studio

Say SPRING

/ Terrill Welch / 27 Comments

Seeing that it is the last day of February and it has been unusually cold with snow and wind and rain here on the southwest coast of Canada, maybe if we say “SPRING” all at the same time it will come true. What do you think? Shall we give it a try? Here is a photograph of a couple of tulips to help get us into the mood.

(image may be purchased here.)

Ready? SPRING!…. Hum, let’s try again SPRING!!!! There! That should do it!

This week is a painting week. It is the first painting week in about a month. I have these two 8 X 10 inch canvas underpaintings ready to start working.

And this 24 X 36 inch canvas underpainting ready as well. I am about to begin what may possibly be a series of paintings in a study of blue using seascapes as my contextual reference.

You might ask why I am doing my underpaintings in lemon cadmium yellow and it is a fair question. First I am not fond of a white canvas. Second, I like to create layers of depth through hints of underpainting colours coming through. However, to work for blues, the underpainting must be well set. Otherwise it just becomes a muddy mess. It does seem take longer to complete a painting using underpaintings but I like the end results.

Note: I am likely going to work on these three paintings and begin at least two more this week. I do NOT anticipate having much for process images but we shall see. I provide this warning  in advance so that you are not too disappointed on Friday.

Sprout question: Can you tell us about a creative series you want to do in the future?

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

A Close Read and Doing Nothing

/ Terrill Welch / 25 Comments

On this Valentine’s Day, February 14, 2011 I could have posted something red. Instead, I am going to write about something read. We have an old joke in our house about doing nothing. It is not ours but one we heard it someplace and it has been adopted by us. The joke goes something like this…

I ask “David what are you doing?”

David replies “Nothing.”

I say “But you did that yesterday.”

David confirms “Yes, but I’m not finished yet.”

The art of doing nothing is a highly underrated creative skill. To do it well, a person may need to revise their world view. One aspect of doing nothing I like to indulge is taking the time for a close read. You see, I don’t skim very often when I read. I burrow in and engage in conversation with the authors or with the characters in the story.  I write in the margins. I dog-ear pages. I leave stickies for markers and notes. I muse and mutter. I laugh and cry. I devour the content as I read. This is what I call “a close read.”

You might ask “where do you find the time?”

Well, it comes back to developing the art of doing nothing which brings me to the circular place of my latest close read.

Waking at just before 4:00 am on Sunday, and it being so close to Valentine’s Day, I wanted to let my sweetie sleep peacefully for another few hours. Actually, even if it wasn’t close to Valentine’s Day I would do this out of respect and love. In la casa de inspiracion, with its open floor plan, this means doing nothing. Yes, I made some toast, smeared it with nut butter, and brewed a small pot of coffee but I didn’t start the laundry or turn on some music, or do yoga in the great room or phone a friend out east. Instead I grabbed my book and slipped up to the loft with my toast and coffee.

Can you guess what I am reading? It is WHERE THE HEART RESIDES: Timeless Wisdom of the American Prairie (1999) by Daisy Ann Hickman. Yes, that is right, the very same Daisy who comments on Creative Potager and who asked me to be a guest blogger on the Sunny Room Studio blog in January. We exchanged books a few weeks back. In the mail from Brookings, South Dakota, arrived this beautiful hardcover gem. I know there is a place for e-books but there is still something blessedly tactile about running my hand over a hardcover book and slipping its jacket off to see what it looks like underneath before beginning to turn its paper pages one by one.

So early on Sunday morning, curled up under a down quilt in the quiet darkness set slightly aside by a small reading light, I began to read. What follows, more or less in order, are a few dog-eared, sticky and pencil-marked quotes about doing nothing that can be found within the later part of the first 30 pages of Daisy’s remarkable book about her beloved prairie…

“From a great crop to a new baby or a bountiful garden, life itself seemed to be enough, and being without a new car, a new anything, was not automatic cause for alarm or dismay.”

“Especially useful in today’s society, with its plenitude of distractions, multitude of ways to avoid and hide from reality, legion of false definitions of success built into a fast-paced society to the point where values and priorities have been distorted, twisted and abolished, where many have simply given up, and where many are looking for an easy way out, a shortcut through life offering nothing but bliss and good times, I cherish the lessons of land, sky and wide-open space. Because oddly enough, with all we have created as a society, genuine happiness seems more elusive than ever: just when we believe we have found it, we being to complain as our discovery begins to feel strange, empty, or curiously nondescript.”

