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

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

Is there more than one Monet?

A Monet is a Monet is a Monet – or is it? If we only think of Claude Monet as an impressionist painter then there are paintings in his life’s work that one might be reluctant to claim as a good representation of Monet’s work. In this sense, I am going to propose that there is more than one Monet when considering his work and also that he has offered us more than he is usually given credit.

The tight small dabs of sometimes pure colour associated with the “impressionist years” and his large lily paintings come from different approaches and the latter from a mature use of all that he knew. I come to this understanding following my visit to “Claude Monet’s Secret Garden” exhibition at the Vancouver Art Gallery which has a dozen or so works from his impressionist period and then goes on to focus on his late years of painting when he was troubled by cataracts and a legitimate fear of having surgery at the time.

The impressionist paintings are of medium size, easily portable and distinctive in their approach using small short brushstrokes and dabs of colour to capture the effects of light on a landscape. Here are a couple of my favourites from the exhibition.

Snow Effect, Sunset by Claude Monet 1875

Field of Yellow Irises at Giverny by Claude Monet 1887

Later Monet lived on his garden property for 40 years. This is where he started to study light in its deeper complexities. This is where he observes light changing every seven minutes and lamented that if he didn’t finish a work one day the next could not be counted on to give him the same conditions to continue the work. To compensate, he worked on up to 20 prepared canvases at one time changing them out as the light shifted or if the day was different.

The Seine at Port-Villez, Rose Effect by Claude Monet 1894

The Seine at Port-Villez, Evening Effect by Claude Monet 1894

The “Claude Monet Secret Garden” exhibition has many large canvases which Monet was able to work on in his 70 and 80s because he was working from home in his garden and the paintings could be moved in and out of the studio as needed.

Life can either knock the stuffing out of us at times or allow us to reach something we may not have been able to do otherwise. Sometimes it does both. During the First World War Monet could hear the fighting from his home studio as he worked. Around this time he was also grieving from the death of second wife and one of his sons. Grief and not being able to see clearly from his cataracts are both possible causes for a change in work during this period.

These rich deep hues are so different from his earlier works, yet there are clues that these are indeed by his brush. These renderings are completed with large expressive brush-marks with the colours blended right on the canvas! Clearly these paintings are something different from his early impressionist paintings and definitely leading us towards what was to come next in post-impressionism and expressionism.

Water Lilies by Claude Monet 1916-1919

“I only know that I do what I can to convey what I experience before nature and that most often, in order to succeed in conveying what I feel, I totally forget the most elementary rules of painting, if they existed that is.” – Claude Monet, 1912

What he couldn’t see he could still feel, hear and touch. Monet had been painting for so long that he had a well established habit of placing his paints in the same place on the palette. He did not need to see well to continue to paint with excellence!

Monet painted the oval lily paintings and the wisteria paintings (which were suppose to go above the lily paintings) while he had cataracts. In 1923 Monet had cataract surgery. By this time he had suffered with them for 11 years.  He destroyed some of the paintings from that time and reworked others once he could see clearly again. And yet, other paintings feel like they were left as they were – though the date of completion on this one suggests otherwise.

The Japanese Bridge by Claude Monet 1918-1924

The information card tells me that Monet completed twenty paintings of this bridge and the body of work is among his most abstract. These later works often show bare canvas in places along with these free loose and large brushstrokes. Would Monet consider the paintings finished? I believe so simply by looking at the continuation of his work during this period of his life. However, these works were in his own personal collection. They were never sold. So it does beg the question of whether he was unsatisfied with them and so didn’t put them up for sale or if he made a decision to keep them for his own appreciation.

The exhibition shows two gorgeous wisteria paintings having some 5- 15 layers of paint and still feeling like each brushstroke has been applied distinctively, accurately – alla prima! In the end, there was no room for showing these wisteria paintings with the lily pond paintings as originally planned. To honour Monet’s original intention for the wisteria paintings, the Vancouver Art Gallery did a curved display wall.

The paintings shared in these images (for personal study use only) are some of the 38 paintings out of 94 that were in Monet’s private collection at the time of his death. These paintings will be showing until October 1, 2017 at the Vancouver Art Gallery in British Columbia. The paintings are on loan from the  Musée Marmottan Monet in Paris. I feel extremely fortunate that I was able to take a half day to be with these works so close to home. If you get a chance, do go and do take the tour after spending sometime getting to know the paintings being shown. Then go through and look again with your new understanding of why these particular works were selected.

