you like and what works best for you. You could have just followed a recipe of course. But this leaves you looking up another recipe every time you want to make something new. If you learn by practice, from selectively gathering and using the raw ingredients, eventually you can flavour anything to your satisfaction that you want to cook. You can make adjustments at the start and at any point along the process. Painting is like this. If you experiment, from the very beginning, you have a better chance of developing the skills to allow you maximum creative freedom in the future. Methods, techniques and approaches are all just tools to accomplish the intention that you set out before beginning the painting process.

3. Mix a few of the more obvious colours in your composition or those that you want as reference points. In this case, my intention is to catch the very breath of early spring. I want to ensure I have the variety of pinks, violets, plums and purples of the plum blossoms. To have the best chance of getting this painting to sing the flush notes of spring, I mix these to ensure I have strong reference points for later on. At first, try to use your palette knife for mixing what you want to lay onto the canvas. However, I admit to having always used my brush, at least half the time, and continuing the final mix right on the canvas as I lay the wet paint down beside and on top of what is already there.

3 a. mix some more obvious colour in the compostion start with brief sketch by Terrill Welch

That long tail on an oil painting brush isn’t there for you to dangle the brush off the end of your fingertips. It is there to help with balance and to keep the tension between brush and canvas as you apply paint on a surface that is at an upright angle. Each paint brush is a little different. You will need to learn the balance point of each one by holding it between your fingers with a light grip that eventually allows you to roll it over-and-around with easy. Practice moving your fingers up and down the handle until you find your perfect balance point. If at any point you start to feel frustrated with how the paint is showing up on your canvas, the first thing to do is recheck that you are holding your brush in balance.

3 b. find the balance point to holding brush firm but lightly by Terrill Welch

*Tip – your brush is a tool or vehicle to get the paint from your palette and onto your canvas. To most efficiently accomplish this task, load ample paint on just the tip of the brush. But even before you do that dip the brush in oil or water if you are using water-mixable oil paints and squeeze the excess out. This makes the brush easier to clear at the end of the day and helps to release the paint from the brush onto the canvas.

3 c. for alla prima load ample paint so it sits on the tip of the brush

4. Using a large brush or brushes, we are ready to start making a few marks and points of observation and reminders on the canvas. In this painting method, limited-to-no medium is necessary. You do not need to pay too much attention to fat over lean because the paint, for the most part, will all be of the same medium balance. The fat over lean lesson can be learned later on as it becomes necessary. Since you have spent time considering your composition before setting up to paint, don’t over-think this beginning. Just get started. It is only oil paint and canvas. Nothing is right or wrong at this point. You are starting a painting conversation with your subject. Short, brief sentences are perfect. Hello. How are you? What kind of day is it? I like the shape of that darkness stretching up. Look at that patch of pink!? Where is the movement in this composition? Where is the viewer? And so on…. You are beginning to warm up with the most pronounced darks and lights. Your canvas is being introduced to its subject using colour, shapes and the movement of directional brushstrokes.

4. Begin to quickly block in composition by patches of colour IMG_9203

5. While working on your whole canvas, keep going until shapes start to appear. Now check the strength of the composition. Ask yourself – in this composition, who is the star and who are the supporting actors that make them shine? Make any corrections necessary in the various patches of colour. The painting won’t look like much yet but you should be able to see where it is going. The start should have good bones before we proceed. This is often called “blocking in” your composition. It may literally appear as blocks of solid colour. Or it may be more abstract patches of colour as I have here. If you are just beginning to paint, take the time to organize the bones of a composition maybe fifty or even a 100 times without ever proceeding to the tendons, muscles, skin, clothes and some fine jewelry of a finished painting. Research and learn what elements make a good composition. Study and practice composing compositions for a few minutes each day. You can use your smart phone for assistance or you can make a sliding rectangle with by placing your pointer fingers to your thumb on the opposite hand. If you want to get real fancy, you can even buy a small viewfinder and put it in your pocket. The point is that excellent compositions are everywhere. We just need practice in seeing and composing them. The skill of blocking in an initial strong composition, accomplished quickly with large brushes, is essential to the later quality of a painting. It is the support beams and studs of your painting building. This is not the time to be hanging curtains or putting down a throw rug! For now, large brushwork only. To keep the painting from becoming too muddy, you can use one large brush for darks and one for lights. Wipe the paint off the brush between changes in colour. But you don’t need to be too fussy about cleaning it at this point. The purpose is to get some paint on the canvas in the general location that it needs to be placed.

