Art and Landscape connecting one brushstroke at a time

January 11, 2015January 11, 2015 / Terrill Welch / 7 Comments

Some days simply overflowing with humble gratitude. An unexpected belly laugh from your partner, child or a friend. The dampness of morning air on your cheek. Maybe it is the sounds of the tree frogs nearby that does it for you? Or an eagle hanging on a branch with a robust sea coming to shore?

What are those everyday experiences that remind you of your humanness and connection to nature?

Today my Art of Terrill Welch Facebook Page has 837 followers or “Likes.” Just so you know, when it reaches 1,000 I am going to auction off an 8 x 10 inch landscape painting sketch. It will be a new adventure for me though I have seen it done many times before. The bidding is done in the comments on the post and there is a small reserved bid to start. In order to comment one must have “Liked” the page. Do be careful though as it is easy to “unlike” a page you have already liked by accident

P.s. This is a snippet from WEST COAST EARLY EVENING WINTER SEA 16 x 20 inch which will be unveiled at my solo exhibition “West Coast Landscape as Home” April 3, 2015 at Camassia Café on Mayne Island, British Columbia Canada. If you are considering traveling to come to this opening, now is the time to make plans as it is the Saturday of Easter Weekend.

All the best of a fine Sunday to you!

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 Fifth Birthday Creative Potager Blog

January 8, 2015 / Terrill Welch / 20 Comments

It has now been five years since the beginning of Creative Potager. Happy WordPress blog birthday to us!

What a journey we have had together!

(Open Studio is 24 x 30 inch oil on canvas and is a new work in the artist’s private collection)

This is the home of sharing this artist’s creative process inspired from her everyday life.

The underbelly of paintings are displayed in all their naked glory.

The design ideas for the fabric that covers these bare-bone canvases is the substance that has graced many of the 538 posts.

Photographs have captured long walks at home,

the rise of a super-moon

and meandering international travel.

And you dear readers have been so much a unique contributor through your comments and shared links. In this way, I feel Creative Potager is a community as much as it is blog. Thank you for being you. Thank you for your support, sharing and collecting of my paintings and photographs. More than 50 paintings and many more photography prints are now in private collections around the world. So, as much as Creative Potager captures a process, it also delivers results. You are so very much a part of making this happen.

But how can we celebrate today? Five years are a survival milestone for a blog and for a small business as an independent artist. How might we honour and recognize this moment?

Well, just as this blog is about the everyday life and work of an artist who frequently invites you simply to sit with her – maybe to celebrate we should do just that?

Feel free to pour a cup of tea and dig into the cookie jar while we reflect. Thank you for pausing with me. Thank you for celebrating this milestone.

Do you have a special Creative Potager moment or memory you would like to share?

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

Painting the Canadian landscape as home

November 27, 2014September 25, 2016 / Terrill Welch / 11 Comments

I have been asking myself about what home means. The answer may or may not be surprising to you. When does a landscape become more like home than nearby dwellings and their inhabitants? My conclusion is that the landscape, along with the seasons that influence it, help us organize our daily rural life. This is when “home” is expressed most clearly by the land, water and sky. The landscape is my first home. Dwellings and their inhabitants must fit within the expanse. Let’s unpack what I mean by this through the painting process of two recent landscapes.

The first is a Mayne Island landscape and starts with this “Mount Parke Trail study” 10 x 8 inch oil on canvas

I was looking for the tension in the landscape and wondering if it would be enough to hold it together on a larger canvas. The conclusion was that it would so a 30 x 24 inch canvas was set up and the work began.

With the study for reference, it was during the beginnings of this painting process that I began to dwell on the fact that I was more at home within our natural landscape than anywhere else.

I didn’t have a satisfactory answer at the time but it was the puzzle I was working through as I continued to shape the scene.

The finished painting TRAIL ALONG THE RIDGE 30 x 24 inch oil on canvas has been released today on my website Canadian Contemporary Artist Terrill Welch and can be viewed HERE.

The second painting is from my childhood home and where my parents are still living on the Stuart River.