If someone was to ask if there was more than one YOU worth knowing what would you say?

© 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

Beginning at the End with Monet

When we walked into the Vancouver Art Gallery to join the line up, it was five minutes after opening. As we entered the visitors were jammed up at the beginning of the “Claude Monet’s Secret Garden” exhibition showing 38 out of 94 of his paintings that had been in his personal private collection. So we walked through the middle of the show and went to end and this is where I am going to start today. Monet’s last painting followed his cataract surgery and he was extremely excited to be able to see clearly again. The painting is listed as “Les Roses” in the exhibition but it is also known as “The Rose Bush” elsewhere online. It is huge at maybe 5 x 9 feet or 6 x 9 feet. I am not exactly sure because I couldn’t find any reference to its size either with the exhibition materials or online. But here it is.

“Les Roses” or “The Rose Bush” by Claude Monet 1925-26.

Please note: all images of Monet’s work have been shared for personal study. No image can be used for any other purpose.

Let’s take a moment and explore what we notice about this work. What stands out to you? How is this work maybe different than what you thought you knew about Monet’s paintings? How is it familiar with what you already know?

I personally had no knowledge about this painting and was so surprised to see it. My first thought was – this isn’t in my extensive reference books on Monet! But then I doubted myself until I could get home and check. However, I was right. This painting is in neither of my complete (or rather incomplete) volumes of Monet’s life’s work.

I was mesmerized and absolutely fascinated with this painting. He would have been 85 to 86 years old when he did this work during the last year of his life. What a way to finish his many years of painting!

It took four years to negotiate the exhibition between the Vancouver Art Gallery and the private Musée Marmottan Monet in Paris France.  The Vancouver exhibition is showing 38 out of 94 paintings in the collection. In 1966 Monet’s son, Michel Monet, left the Musée Marmottan Monet his own collection of his father’s work, thus creating the world’s largest collection of Monet paintings. My only complaint is that there is no catalogue sharing some of the stories I am going to retell to you here based on my notes of the guided tour for the exhibition which, if you get the chance I highly recommend you partake. First walk through and become familiar with all 38 paintings. Don’t waste time reading the chronology and notes on the wall because this can be found online and in other books later. Next do the tour. Then go through the exhibit one more time to integrate what you have learned. If you live in the Vancouver area and can go more than once – do! It is much more economical than a trip to France.

Often, we hear timing is everything. In Monet’s case there are a couple of events around his time in history worth noting.

In 1839 photograph was developed, one year before Monet born. Before this time it had been up to painters to record the realism of events and paint portraits of famous and not so famous people. Paintings were a visual record of events. Photography was expected to change all this and there was speculation that  this would be the end of painting. I mean why labour over a painting when you can have a photo-realistic image in a flash!? By the time Monet was attending art school he would have been in the thick of this debate. Now, particularly for those of us that are both photographers and painters, we better understand the limitations of photographic realism which is limited and has difficulty capturing our lived experiences due to camera distortion and limitations in rendering natural light. But photographs were all new and filled our imagined possibilities at the time. To this day, there are splits in painting approaches between high-realism, full-sensory painting impressions and expressionism abstraction. Personally, I find these splits more theoretical than directly applied to painting practice by painters (and the older I get the more I notice this) but it is worth noting these divisions just the same.

In 1841 tubes of paint were invented by American artist John Rand, one year after Monet born. Up until this time a painter had to mix the pigments with oils, grinding them together to the right consistency every day or at the very least every few days. The painter, or their assistants, had to a difficult task to accomplish before they could ever begin painting a chosen subject. Hence, most painting was done within the studio or indoors. Tube paints changed all this. They stayed usable for long periods of time and were easy to transport out of doors – hence painting en plein air became possible and popular in the years following. The invention of tube paints was a game changer for painters and painting practice – even in the studio.

