Sea and Shore – Strong Finish

As a painter, I must “hold space” for a work from the first moments of standing before my subject, gathering information and feeling my way into the painting, right up until the final brushstroke that says – done! It is not a linear process but rather a series of sparse markers that move in and out of my awareness. The large “Sea and Shore” landscape oil painting is a good example of this.

Yes, there are methods and tools, that are picked up and put down as needed, but much of the work of painting is done without what we understand as “knowing.” For me, it is more of an exploration or a trying out of things until something “seems and feels right”.

How do you DO that!? This is a question that is frequently asked in relation to viewers finding themselves inside one of my paintings – such as smelling the sea or feeling the warmth of the sun on their back. So, I will try to explain….

At this point, the process of painting is kind of like driving a race car for me. You know  how you don’t usually need to think about driving to the corner store unless there is something really unusual, like a fallen tree on the road or you have sprained your wrist and you must be careful when you are shifting gears? When we have been driving for years, we can usually just navigate to where we want to go and not think too much about steering, breaking, obeying the speed limit or putting on our turn signal and such. We have become accustom to monitoring all the various aspects of  being able to drive successfully from one place to another. Well, painting wet-into-wet is a little like developing the skills of an endurance race car driver. One must plan ahead, be quick, precise, accurate and have extensive training while practice regularly… and the painting still might crash and burn! The painter must be courageous, step into the risk of failure, and use her split-second decision-making skills to save the painting and possibly even herself. And when it works, then it is magic! Then you can hear the waves, smell the sea or feel the breeze coming across the landscape.

As you may guess, the intention for a work must be clear and yet held lightly as I pick up the brushes and proceeds into the unexpected. The unknowns can parallelize painters or have them work safely so that they make no mistakes or only use approaches that are already familiar. The results when this happens are often dismal. To successfully paint a vibrant work, using all of our sensory information, that then comes alive on a canvas, means being willing to risk – everything! I must confront what is raw and uncomfortable within myself before the inner beauty of the landscape can become visible on the canvas. There are no shortcuts. There are no easy wins or formulas. But there are practices, intentions and mark-making that will start us out in the right direction. From there, we must be willing to step beyond what we already know. Painters must be ready to figuratively die on a canvas before the painting can fully live.

That said, and out of the way, let’s have a look and see what happened with “Sea and Shore” since the last post. Sometimes it is easier to see in black and white.

Sometimes, we just want to look at the work from a different angle.  Yes, it was dinner on the deck for several days while the painted edges are left to dry. 😉

Sometimes, we just want to explore and trace the lines of movement. Though I was visually aware of my composition choice and I had knowingly chose the structure of the spiral, it was only after the painting was completed that I roughly traced it out over top of an image – revealing one of its secrets.

Then comes the final test. The painting is hung on the gallery wall for the viewer to scrutinize and ponder.

The painting must now stand on its own. It is separated from the painter and has its own relationships to build, its own stories to tell and its own journeys to take. The painter, after all, is only a temporary custodian once the work is completed. The painter’s efforts tend to dissolve somehow once the work is seen through the eyes of the viewer. It is the viewer who is now in first-relationship with the work – not, the painter. If there is a connection at all, after this, to the painter, it is only by curiosity and the invitation of the viewer. Maybe we can understand it better this way – the painting itself believes it was born of its own freewill and is unaware of the painter, the paint, the brush marks, the canvas or even its supporting frame. It is not that the painting is unappreciative of its reason for existing, it is just that the painting has know way of knowing. The painting just trusts that it has always existed. Therefore, the painter has a sacred obligation to never break this trust by inserting themselves prominently into the work – because if they do, the magic of the painting might be broken. The work itself must always lead.

The large “Sea and Shore” landscape painting hangs for one-day-only in the gallery before it is scooped up by an art collector.

SOLD! Sea and Shore – 36 x 48 inch oil on canvas by Terrill Welch.

And there it goes…. off on an adventure of its own, hopefully keeping its magic for several hundred years to come.

Thank you for sharing its journey into the world that has been captured in these three recent posts.

What risks do you take so that your creations can fully live?

PART 1 “Sea and Shore – A beginning” can be viewed HERE.

PART 2 “Sea and Shore – Building Up Paint” can be viewed HERE.