“So now, as we consider a perspective that results in doing more of what counts, less of what causes you to lose your way, you will be ever closer to envisioning a road map to the heart.”

“The prairie offers an enlightened alternative, one that teaches something powerful and true: Doing less paves the way for doing more.”

“Because, curiously enough, time to do less often results in something more: time to recharge and regroup; time to stay in touch with feelings, values, beliefs, and of course, people; time to let events unfold naturally, at their own unique pace; time to do things that support your dreams so you may grow old gracefully, knowing few stones were left unturned.”

“Hectic schedules, a hurry-up, do-it-now mentality, cannot compare or compete with the persistent beauty and quiet strength of the prairie. As we scramble about each day, dashing here, dashing there, the land does the opposite, and without a word speaks to our souls, touches our hearts, and reaches out, like a laser, to connect with our finer, more discriminating sides.”

“When your day is jammed full of must-do, can’t-wait items, there isn’t time for casual exchanges; there is little opportunity for the unexpected, unplanned, spur-of-the-moment cup of coffee with an old friend, the walk to the park with your son or daughter or spouse. Still, these are activities that contribute to a way of life that promotes the importance, the fundamental value, of the human connection: without fail, without exception, without excuse.”

“For encouragement, remind yourself that the less you do, the more you will do: of what counts; of what makes you feel alive and growing; of what helps you become a fully realized human being.”


(Water colour painting “Canadian Prairie” – 2002 – by Terrill Welch)

What are my intentions for this week? To do nothing – prairie fashion.

And you might say “but you did that last week.”

I think you know my response but just in case… “I’m not finished yet.”

I wish you an amazing Valentine’s Day filled with love, hope and time to do nothing.

Sprout question: When was the last time you creatively did nothing prairie fashion?

Thank you Daisy Ann Hickman for coming into my life and being part of our Creative Potager community.

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Dance with Me

/ Terrill Welch / 16 Comments

Dance with me calls the blue, blue sea.

(image may be purchased here)

Invitation accepted.

(image may be purchased here)

Caught in the arms of the blue sea I am swept across the shoreline – stepping, reaching, giving….

I have an idea for a series of smaller paintings exploring the many shades of the blue sea. These two images keep coming to mind but there are others.

However, my intention this week is to take care of art business. There are new phtography prints and paintings to inventory, a new portfolio page to develop and such things. I may start on some new paintings but that is not my intention. We shall see. Friday’s post will tell the story.

Sprout question: How do you keep your balance when the creativity waters are running fast?

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

New original oil painting THE VIEW

/ Terrill Welch / 36 Comments

This painting shall be a bit of a surprise I suspect. As I mentioned on Monday, I have only one 15 minute sketch of a figure, a few passages from The Underpainter by Jane Urquahart and an image for a painting that wouldn’t leave me along.

I set up my palette and haphazardly mix a couple of colours in the usual loose Terrill Welch fashion.

You may have noticed before, I do not usually sketch in my paintings but prefer to use an underpainting to guide the development of my work. However, I did put in just a view pencil lines on this 24 X 18 inch canvas for this one.

A few quick strokes with a large brush as the story begins to unfold…

“Still it moved me, this wildness, and so I drew Sara standing by windows, looking out towards the frantic lake, the hectic sky. I drew her stillness in the face of torn clouds and rain – I wanted that contrast. Also, I was attracted by the muted light that came into a room when the sun is buried under blankets of heavy clouds, the soft-blue tinge in lends to the skin.” (p,167)

Using my sketch as reference I create the composition – not standing as in the story but sitting and unlike the sketch, she is leaning slightly out a window. Neither the story, nor the sketch is a perfect fit. I am on my own with mostly the image of the woman in my mind’s eye for guidance.

The underpainting is complete. I need to let the painting rest and set up. If you look carefully you can see that the figure is clearly looking left as in the sketch and as I intended.