But let’s go back to “Les Roses” and take in those fragrant blooming brambles one more time. Notice how the paint is mixed right on the canvas, blended and swept together in large gestural movements. Look at the painting close and then step back from your screen and see how the roses themselves disappear into the swirls of colour. Take note of how Monet leaves parts of the canvas bare near the edges. This is not because he wasn’t finished but rather because of an aesthetic of allowing the painter’s process to be visible or letting paint be paint.

In next week’s post we will speculate about how he came to this place in the last large painting rendered at the end of his long and productive life.

What impressions come to mind as you view “Les Roses” by Claude Monet?

© 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

Another Visit with Claude Monet

I have been visiting with Claude Monet since I was a teenager, even before I knew who he was.

“Late Morning in August by the Sea” – 9 X 12 inch oil on canvas, not for sale.

So strong was Monet and the other Impressionists’ influence of our understanding of light colour that is likely true for many of us. In my first oil painting classes at 14 years old, I remember the process of underpainting and then following the light in patches and shapes of colour across a whole canvas building it up to the same level of completeness at once. I remember the joy of mixing the pigments right on the canvas as I went, layering them wet-into-wet until I was satisfied with the end result. The paintings weren’t much – the work of a child learning her craft. But the process, oh how I loved the process! These were evening classes or Saturday classes and work was created from memory or reference images mostly. At home though, I worked mostly from life, observing the fast moving light and seasonal changes. This is still a significant part of my painting practice today more than forty years later .

Finishing “Melancholy Seas” – 14 X 18 inch oil on canvas, available.

What was missing in this early education was explaining to me that the oil painting approach I was using was that of the impressionist painters and Monet in particular. Or possibly, I was too young to remember as I was too busy actually painting. Whatever the reason, it would be many years before I realized that my approach to oil painting and painting in general came from this specific school of understanding light, colour and shapes. So, in this way, I first visited with Monet without even knowing his name.

Plein air painting “Early March Snow Japanese Garden Mayne Island B.C.” Walnut oil on gessobord, available.

Since then, I have read whole books about his life and work, studied many images of his paintings, taken in talks by art historians and seen his paintings in person in Toronto, Canada and Paris, France and Basil, Switzerland. To say that his work has had a profound influence on my approach to painting may be taking it too lightly. People teasingly call me “the Monet of Mayne Island” with good reason! At one time, in the summer of 2012, I even vowed (unsuccessfully) to divorce Monet and shake his hold on my painting hand. I argued and demonstrated the strength of letting the darks be dark. I pointed my brushes towards Cezanne and the necessary strength and influence of form. But it was no use.

“Blooming Point PEI” 8 X 10 inch acrylic plein air sketch, not for sale.

In my mind’s eye, Monet lightly shrugged and went back to painting his pond, the light through the trees and the lily pads. Over time, I conceded to my love affair with light, even in the shadows. Hence, though we have an amenable separation, Monet’s painting process and sensibilities and my own painting practice will never be divorced. The confluence of history and our mutual love of light and colour has not allow it, at least not yet.

“Storytelling Arbutus Tree Bennett Bay Mayne Island B.C.” 60 X 40 inch oil on canvas, available.

So Monet and I have visited again, yesterday, at the Vancouver Art Gallery where 38 of Monet’s paintings are on exhibit. Later, I shall decide if we have more to say to each other. For now, this is enough.

What great master in your field of expertise has visited with you the longest?

© 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

 

 

A Sunrise Series in May

Just as the skies started to lighten the shapes in the valley below, I rise and quickly make coffee. It is just after 4:30 am. I am ready to leave the house at 4:50 am which will put me in Reef Bay at 5:10 am. Sunrise is at 5:26 am. I park down the short trail by the beach. I am the only one here at this hour. Gathering my camera, cell phone, coffee; I meander over the sandstone as the tide slips farther out to sea. The light is still in the blue pink range.

But it warms quickly and the gulls toss themselves up in the air, before circling around and landing out on the reef beside me.

Pouring my second cup of coffee, I settle into an occasional breeze picking up salty licks and hints of seaweed as it reaches the shore.

Then the sun is up!

My heart clings to the moment as my eyes run up the beam of light across the Strait of Georgia.

Stay with it…. hold…hold…hold…

I marvel at the prisms of light on the sea. Glorious!

And now, we have started a new day!