© 2018 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

Sea and Shore – building up paint

Building up paint on a large canvas, after the underpainting is completed and dry, takes big brushes, time and daring or as my friend Elena Maslova-Levin says in quoting Rainer Maria Rilke – to go through the experience of seeing all the way to the end, to where no one can go any further“. *

But eventually the shapes start to appear and the painting starts to come alive.

The most challenging aspect is to stay in the energy of the original conversation with my subject. I have the painting sketch. I have the reference images and I even have a couple of video clips. But at some point I must let whatever has stuck guide me and just paint. I am at the “just paint” stage.

The only thing that can be done now – it is to simply start…

I make slight adjustments to the composition as I go…

My arm and shoulder begin to feel the strain of reaching. I keep painting!

And painting!

And painting some more.

Now it is time to build on the tensions, the life blood of the place while adding in the dancing light of this moment with is deep history of conversations between sea and shore. Can I do it? Will the painting soon be breathing on its own?

Well, we shall have to wait and see. We are not there yet… but soon!

What was the last long, exhilarating journey YOU have taken? 

* quote is from the introduction for the catalogue book CONVERSATIONS ON EDGE written and edited by Elena Maslova-Levin for the two artist show with Terrill Welch on Mayne Island during the spring of 2018. The book can be previewed and ordered HERE.

PART 1 “Sea and Shore – A beginning” can be viewed HERE.

Part 3 “Sea and Shore – Strong Finish” can be viewed HERE.

© 2018 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

Sea and Shore – a beginning

The soft grey of morning is still settling out of my physical being as I lift the large 36 X 48 inch canvas onto the easel. Cascading light and colour roll with the waves over the shapes gathering across my inner landscape. The endless beating of sea and shore vibrates through the heartwood of an old hanging arbutus swinging above the sculptured shore. But alas, there is only whiteness reflection back at me…

I only have an hour before I must be down in the village. Can I do something with this?

“Only if you promise to remember to go open the gallery on time!” I mutter, as I squeeze the cadmium yellow and red oil paint onto a clean palette.

Those lines!  This light!

I remember my smallness…

as I looked up into the tangle of trunks.

The quick painterly notes start to multiply on the canvas…

Sweeping curves round above seal-shaped forms below.

Light and shadow intertwine in a symphonic melody.

Waves and ferry wake are fierce dance partners, bending the spine of the sandstone in its embrace.

I am standing.

I have stood painting this small 11 x 14 inch study below…

And now, on the big canvas, I am 25 steps further to the right, closer to sea. I must start again. I must hunch down and grasp all-that-was and all-that-will-be, swing it high over my head then spiral it down, until it is rooted deep into the earth, with confidence, in each brushstroke.

But this is yet to come. For now, I must wash the one-inch flat hog hair brush, take off my weathered carmine paint-splattered apron, remove any wild run-away cadmium red or yellow streaks on my face and head to the gallery.

Oh but there is more! So much more!

I must wait. We must wait. And remember, it is only paint and a canvas. 😉

What, may I ask, are YOU waiting for?

PART 2 “Sea and Shore – Building Up Paint” is now posted HERE.

Part 3 “Sea and Shore – Strong Finish” can be viewed HERE.

© 2018 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

Achival record or mindfulness practice: painting the southwest coast of Canada

Am I archiving our southwest coast of Canada in my paintings?

The very idea has my hands go clammy and a coolness run from tailbone up to the very crown of my head. What a strange assumption I at first thought! But then it came up a couple of more times. But the concept is no longer presented as a question.

“You are creating archival records of these beautiful trees and seascapes!”

Northeasterly Morning Strait of Georgia Mayne Island BC 20 x 40 inch oil on canvas by Terrill Welch

It is a concerning accusation, at least by definition…

“In general, archives consist of records that have been selected for permanent or long-term preservation on grounds of their enduring cultural, historical, or evidentiary value.” (Wikipedia)

I am more than a bit squeamish about the idea that my paintings might be considered historical evidence collected to preserve something that no longer exists. I have held higher hopes than this for the influence of these works! I have had no intention of creating historical records with my brush. Instead, I have wanted to create a desire to preserve and protect the land, the sea and our humanity that knowingly or unknowingly rely on them. I want to strengthen our direct relationship and connection with our natural environment, pure and yet not so simple it seems.

Have I failed if the paintings, even before I am dead, even before this fragile environment is damaged beyond repair, are being considered as important historical archival documents?