“The next day the storm had finally worn itself out. The sky was a piercing shade of blue, and not a tree, not a leaf was moving. But the upheaval in the lake, the thunderous noise, was worse than ever; the water inkier, the whitecaps whiter…. In the middle of the morning – there was sunlight now, coaxing an impression of pastel colours from under her skin – Sara leaned her forehead against the glass of the window and said, “I can’t do this I can’t stand her any more.” (p. 169)

I start to build up the image. The colours are harsh and seem like they will never come together. I am tired. I have been painting for a long while. I didn’t notice at this point but she is starting to come alive on the canvas and has turned her head slightly to the right.

“I put my brush down on the ledge of the easel. “All right, we’ll take a break then, “I said, though nothing in wanted to stop.

“No, it’s not that…” she said. “I can’t look at the lake any more. I can’t bear it.”

I stared silently at her familiar back. I never thought about what Sara would be doing while she was posing. I was interested in anything that belonged to her in the immediate vicinity, felt that knowledge of the objects around her would enrich my drawings and paintings. But while I was working I believed that the gesture I ha prescribed was absolute; her pose, my line, the contour of her shoulder working its way into the composition on the page. I believed that I was drawing – deliberately drawing space around me so completely there would be no other impressions possible beyond the impression I controlled.” (p. 170)

I am happy with how far I have come with the painting. But you can now see that she has turned her head completely and is looking out at the view on the right. Who am I to argue? Not that it would have done much good I am sure. This is one refined and determined woman.

“There full days of staring at a seething lake, larger and wilder than some oceans, a man seated behind you concentrating on the seventh vertebra of your spine or the blue veins at the back of your knees, the dispassionate scratch of the pencil reproducing the creases in you flesh. What did I know of that?” (p.170)

My body aches with the fatigue of painting. My mind plays with that of the woman I am painting. “Who are you?” I ask. But she does not answer. I listen to her essence as it slips between me and the canvas. Finally, I can do no more. I must leave it until morning.

“It would be years before I could admit that although I wanted every detail of her in my painting – her body, her ancestry, her landscape, her house – wanted the kind of intimacy that involved not just the rendering of her physical being but also the smell of her skin and hair, the way she moved around her kitchen, the sounds at the back of her throat when she made love, I would have preferred not to have been known by her at all.” (p.170)

I wake a five a.m. anxious for daily light. I write, I tweet and I fuss until there is enough light to paint. I switch my white paint out from the faster drying titanium to zinc. I review my blue paint. I fix my mind’s eye on the light and the reflected light. The room is lit by another window we can’t see. And there is the light from the sky and sea which we know is there but we only know this through the muscles of her back as she sighs into each wave and each bit of breeze coming off the water. The day goes on like this – one brush stroke over another. Then without warning, the painting is finished.

Oh, there are still a few things, possibly, to tidy up. But, for the most part, it is done.

I put down my brushes. I search THE VIEW.  Have I allowed her to know me?

Note: all excerpts in bold quotes are from The Underpainter (1998 paperback edition) by Jane Urquhart.

And THE VIEW is not for sale at this time.

Sprout question: Can you tell us about something your muse aches create?

NEWS FLASH: Knock me over with a feather! I have just discovered that I am on this international list of 21 Artist to watch in 2011 published by Skinny Artist.

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Meet Street Photographer Vivian Maier

/ Terrill Welch / 14 Comments

First, my intention for this week is to brush my way into an oil painting using one of my charcoal figure sketches as a guide. It will be difficult as I have only the one sketch to work with and I have a particular setting in mind that has been inspired from a passage from The Underpainter (1997) by Jane Urquhart. Regrettably, I am reluctant to share more than this with you at the moment. It is an image that is perfectly clear in my mind’s eye with shifting tones and composition every time the painting whispers for me to begin the process to stillness on canvas. I will honour last week’s principle of waiting to be invited… but act immediately when asked. This way, with luck, the image won’t slip away like mist in the afternoon sun.

Now, allow me to introduce the most extraordinary Street Photographer Vivian Maier with the most unusual passage into notoriety. Her work was discovered in 2007 by a 26 year old, real estate agent/entrepreneur/historian – John Maloof –  after he purchased a box of her negatives at an auction for $400. According to this brief excerpt about Vivian Maier in Wikipedia:

In 1951, at 25 years old, Vivian Maier moved from France to New York, where she worked for some time in a sweatshop. She made her way to the Chicago area’s North Shore in 1956 and became a nanny on and off for about 40 years, staying with one family for 14 of them. She was, in the accounts of the families for whom she worked, very private, spending her days off walking the streets of Chicago and taking photographs, most often with a Rolleiflex camera.

