Uninterrupted Day

I often get asked for advice on what to consider when buying original paintings. Not an easy position to be in for an artist but I get that you want to know that you have made a good decision. Original work can be an expensive purchase and I know you want to make sure you are making the best choice. So here are my nuts-and-bolts considerations for buying an original painting.

Please note: all the paintings shown in this post are SOLD to patrons on Mayne Island, and in Victoria British Columbia, as well as in New York City, the state of Illinois and in Switzerland. For my original oil paintings currently available please visit the Art of Day online gallery store.

Buy what you love. Yes, a painting can be considered an investment but that should not be the primary reason it is enhancing your walls. Many times paintings do substantially increase in value but there is always a possibility that they won’t. When purchasing a painting, my suggestion is that you can imagine continued enjoyment of the work for the rest of your life.

Think about where the painting is going to “live.” What room will it be in? What will it add to that room? What purpose is the painting going to serve? For example, I often suggest a seascape on a wall where I feel the room needs opening up or some movement. Conversely, I will suggest a dense forest painting on a wall in a room that needs a feeling of warmth or privacy. However, sometimes we just fall in love with a work and will create or organize a room or space to enjoy its company.

Stick to your budget with creative vigor. No one needs to be art poor. However, there is usually a way to have a few carefully chosen original pieces in your possession. First, decide on your budget. Next decide if you need to save for your painting or if you are ready to purchase now. If you are saving for an original piece, can you buy a card or a small print of the artist’s work to help focus your intention? This is a great way to support an artist and a successful strategy to eventually being able to purchase an original painting. Also, if there is a specific painting you just can’t live without but it is beyond your current budget – ask about purchasing on lay-away. I have done this with many buyers on what I call a three-payment-lay-away-plan. The buyer makes 3 equal payments on pre-agreed dates and when the final payment is received they take the painting home. Finally, consider making the artist a fair offer within your budget. Pricing is partially subjective and many factors are taken into consideration. I have been known to accept a reasonable offer below a ticket price simply because I knew the work was going to be appreciated. Often, I make a counter offer that adds value without reducing the price significantly such as delivering and helping to hang the painting or paying for part of the shipping costs.

Ask to take the painting home on trial. Sometimes it is just too hard to decide if a painting is right for your home or office space. You are almost sure but you need to “see.” Many artists and galleries will let you take a painting home on trial for a few days. You pay for the painting by cheque or by leaving credit information and it is not processed unless you go through with the sale. Further, with online purchases I offer a 30 day satisfaction guarantee. If you are not completely satisfied with your purchase it will be fully refunded if the painting is returned to me unharmed at the buyer’s expense within 30 days.

Know the quality of what you are buying. By this I mean the physical quality of the products used to create the painting. For example, I use premium quality canvas or mounted boards and good quality water-miscible oil paints. Sometimes artists, out of necessity, will use economy grade or poor quality materials. If it is not obvious what was used – ask. A painting on good quality material using good paint should offer more than one life time of enjoyment. However, poor quality products can be fragile and a painting will need extra care for preservation. You still may choose to buy it but it is best to know ahead of time the quality of the materials used.

Take your time. Be prepared to wait for “your painting.” I have often told this to patrons of my work. It has sometime taken months and even years until “their painting” was painted. The deep smile of knowing “this is the one” is worth the wait. Of course some buyers become collectors and they have purchased a handful of paintings. For some reason it seems to get easier after the first purchase.

If you don’t see exactly the painting you want, ask about commissioning a piece. I have only one word of caution. Do not ask the artist to paint something just like the one they have for sale only in colours to match your couch. I once had a buyer do this and my response was “have you considered buying a new couch to go with the painting?” Also, not all artists do commissioned work. This is always a good first question to ask before making a request. Sometimes you may be looking for a larger or smaller piece than what is being exhibited and the artist will have what you are looking for in their inventory. So ask for what you want because you just might be able to get it.

There you have it! Good luck with your original painting purchases.

Again, for my original oil paintings currently available please visit the Art of Day online gallery store.

Sprout question: What nuts-and-bolts considerations are part of your art purchases?

STUDY OF BLUE solo exhibition opens Thursday June 30, 2011.

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.

FromMayne Island,British Columbia,Canada

Terrill Welch online Gallery at http://terrillwelchartist.com

Story of the HENDERSON HILL Original Oil Painting (creativepotager.wordpress.com)
SALISH SEA 4 original oil painting by Terrill Welch (creativepotager.wordpress.com)
KEEPING WATCH original oil painting by Terrill Welch (creativepotager.wordpress.com)

Guess who I met on the road?