I pulled a face even in the very beginning as you can see in this photograph taken by photographer Josette DeBattista in my home studio.

It is not the landscape itself I find challenging. The work started out in the familiar process of a light yellow ground to keep the later greens lively and a few quick lines for reference.

Yet, I was overwhelmed with memories that crowded the physical elements I was meaning to render. I went outside and looked in to see if that would help to sort things out.

But it didn’t really as photographer Josette DeBattista aptly captures through my concentration…

But the photographer leaves and I move the painting back up into the loft studio to keep working.

The painting is starting to shape.

But I stop with nothing more than the rough shapes on the canvas.

My notes for the day are as follows:

The difficulty is with the overlapping shifting of time through memories and my latest experience of this place along the river. Nothing seems to want to stay fixed long enough in my mind to complete a singular reference point. I stopped work on it at this early stage today and went for a long walk. Tomorrow I will begin again. I have decided to allow, partially because I seem to be unable to do otherwise, the layering of experience to this one specific landscape. The time frame spans about 44 years – not everyday after the first five years but at least a few times a year. This is part of the issue I believe. I have made up this scene in my mind during my absences so that it competes successfully with my physical visits. I seem not to want to paint either but some blend of the two. So, if in the end I can get something to work we may have a painting. We will just have to wait and see.

The next day it is so dark because of heavy rain I had to quit painting because I didn’t even have enough light with the daylight lamp. But shiny, wet and still incomplete and much farther along it seems…

The following day is equally as dreary and I give painting a miss while fussing over the fact that I will likely have to do some dry brush work as it is taking so long to complete.

On day four of doing not much else except either painting or thinking about painting this landscape it is Done!

STUART RIVER KICKING LEAVES 24 x 36 inch oil on canvas

Information about detailed viewing and purchase information is available on my website by clicking the image or HERE.

And so is the story that goes with it which will not be released fully with the painting but seems appropriate to share with you here.

This is another of my mystery paintings in that its realism is mostly a deception. I have included two detail images so you can get a better idea about what is going on.

The first of the poplar trees…

and this second one of the water…

Truthfully though, it is the layering all the way back to the yellow ground that gives this painting its vitality.

I suppose it may appear to be a pretty picture but it isn’t to me. Winters are historically harsh in this area. Snow is not far off and a day of kicking leaves means there is a good stockpile of winter wood. The larder is full and the winter vegetables put down. If this was when I was young, it would soon be time to dress in layers knowing I would still be cold and take my 22 rife into my grandfather’s boat along with our little dog Charlie Brown. You see, my grandfather was a trapper. I was his sharpshooter for muskrats. If they were plentiful, we would take a few this way rather than trapping them. I had to line up a bead on the head of the small animal right at the waterline in the moving riverboat. As soon as I shot and gave the nod, the small dog would jump overboard and bring the dead muskrat back to us before it sank. My aim had to be good because if it wasn’t the little dog could get pulled under by the diving animal and drown. This risk was partly due to the fact that Charlie wouldn’t let go and give up easily. This was his favourite job and he was a determined to do it well.

I don’t remember what the muskrat hides were worth a piece once they were skinned, the hides stretched and then shipped to the fur buyers. I do know that my grandfather never really had a regular job for wages very often and trapping and guiding were the family livelihood. This cash bought necessities like flour, sugar, salt, boat motors, pickup trucks, snowmobiles, canned peaches, raisins, honey, nuts, rice, lamp gas and mantels, ammunition, maybe a new axe if it was needed or a skinning knife. Oh the shopping list could also include material to make work shirts, or brassieres or maybe even a blouse or new sheets. But you get the idea.

So kicking leaves was and is a luxury between the tasks necessary to survive another winter. Yes it is beautiful with the last heat of the sun on your back and cool northern breeze on your face. But I can hear my father say – the leaves are not real pretty yet. Next week they will be better. Mom will leave a hint of a smile between her shoulder shrug, squint slightly as if seeing a moose or bear across the water. I will look just in case she has. Then we will all turn and continue back towards the house appearing to be in no hurry but already mentally deciding what needs to be done next.