5. keep going until shapes start to appear then check strength of composition IMG_9209

6. Remember to be flexible. Up to this point it has been raining and I am set up in a little overhang. The air is cool enough that my water-mixable oils are a bit stiff. Ideally, I would have used my M. Graham walnut oil paints. But I wanted the easier clean up of the Lukas Berlin paints for the plein air work this morning. Now, the worst thing possible happens. The sun comes out. I have no place to protect my canvas from the direct light and then to still be able to see my subject. I seldom work with an umbrella over my painting easel so I am stuck. I try moving the easel around a few times. I look at the unpredictable sky that threatens to rain again without notice. I make a decision. I am best off to pack up and head to the studio to complete the work.

I had taken a few reference images before I started painting when I was still deciding on my composition. The light in my finished painting is hiding some place between here…

7. about ten am reference image by Terrill Welch IMG_9180

and here….

8. almost noon with the sun reference image by Terrill Welch out IMG_9219

*Tip – a specific photograph is almost useless to the process of rendering a painting alive. However, several reference images from various angles and perspectives, often captured over a few hours of plein air painting, can be a helpful resource once you are back in the studio. I frequently take between 50 and 150 reference images for a specific canvas. Sometimes I even have years of photographic references collected on a specific subject before I decide on a larger landscape canvas. The most significant difference between a photograph and the process of painting from life is that a photograph freezes the light and shadow. It has one still perspective. On the other hand, a painter, working from what is in front of them, paints the light and shadows in motion. This dynamic experience is combined with the actual motion and movement of the painter. A camera cannot see around corners. But a painter can. The painter also has all of the other information available to them from their other senses. In order to replicate this body of rich information in the studio, it must be gathered in the field to provide the sensory memory-triggers for the painter when they no long have the subject directly in front of them. The human eye darts around continuously recording patches of colour. The brain organizes this information by relevance and in relationship to each other, allowing us to quickly discern objects. This organizing is influenced by more than information provided by the eyes. It is accomplished by referencing information from all of our senses and by past experiences. We have, over our life-time of observation, created a refined system of “seeing” that has built-in short-cuts. In the painting-from-life and alla prima process, we want to unpack this refined system of observation and conclusions that our brain has developed. We attempt to bring our awareness back to as much of the raw data being input into the brain as we possibly can. The single camera image used as a painting reference interferes with this raw data retrieval process and, by extension, will interfere with the painting. However, a collection of images will more easily allow the painter to access what the eye, the ears, the nose, and the physical body observed  – before the brain began to organize and make sense of this information. A painter almost always wants access to the cumulative raw data from all of their senses when painting from life – before they attempt to draw any conclusions with a brush on a canvas. This is how mystery, intrigue and also familiarity is rendered onto a canvas. As a  painter, you are inviting the viewer to organize the raw information you have discovered and skillfully arranged onto the canvas for themselves. Through this painting kind of invitation, you have the best chance of being able to engage the full-body sensory receptors of the viewer when they look at your work.  They then use their own life-time practice of “seeing” and organize the information you have provided for themselves. In this manner the painting conversation will continue with each individual viewer – endlessly. That is the possibility, the promise and the hope anyway.

7. The closer to the actual life-experience one works in the studio, particularly in the beginning when learning to paint, the easier it is to access the first impressions of a subject within its context. So, when I return to the studio, I immediately continue working on my painting. By now, it is evident that the plum blossoms are my star and everything else is my supporting actors. To fulfill my intention of capturing the first breath of spring, all high, low and minor notes in the painting must come together in a full inhale and exhale towards this single purpose. The boldest of the bold must be visible on the canvas. The darkest dark and the lightest lights begin to fall into in place. The shimmering curves of colour must be placed and exaggerated just slightly for emphasis. We are now ready to add a simplistic garment over the bones, tendons of our composition.