May 6, 2011May 31, 2011 / Terrill Welch / 16 Comments

If your read Monday’s post “Story of the Henderson Hill Original Oil Painting,” you may remember that we had to go into Victoria for dentists appointment and to pick up my dear 20-year-old blue Ford F150 4X4 pick up – Miss Prissy. I am happy to report that she will likely be of reliable service for a few more years yet.

While we were at the dentist, we had a guest come to see us. Can you guess who? Does this help?

He traveled by grey hound and city bus for over an hour just to say hello. Coen was a bit of a weary traveler and took to a nap after visiting and taking yet another city bus ride when we were through at the dentists.

Of course he wasn’t traveling alone.

In fact he doesn’t go very far from his mom at anytime yet. Who can complain about seeing the dentist with visitors like this? Not me, that is for sure. By the way, these three photographs were taken with a little android phone because that was all we had.

On another note, I didn’t get anymore painting done yet this week but I do have a photograph you may want to see.

(this image may be purchased here)

The photograph Underneath is akin to sitting under a table as a child. It is about being in the forest looking out onto the rest of the world. I like the privacy and the unusual perspective that the image offers.

Sprout question: Tell us about a time your creativity came from underneath?

Best of the weekend to you!

STUDY OF BLUE solo exhibition opens Thursday June 30, 2011.

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

Terrill Welch online Gallery at http://terrillwelchartist.com

Story of the HENDERSON HILL Original Oil Painting (creativepotager.wordpress.com)
Three in One Post (creativepotager.wordpress.com)
FIR TREE original oil paintings by Terrill Welch (creativepotager.wordpress.com)

Impermanence

April 11, 2011April 12, 2011 / Terrill Welch / 22 Comments

I share with you these pears dancing in the light of the sun coming through the window. But they are no longer there. We ate them. They were delicious. The photograph is history like all photographs has captured history.

(image may be viewed and purchased here)

Impermanence is difficult concept to viscerally accept. My limited understanding comes from Buddhist practices but it is an idea that has fascinated me since I was a small child and realized that turning of the earth gave me a glimpse of visually watching the passage of time. In fact, it is fair to say that expression of impermanence is a strong underpinning in most of my paintings and much of my reflective writing. The Buddhist notion of impermanence is that all of conditioned existence, without exception, is in a constant state of flux. Here a section on the subject from wikipedia:

According to the impermanence doctrine, human life embodies this flux in the aging process, the cycle of birth and rebirth (samsara), and in any experience of loss. This is applicable to all beings and their environs including devas (mortal gods). The Buddha taught that because conditioned phenomena are impermanent, attachment to them becomes the cause for future suffering (dukkha).

Conditioned phenomena can also be referred to as compounded, constructed, or fabricated. This is in contrast to the unconditioned, uncompounded and unfabricated nirvana, the reality that knows no change, decay or death.

Impermanence is intimately associated with the doctrine of anatta, according to which things have no fixed nature, essence, or self.

Though I do meditate and go to the odd meditation retreat, I am not a practicing Buddhist. But there are times when I find that the Buddhist doctrine resonates and helps me to live a better life – with less suffering. Such a time is when the hard drive of my computer crashes beyond recovery. Some things were lost. Some things have been found in other places. I wasn’t and I am not particularly worried or grieving about any of these things.

What did strike me in a new way was the concept of impermanence. It was like I had been accumulating this understanding for years and all of a sudden I had a glimpse of it – just for a few days and even then only for a few hours at a time. I was able to experience impermanence beyond what my brain had constructed … it was tangible in the cells of my body, the earthquakes in Japan, David’s stroke, the birth of my grandchildren, the lines on the backs of my hand, and the daffodils in the woods.

(image may be viewed and purchased here)

This wasn’t a sense of peace and ease I was experiencing – I was terrified. My experience of the world, through my five senses, was no more permanent than the passing light between the trees. I was borrowing these experiences and stretching their presence through memory, writing, painting and collecting data on my hard drive. My thoughts go to Atlantis, the Egyptian pyramids, the ancient Greek poet Sappho – all passing moments in time with just a few fragments left visible through story, crumbling earth and fragments of poetry. I grasp that my existence, my being, and my experiences are all expressions of impermanence. For a few moments, okay hours, it was hard not to hyperventilate and go screaming naked through the woods.

But after awhile I concluded, nothing had changed. These things were the same before I looked them squarely in the eye. My knowing did not chance impermanence – only my experience of impermanence.