As our Canadian federal government agrees to buy an obsolete, yet-to-be-built twinning pipeline from big oil stakeholders for a whopping 4.5 billion of taxpayer dollars while the Provinces and First Nations head for the courts, I am going to go paint!

I am going to drive to my location in my 2012 Subaru Outback with my water-mixable, vegetable oil, paints that use no solvents. Yes, as you can see, I find this sustainability and transition to clean energy complicated. Yet, I trust we will get there or parish trying. (These are the only two options really.)

I am going it go paint, not as an act of creating a historical record but as a meditation, an act of mindfulness in appreciation of what is.

Therefore, I beg of you – experience these paintings as reminders of what we need to protect rather than coveted records of something that will likely disappear, through oil spills, through climate change, through our collective lack of regard! A painting is nothing, absolutely nothing, in comparison to the real thing – in comparison to you experiencing the ordinary moments in an ordinary day somewhere on the southwest coast of Canada. This I am sure of!

Summer Lowtide Morning 16 x 20 inch oil on canvas plein air by Terrill Welch Aug 17 2017 IMG_0461

May the Salish sea breeze ruffle your hair as starfish wink in the low tide, speckled with seagulls, seals, leaping orcas and children playing in the pools of warm water while grandparents watch from under the shade of an old arbutus tree.

We can do this hard thing! In this I believe.

What about you? 🙂

© 2018 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

Summer Art Oil Painting Masterclass To Go

Yahoo my friends! Are fine weather has finally arrived 🙂 And of course, I have an idea…

Summer Art Oil Painting Masterclass To Go!

“I’ll have three colour mixing tips, two reference gathering methods and a handful of composition considerations please!”

“Would you like a side of perspective and underpainting suggestions to go with that as well today?”

Yes! I am considering piloting my Beauty of Oils Skill Building Masterclass so you can take it with you this summer as an independent online study course. It is all the same great material and more packaged for access anywhere you have an Internet connection. You can work at your own pace, review lessons and do the painting activities as many times as you like… and be invited join a bonus Painters Group monthly live painting problem-solving chat for extra support.

Sounds good? Let me know by comment, private message or whatever works for you! If there is enough interest, I will make it happen in the next couple of weeks.

I know! I am always up to something and this I think is going to be really, really good 😉

What do you think?

UPDATE: You thought “yes” and the independent study class in oil painting is now available. More information is available HERE.

 

© 2018 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

A Short Pause During the Incompleteness of Painting

Yes, it is my first blog post of 2018. The last I wrote specifically for Creative Potager was December 21, 2017. I have been waiting for some kind of clarity or direction that I wanted to take us next. None has surfaced. Instead, I woke this morning with a desire to assess, summarize and begin again to just write notes to you as needed. A painter’s life seems to be like that. There are these short pauses during an overall incompleteness of painting, organizing, showing, and shipping paintings to new homes. Writing posts and sharing often comes in fits and starts and then ebbs away for a bit. I have learned to trust this process and let it be what it is.

The light of a resting catches a surface.

The brushes seem to linger over a canvas and then it is moved and another takes its place. The work continues for a bit and then it too is moved and yet another is set on the easel.

One brush mark after another, a new shiny wet painting begins to appear.

This morning, with its steady rain, I am feeling a little push around by the twenty paintings ready to packed up for travel to a solo exhibition a day’s drive away on next Tuesday. Then there are the two large canvases that have come to the home studio after being completed in the winter studio at the gallery. They seem to be standing at the edges of my life wondering where they are going to go.

At the moment I have no answer for them. But we will get there. They are designated for a show about trees in May. The reason they have come home of course is there is the two artist exhibition “Earth & Water: A Conversation on Edge” with Elena Maslova-Levin that will open April 13th. I am still waiting impatiently for eight of her paintings to find their way to the island. They have traveled promptly from California and then been held up between Richmond and Nanaimo for better than a week. I have cleared the gallery, put up posters around the island and done everything I can think of to open up the energy flow for their arrival. Now we wait… some more.

This 16 x 20 inch oil on canvas “Evening View Over Navy Channel” commissioned painting is ready for travel to the United States now that the new special shipping boxes has arrived.

I am also critically low on small 8 x 10 inch painting sketches as we head into the busy season. I have one left. Just one.

Then there are painting lessons to prepare and present each week to eager and dedicated students.