So there you have it – my understanding of how landscapes are home for me.

What are landscape to you?

P.S. Happy Thanksgiving to all my American friends and readers! May your day be filled with appreciation.

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

When the Creative Mind Creates a New Opportunity

November 12, 2014November 12, 2014 / Terrill Welch / 1 Comment

Sometimes Terrill Welch’s enthusiastic creativity is so incomprehensible that it creates a new opportunity. This is one of those times.

Terrill Welch

20% savings on all original Terrill Welch paintings until Friday, November 14th midnight Pacific Time of 2014.

Go to Terrill’s online Artsy Home Gallery HERE

Click on the “Make an Offer” button located on the top right under the price for the painting you want.

Put in the code 20%savings

This will send an email to Terrill and she will adjust the price and assist you with delivery and purchase arrangements.

Sometimes Terrill Welch’s enthusiastic creativity is so incomprehensible that it creates a new opportunity. This is one of those times. During the Nov 8th & 9th online and in-person Open Studio event Terrill learned that her numbers game was so creative and unclear that no one understood what she was talking about. Since this was not her intention. This time she is keeping it straightforward.

There is a new opportunity of 20% savings on original paintings in her Artsy…

View original post 151 more words

Garry Oaks viewed from Brown Ridge – Canadian landscape painting

October 16, 2014October 16, 2014 / Terrill Welch / 2 Comments

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

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

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

Following the goat paths where…

View original post 212 more words

Saturna Island and rendering overlapping memories

September 16, 2014September 25, 2016 / Terrill Welch / 10 Comments

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 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 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.

The breakfast room confirms my observations about rendering memories.

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.

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

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

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.

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?

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

The Diamond on the hill is Villeneuve lez Avignon France

July 17, 2014July 17, 2014 / Terrill Welch / 8 Comments

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

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.

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.

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.

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.

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

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 🙂

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

Why Paint a Landscape of Avignon France?

July 7, 2014July 7, 2014 / Terrill Welch / 12 Comments

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.

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?

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

Canada Day winner of the FOUND IT painting draw

July 2, 2014 / Terrill Welch / Leave a comment

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.

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

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!

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 Canada Day from this Canadian Artist to YOU

June 30, 2014June 30, 2014 / Terrill Welch / 4 Comments

The painting below A Tall Tale of Autumn Stuart River 16 x 12 inch oil on canvas is the “Poster Painting” for a rare 40% savings special on all of my Canadian oil paintings available at Artsy Home to celebrate Canada Day – starting NOW until midnight PST July 1, 2014.

A Tall Tale of Autumn Stuart River 16 x 12 inch oil on canvas by Terrill Welch 2013_12_24 003

Here is what you do – go to my Artsy Home online Gallery at:
http://www.artsyhome.com/author/terrillwelch

Choose your painting and send me an email using the “make an offer” option located just above my name and below the price, shipping and product number on the right hand side of the painting.

The email should say – Request to Purchase as Canada Day Special. It is a first-email-received-request-for-the-work that will be accepted.

I will then confirm if you were the successful request for the painting and we can proceed with purchase details at that time.

Also, there is ONE original painting in the Artsy Home gallery that is available for a draw. It has in capital letters FOUND IT at the bottom of the description. If you find it, send me an email using the same “make an offer” option that says FOUND IT and your name will be added to the draw for the painting. You must find the eligible painting and enter the draw before midnight PST on July 1 , 2014. The actual draw will take place the following morning. As is understandable, a purchase offer will not be accepted for this work unless no one finds it. Then it will become available again after the draw closes.

Please let me know if you have any questions or if some part of this offer is unclear… it is a spur-of-moment, west coast sunny morning influenced decision and so enjoy and have fun browsing the over 60 original paintings that include landscapes and still life works from our wonderful Canadian Living.

I hope you enjoy this rare opportunity to start or add to your collection my original paintings.

HAPPY CANADA DAY!

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