9. Plums Blossoms Japanese Garden work in progress 20 x 16 inch oil on canvas by Terrill Welch 2016-03-06 IMG_9240

8. I pause. I stand way back and revisit my composition. Some elements have shifted from their actual placement. Do they work better or worse than what I observed in my initial inspiration? At this point the painting must stand on its own. It must be able to breathe on its own. The painting must begin the process of separation from the actual subject and even from the painter’s own experience. Now, what is on the canvas and the painter’s intention must work together to bring the work to completion. I decide to take bit longer break before venturing into the final stages of completing the painting. A cup of tea. A twitter tweet. A Facebook post. A trip to the bathroom and a walk out on the deck. I glance at that painting from different angles out of the corner of my eye. I do whatever it takes to separate my ego-self from the painting and to allow me to join in an equal partnership with what is on the canvas. Do I want to continue the painting conversation? Is it a dynamic, meaningful and inspiring possibility? It is okay to if it is not, for then I ask myself and the canvas if it is a salvageable relationship. If it is not, then there is no need to go any further. The canvas can be scraped, the painting outlines with its rough paragraphs can be deleted. Or the bones of the work can be left to ponder or reorganize into another attempt. Whatever metaphors a painter wants to use, this is the point where I decide if I am fully invested in completing the work or if it was only a passing thought. The intention I set, before I ever pick up a brush or squeezed a tube of paint, is my best touch-stone in helping me to make this decision. Take yourself back to that loosely held aim for your canvas. In this way you can look at the canvas with fresh eyes. Now, make a decision one way or the other and move forward.

I decide to complete the painting. At this point I can start working with my medium and smaller brushes.

*Tip – to choose the best-size brush for the job of creating the painting impressions of your subject, pick up the largest one you think you can manage. Then put it down and choose one that is just slightly larger than that.

By the end of the day, I can feel the essence of early spring on the canvas. I am close to complete.

10. Plum Blossoms Japanese Garden resting 20 x 16 inch oil on canvas by Terrill Welch 2016-03-06

The next morning I refine the painting’s garments for a slightly better fit with a tuck here and a bracelet there, maybe a bolder pair of earrings for a bit of sparkle and I move the buckle of her plum-blossom belt right into the sunlight. The painting is done. Allow me to introduce you to:

Plum Blossoms Japanese Garden 20 x 16 inch oil on canvas by Terrill Welch

11. Plum Blossoms Japanese Garden 20 x 16 inch oil on canvas by Terrill Welch 2016-03-09 IMG_9315

You now have all the basic building blocks to paint your first oil painting using an alla prima oil painting method but one. Can you guess what it is?

9. To conclude your painting process, review your palette for clues to what you have learned, what you want to remember for next time and what worked and didn’t work. Ask yourself what you want to start doing, stop doing and keep doing for your next painting. No two paintings that use the method I have set out before you will look the same. Each painter brings their own experiences, temperament and attitude to the process. We each have our own painting fingerprint. Part of understanding these individual characteristics is to review your palette at the end of a painting process. To assist me in this process, I like to start with a clean palette at the beginning of each painting – because I love light and colour and the simple abundance that can be found in an ordinary day. This is part of my own personal finger print. A clean palette at the start of each painting gives me the best chance of mixing what I see before me rather than what I saw previously.

12. palette at the end of painting IMG_9280

Now you are ready to practice, practice and practice some more. As you come across new painting problems there will be new methods, approaches, techniques, painting theories and ideas to learn in order to find a solution. This process never ends. But you have enough information here to get you started. You have enough to allow your painting practice to serve your intentions. Of course, this is not the “right” way or the “only” way to approach oil painting. It is one way. As your body of knowledge and experience grows, you will refine and add to your own individual painting practice. The purpose of this post is to allow you to get started.

For my regular readers, this may seem like a gathering of the highlights from several years-worth of posts about my painting process that has been shared in this Creative Potager blog. Of course, it isn’t everything. Just a beginning. But it is a beginning that gives the reader some of the basics for a life-long practice of bringing the brush to paint and then to the canvas when using a wet-on-wet or alla prima method.

For new and regular readers, that want to learn how to oil paint, I hope you have found these nine steps helpful. If you would like to work together further, I am offering online feedback (for a fee) on your specific painting efforts via my closed Facebook group at Painting with More than Our Eyes. You may private message me from my personal Facebook profile if this is something that interests you. In order to prioritize my own studio time, I only have the capacity for a small number of participating painters at a time. However, please feel free to check in with me and we can see what might work. In the meantime, happy painting!


What intention are you setting for today?


© 2016 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


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