My husband is making his breakfast and we confirm that we will go to figure drawing in the evening. It is his area of interest but it is also good for a landscape painter to practice this kind of unforgiving drawing. And it is something we can do together with others, a date night of sorts. 😉

Easter weekend is coming up and if the weather is decent my daughter and two grandsons plan on coming to camp in the local campground and visit.

My parents have three calves on the ground already this spring in rural north central British Columbia and dad has a snow fence built as it has been a long deep snow winter up there. They are in their eighties and still farming. I phone on Saturday mornings to catch up and visit. I have to phone early or I miss catching them in the house. Rural farm life is like that.

But right this very moment, I must get the six-inch thick bundle of receipts and invoices to the city and handed over to the accountant so that our income tax will be filed on time.

As you can see, there are a whole series of projects at various stages of incompleteness between new works needed, finished works, exhibitions coming up and work to be shipped and so on. There are also various relationships that are important to me that I must make room for between the demands of a painter. But I am still here, sipping my morning coffee, listening to the rain on the tin roof and smiling into the possibilities of today. This is not a small thing. I have lost several friends, some of them fellow painters, before their 70th birthday’s this year. I will be sixty years old this summer and I know that each day I wake and then settle into the soft quite of the evening is a gift.  I assess, revisit and conclude  – I am doing what I must do as a painter and a teacher of painting. I am doing what I need to do as a partner, mother, grandmother and daughter. I am doing what I love to do in the process of being in all areas of my life. I have no desire to change a thing. It is a good feeling.

What about you? How are you?

© 2018 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

Happy New Year with best 5 paintings of 2017

Happy New Year and all the best in 2018

Canadian Contemporary Artist Terrill Welch

As we approach the end of the calendar year, we again select the artist’s choice for the best paintings of 2017. This year, we have decided on 5 out of the 29 new works that have been released – and three of those are just being released today in the online gallery! So be sure to check it out. The link is included below.

Here is the 1st and likely the public favourite…

Storytelling Arbutus Tree Bennett Bay Mayne Island BC
By Terrill Welch
Size (h w d): 60 x 40 x 1.5 in
Medium: Oil On Canvas
Available: HERE

In 2nd place for the artist’s choice of the best five paintings completed in 2017 is…..

Northeasterly Morning Strait of Georgia Mayne Island BC
By Terrill Welch
Size (h w d): 20 x 40 x 1.5 in
Medium: Oil On Canvas
Available: HERE

In 3rd place for the artist’s choice of…

View original post 617 more words

Winter Solstice Reflections

Still congested with a winter cold, I rest against the soft light of the shortest day of the year. Having canceled any interruptions, I am free to climb under the warmth of the down duvet on the day bed in the loft studio – to think about not much at all. Ideas and thoughts drift, rollover and crumble into yet smaller fragments. An older small painting surfaces and clings to the edges of fickle concentration.

And then the end of a poem by Mary Oliver…

thank you
old daintiest,
dark wreckage,
coins of the sea
in my pockets
and plenty for the gulls
and the wind still pounding
and the sea still streaming in like a mother wild with gifts –
in this world I am as rich
as I need to be.

~ from “Winter” p. 52-53 in New And Selected Poems Volume One, 1992, Beacon Press.

The oil painting is “Receding Tide Reef Bay” 9 X 12 inches and is one of a very few small oil on canvas I have left.

Happy Winter Solstice! May we embrace the quiet light of the shortest day of year for the gift that it is.

What are your reflections about winter solstice today?

 

© 2017 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

Red Yellow and Blue for You

Autumn flashes her best colours across our small island during these last few weeks. Now that it is the first of November, I feel I must gather this late season gold together for safe keeping during the winter rains which will surely come soon.

There has been a plein air painting day in the Japanese Gardens.

There has been a morning walk by sea before an anticipated storm.

Best of all though, there has been time to just be and watch the leaves drift down from my favourite maple tree….

Ah yes! October, so many pleasant gifts you have given!

What October Gold are you tucking away?

© 2017 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

Happy International Artist Day 2017

Started in 2004  on Pablo Picasso’s birthday, October 25th,  by my fellow Canadian painter, Chris MacClure, in White Rock, British Columbia, today is International Artist Day! What is this day all about?

“To celebrate the contribution all artists make to society by promoting and raising their credibility and visibility locally and around the world.” Mandate on Official International Artist Day Website

Tell us, what artists would you like to celebrate today?

© 2017 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