John Maloof, curator of Maier’s collection of photographs, summarizes the way the children she nannied would later describe her:

She was a Socialist, a Feminist, a movie critic, and a tell-it-like-it-is type of person. She learned English by going to theaters, which she loved. She wore a men’s jacket, men’s shoes and a large hat most of the time. She was constantly taking pictures, which she didn’t show anyone.

Between 1959 and 1960, Maier traveled to Los Angeles, Manila, Bangkok, Beijing, Egypt, Italy, and the American Southwest, taking pictures in each location. The trip was probably financed by the sale of a family farm in Alsace. For a brief period in the 1970s, Maier worked as a nanny for Phil Donahue’s children. As she got older, she collected more boxes of belongings, bringing them with her to each new post. At one employer’s house she stored 200 boxes of materials. Most were photographs or negatives, but Maier collected other objects, such as newspapers,and sometimes recorded audiotapes of conversations she had with the people she photographed.

Towards the end of her life, Maier may have been homeless for some time. She lived on Social Security checks and may have had another source of income, but the children she had taken care of in the early 1950s bought her an apartment and paid her bills. In 2008, she slipped on ice and hit her head. She did not fully recover and died in 2009 at the age of 83.

This video provides an excellent overview…

Also, here are the Vivian Maier blog and the Vivian Maier Photography website.  I am trusting that you may be as intrigued and inspired by her work as I am. Enjoy!

A new photograph “Tomorrow’s Dawn” seems like the most fitting image to share this Monday.

(image may be purchased here.)

Sprout question: What creative treasure might you have tucked away for future discovery?

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

New Oil Painting Orange Sea

/ Terrill Welch / 22 Comments

Do you remember when my post “Dramatic Seas” from the end of December 2010? Well, it is the inspiration for the third painting I have been working on and I have now finished.

The underpainting starts with something from my memory.

But I decided to print a photograph to loosely assist as I built up the vibrancy of Orange Sea. I boldly go with the oranges of orange and started working in some cloud and mountains in the distance.

Finally it begins to take shape.

The painting comes to rest still surging with movement.

I think I am done. I post it on redbubble. I look again. Darn!

I change the painting slightly but it is crucial to the overall work. I dislike it when I find something that needs editing only after viewing it when posted. But I have come to respect that it is a different part of my eye that sees the image once it is up – kind of like seeing your home through the eyes of your guests.

Besides, that is when I was invited.

Now for the final, final painting of Orange Sea.

(prints may be purchased here.)

12” X 12” by 2 inch birch cradled gessobord original impressionist oil painting – $400 Canadian.

Sprout question: If you could paint something orange in your life what would it be?

Best of the weekend to you!

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

New Oil Paintings BREAKING THROUGH and FOREST

/ Terrill Welch / 20 Comments

How does the song go? Two out of three ain’t bad?

As I mentioned in yesterday’s post heavy cloud cover made it undesirable to paint. Hence, only two of three paintings are completed. But better two than none which might have been the case if I had not set the intention on Monday morning. Can I admit to being just a little excited about sharing the results of this weeks work? I hope you don’t mind but if you could see my face there would be this grin from ear-to-ear.

I will likely take other photographs of both these oil paintings on a brighter day but for now this is what we have…

BREAKING THROUGH

(36” X 48” by 1 ¾ inch cotton canvas original oil painting)

FOREST

(18” X 14” by 1 ½ inch cotton canvas original oil painting )

If  you are interested in purchasing either of these paintings please contact me directly at tawelch@ shaw.ca .

I am sure we may all agree that these two paintings are very different.  Yet, I recognize them both as being painted in my usual impressionist style. As the artist, I can stand back and see my struggles and successes to capture, to express and to embrace my creative process. This is why I am excited and why I am beaming with satisfaction – it is for the love of painting and seeing something through to completion!

Sprout question: What are you noticing about your creative process this week?