(image may be viewed and purchased here)

This week I shall work on another painting. I shall do it with conscious awareness of my impermanence and its impermanence.

Sprout question: How does impermanence express itself in your creativity?

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

Terrill Welch online Gallery at http://terrillwelchartist.com

Sacred Cycle (musingbymoonlight.com)
The Impermanent and Empty Nature of All Things and Events (mysticmirror.org)
FIR TREE original oil paintings by Terrill Welch (creativepotager.wordpress.com)
John Tropea: Where neuroscience meets buddhism (johntropea.tumblr.com)

A red leaf heart to begin December

December 1, 2010December 1, 2010 / Terrill Welch / 12 Comments

I could have waited and shared this image in February for Valentine’s Day. I could tell you about how I just looked up and there it was – this magnificent red leaf heart shining brightly against the blue sky.

(View full resolution – available for purchase here.)

But it really wasn’t just “there it was!” I had been predisposed to this image. Let us see how.

First, there is Laurie and her Speaking from the Heart blog. Laurie is passionate about heart connections. On her Holessence website there is an image of a beautiful heart with wings painting by Russell D’Alessio and farther down there is also a photograph I gave Laurie with a heart on the cliff wall. Needless to say whenever I think of a heart or see a heart shape, I think of Laurie.

Second, there is L. M. from someplace in the USA. I know nothing more about her, other than her tweet name is @ellepiari . If you look at her profile at http://twitter.com/ellepiari , there is a most beautiful red heart leaf avatar almost exactly like my photograph. I know L. M. for her warmth, sharing and engagement.

So you see this beautiful red heart leaf image is heavily influenced by the creative expression of others.

Sprout question: How is your creativity influenced by the creative expression of others?

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

Emily Carr Mystery Solved

November 9, 2010November 10, 2010 / Terrill Welch / 6 Comments

View and purchase full resolution image here.

Yesterday’s “Can you Guess?” post was so much fun. Yes?

It is indeed Emily Carr.

The statue is located in the Victoria, British Columbia harbour near the Empress Hotel which you can see in the back ground. The specific location is on the corner of Government and Belleville Street diagonal to the legislative buildings.

Looking up is Emily’s dog Billie. He is looking at Woo Emily’s monkey who is sitting on her shoulder.

The artist/sculptor who was commissioned to create the Emily Carr statue is Barbara Paterson.

I took these photographs the day after the unveiling of the oversized Carr statue. People were still frowning at it as they passed on their way to work in the morning. I didn’t take their pictures as they were so unguarded in there peering at this statue of a strange woman with a monkey on her shoulder. I didn’t want to embarrass anyone. I believe it is safe to say that most of them couldn’t have guessed who the statue represented either and they live in Emily’s home town.

The evening before we had seen a screening of a new documentary film Winds of Heaven: Emily Carr, Carvers and the Spirits of the Forest by Michael Ostroff which I reviewed on the “Emily Carr My Kindred Spirit” post in October. I was in full Emily Carr remembering when I took these photographs. I have read her diaries, her stories and viewed her art work for much of my life. I regard her as a mentor.

Why did I wait so long to post the photographs of the statue? It is because my heart sank when I saw the statue. I was filled with a deep sadness – not because of the statue itself. The statue is beautiful, thoughtful and skillfully created. I was sad because the location chose for the statue presented a mystery for me. Emily would hate it. I just know she would. Stuck in the buzz of city traffic and tourists, with people peering at her while she is left sketching one miserly branch of the great forest she loved would have been torture.

Why would anyone choose to put a statue of Emily Carr in such a counter position to her whole being? I thought and mused as I invited Emily to walk with me out of the noise and commotion down a path along the harbour shore. I am sure her feelings were hurt as much as she was angry.

I know because as we stopped to look up at the totem pole along the path, she seemed to be saying:

“Why couldn’t they have just tucked me a little ways into the peace of the rose garden where at least the birds visit?”

“Why didn’t they put me in Beacon Hill Park where it is quiet and the glorious big pines still stand?”

“Oh bother! Why didn’t they just forget about this old fool?”

I feel compelled to tell her that she is important to art history in Canada and especial in British Columbia. Though people may have not chosen the best spot for her statue in relation to her love of the woods, their hearts were in the right place. They loved her. She sagged a bit under the weight of it all and seemed to weary to fight the mistake… for surely it had to be a mistake, wasn’t it?