As you are reading this I am waiting for the ferry to Vancouver with a carload of paintings and a few long days ahead of me with the Art! Vancouver Fair. However, at any moment I can check back and find my centre with this sunrise. It is like a tether anchoring me to my best self.

What tether anchors you to your best self?

Note: If you are in the city I encourage you to come down and say hello. It is not often I show my work in Vancouver and I don’t have any immediate plans to do so again anytime soon.

© 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

Where Despair Meets Hope in Steps

Drowning in despair about our dissolving humanity on a particular day in early April, I made myself a promise – I shall post this note and go for a long walk and listen to the spring birds. I shall breathe in time with the waves on the sea. I shall inhale the scent of the blossoms on the breeze. I shall run my hands along the length of the arbutus tree. Then I shall paint. This is what a landscape painter does.

This is the beginning for Where Despair Meets Hope Edith Point – 22 x 28 inch oil on canvas landscape painting.

Several canvases are already prepared with grounds. I decide on the red one. Neither large nor medium and certainly not small, this canvas seems to be the right size for sitting with despair. I choose a simple yet powerful landscape that begins with a lengthy walk through the trees and along the ocean. On this day, the fog is thick and I am smothered in a muted grey for most of the hike. But just as I come out on Edith Point, the heavy mist moved out to sea and golden light covers the old fir tree and the edge of the cliff. In this briefest of shifts, my spirits soar and catch a patch of blue sky before coming back down the disfigured tree, thereby encompassing a lasting sense of hope.

The work is roughed in with a bit of Naples yellow to guide my brushes forward. I decide to work from the outer edges inward until the tree reveals itself and I can no longer avoid its edges.

I work on the point of the cliff, conscious of how it turns slightly towards the south. There is no room to think or worry or fuss. I am fully focused on the quickly changing light of the late morning. I can feel the dampness in my hair and coolness on one side of my face and the soft sun warming the other. My hands and heart guide the brushes across the canvas, as if I am really there.

The room darkens under the skylights as heavy rains pound down on the tin roof. I slip up to the loft and grab one of the studio lamps. I hardly notice that I have put my brush down. I pick it up again and, almost in a trance, continue to work.

Touching lightly, I place various greens into the foreground. I can feel my helplessness shrink like the stones with a rising tide on the bottom right of the canvas. My disillusionment with the larger world is replaced with confidence about the specifics of this moment – I can do this one thing.

As I continue to paint, the fir tree can no longer be avoided. I add the tree’s shadow side and start on the branches.

I reach for where the sun is touching. I am reminded of the winter’s high winds and heavy rains as I circle the gnarled and bent branches. I am reminded of long dry spells during the late summer where the moisture cannot be held in the sandstone rocks. I can feel my nose tighten against dearth of moisture while grasses crinkle under foot as I place in the dead branches on the bottom left of the thick tree trunk. I am reminded how this old fir tree has endured and gained elegance and strength through its trials. It is perfect in its imperfection.

Darkness is gathering in the corners of the room. My hips and knees are telling me that we have been standing at the easel for many hours. I must leave this work now, until tomorrow.

Rising early, I flick on the studio lamps. I put on my painting apron. I continue. Eventually, I stop to make coffee and a late breakfast. Sometime during the morning my husband has woken and made his own eggs and toast. He has closed the door to his office so as not to disturb me. He may have even spoken to me. I doubt that I answered. Living with a painter one learns not to be offended by such moments. Like me, he has learned to trust the process. He knows that eventually I will say – come have a look and see what you think…

I tell him how I wanted to be able to feel the breeze off the water in the branches and how they needed to be reaching to greet the sun and how the shade is cool in this golden light, cool enough to want your wool sweater. He replies – it is gorgeous! Privately he is crossing his fingers hoping that his remark will lead us out the door to find some supper. I am not fooled.

Well, it is resting I say.

In this case the “resting” must last for a week before I can make the final adjustments during a demonstration for an oil painting class I am teaching. But I do believe it is now done. I do believe in this place where despair meets hope, we can understand that nothing lasts. With this truth, firmly rooted on the edge of the cliff, I shall continue to walk and paint and breathe – until I can no longer, however long that is.

For now, I present to you Where Despair Meets Hope Edith Point – 22 x 28 inch oil on canvas

 

Where does despair meet with hope in your life?

 

© 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