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Red Bowl

/ Terrill Welch / 34 Comments

Before I share with you my experience with the red bowl, let’s be clear about this week’s intention. This week, I shall finish up the three paintings I have underway.

The first of these is breaking through or “the big one” posted in A Week Painting.

The second is the forest and the third is orange sea both of which were posted this past Friday in Hot Coals.

I have one more canvas I can begin if the spirit moves me. Then it will require a shopping trip to continue.

Now about the red bowl

Last week I started a six week photography e-course with Kat Sloma from The Kat Eye View.  I first met Kat through her comments on Creative Potager. When I read her e-course description I knew this e-course was for me. Here is the first paragraph…

Photography is art, and like any other art, is an expression of the heart and soul of the artist.  In digital photography, the camera and computer become tools for creative expression the same way paints and brushes are tools for painters. But learning the tools alone does not help you find your eye and express your heart and soul; it can only be the starting point.  You have to learn to dive deeper into experiencing the environment around you and understand what calls to you in order to develop a unique photographic style of your own.

(by Kat Sloma. More about the e-course here.)

Her first exercise has to do with understanding how light can affect your subject. For this exercise I chose a bowl where the inside is red. Flickr is the format I am using for the Finding Your Eye e-course photojournal. You are welcome to check out my before and after images of the red bowl in different lighting at Bowls – finding my eye entry 1. All ten images are of the same red bowl.

I know I said I am going to focus more on painting than photography this year. However, I am taking the liberty of adjusting as the creative spirit moves me. I have decided it likely going to be a both/and year – Both painting and photography.

On that note, here is my favourite photograph from the past few days.

Alder in the Sun

(image may be purchased here.)

AND

The Fallen

(image may be purchased here.)

 

Sprout question: In what direction is your creative spirit moving you this week?

 

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Hot Coals

/ Terrill Welch / 24 Comments

Original oil paintings in progress…

First painting.

Forest 1

Forest 2

Forest 3

Forest 4

Second Painting.

Orange Sea 1

Orange Sea 2

The best cooking fire is hot coals because they provide a body of even heat which will penetrate and cook without burning your food. Sometimes painting is like this for me. At first the flames of an idea blaze with excitement and I paint away with nothing but burnt remnants to show for my efforts. But sometimes I need to build a good fire first so that there are enough coals for a long cooking process.  The painting Forest needs a good bed of coals to accommodate its density. The painting Orange Sea requires that I steadily add a stick or two at a time so that it can simmer without boiling over. Neither painting is finished. They are still cooking.

 

Sprout question: What kind of creative fire are you cooking with today?

 

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

 

Munch List

/ Terrill Welch / 14 Comments

Today at Creative Potager we have the good fortune to view a photograph of my grandson’s munching creative project that he and his mother did this weekend.

Don’t they look delicious? Thank you Arrow and Tina for letting me share your photograph of these most tasty looking gingerbread cookies. Dear readers, I have been told they are gone – every head, belly and limb of them – devoured!

This week is going to be a bit like this as well. I have so many things to share you will find yourself munching your way through these links as if they were those gingerbread cookies.

First, there is a blog party over on Leanne Dyck’s  The Sweater Curse at http://sweatercursed.blogspot.com. Leanne is throwing a virtual bash to celebrate the e-book publication of her thriller The Sweater Curse. We are all invited. So drop on in.

Second, I am a guest blogger at Daisy Hickman’s SunnyRoomStudio. Please come by “First Light” and you shall find, among other things, a sprout question there too.

Third, I am greatly honoured to share with you a moving post by Annie Q Syed. A few months ago Annie bought my original oil painting  “Only the Sea” and it now hangs in a sun-filled apartment in New York City. To learn more go to Annie’s post The Soul of the Sea.

Fourth, Sam Juliano over at Wonders in the Dark has his list of The Ten Best Films of 2010 posted.

 

My intentions this week are to start work on two new oil paintings. They are a 14 X 18 inch canvas and a 12 X 12  inch gessobord with a two inch birch cradle. The look minute beside the large canvas I worked on last week.

My brushes await me.

I have moved “the big one” into the other part of the loft area where it can be seen during the day while I wait to see what next to do with it. Have a wonderful week.

Sprout question: What can you add to our creative munch list?

© 2011 Terrill Welch, All rights reserved.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.