After weeks of considering, my conclusion is no, it is not a mistake. It was the right decision even as heartbreaking as it is to think of Emily sitting there stuck so far from the peace of her woods. It is the right decision because the statue isn’t for Emily Carr. She lived her life, created her art, wrote her stories and her spirit is free to be where it chooses – which is not on the corner of Government and Belleville Street I can assure you. The statue is for those of us who have yet to discover Emily Carr. For those that do not know of her great art and her books. The statue is a clue to a mystery that waits to be discovered by tourists, workers going to work and the three year old on a walk with her dad who draws him into the world of Emily as the child pets Billie and they both smile up at Woo. Maybe then they will seek out Carr’s paintings and wander into the great forest to see the trees as she saw them. I hope so because this is where they will find her spirit joins them as they sit on a log in wonder at one of the greatest mystery of all – the forest.

The statue is only a clue to solving a great mystery. Maybe someday the world will know Emily Carr and her woods well enough that this clue can be removed deep into the forest where we can sit together with her as kindred spirits around a small fire discussing other creative mysteries.

Sprout question: How do you resolve creative sadness and disappointment?

Or an even better sprout question offered to us by Leanne Dyck: What artist of the past would you like others to discover today?

Thank you Leanne:)

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

Emily Carr statue to be unveiled in Victoria (theglobeandmail.com)
Emily Carr statue to be unveiled (cbc.ca)
Emily Carr sculptor aims to tap artist’s spirit (cbc.ca)
Emily Carr through a fresh lens (theglobeandmail.com)

The Duck That Came Wagging Its Tail

October 28, 2010 / Terrill Welch / 13 Comments

Yesterday we went for our usual afternoon walk and were greeted by an unexpected new friend.

The duck came talking and wagging its tail up to the property fence to say hello. I am sure one of the regular passersby must have offerings in their pocket. I was sorry we didn’t. What a delight. The duck had the softest voice and the most pleasant desire to have a good tongue wag – or rather tail wag…. bringing new meaning to the jingle “it’s not the size of the tail that matters but how you wag it.”

Of course we stopped to visit for a bit.

Sprout question: What unexpected creative guest has come wagging its tail lately?

Psst! Sam let us know on yesterday’s post that he has purchased a calendar – says he doesn’t think he will write in his either. Laurie said she isn’t either. I suggested that the large images on the heavy card stock can likely be framed for years of enjoyment – or as Sam and Laurie suggest the calendar can be kept as a piece of art in itself. Such fun!

If you are still thinking about ordering a calendar, here is a quick link to all three http://www.redbubble.com/people/terrillwelch/shop/calendars

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

It’s not the size of your tail, it’s how you wag it (adpunch.org)

A moment with Frank Jordan

October 25, 2010October 26, 2010 / Terrill Welch / 20 Comments

After his daughter found my book and letters he was keeping, I was notified today that a special friend, Frank Jordan, died last Sunday. He was 90 years old. He lived a full life! I will miss him. He has had such a powerful influence on me. It was so nice of his daughter to phone. She asked if she could keep his book and the letters I had authored. I said “yes” surprised that she asked but happy to reassure her that yes she should keep them.

Some people I connect with deeply, regardless of age or gender. Frank Jordan was one of those people. He loved life even with its tears but mostly he found its joy, love and wonder. Others might miss it – not him. I know he was at peace with his life because he told me so the last time we spoke on telephone in the early summer. I know he will meet his tomorrow with enthusiasm.

Here is a passage from my book Leading Raspberry Jam Visions: Women’s Way about the man of whom I speak….

[Frank Jordan] is a personal mentor I have been honoured to have in my life since childhood. For me his life represents a high measure of success. You will not find his poetry and wisdom in university libraries but you may find it published on the placemats in small restaurants in the region in which he lives. You will not find his wealth ranked amongst the top 25 families in Canada, nor will you even find him given recognition for his wealth within his own small community. His paid career work ranged from jobs such as driving a school bus to janitorial work. His volunteer work ranged from voluntary ambulance attendant to knitting blankets for the hospital auxiliary and the local transition house for women leaving abusive relationships. He does not own his own home or many other material goods.

Are you beginning to question why I feel this individual is successful?

Frank Jordan is successful because he knows how to love. He knows how to love unconditionally and expressively in every day and in every moment. He goes by many endearing nicknames that are used by his whole community, not just his immediate family. To be in conversation with this man is to know your own humble humanity and to walk away hugging yourself – and the whole world at the same time. He has a gift that is rare and valuable. His gift is complete appreciation for life and living. Most recently, we were engaged in conversation as I walked out with him to his car, and he told me how he used his ‘little helper’ (as he shook the cane used to steady his 83-year-old stride) on days like today – days where he was required to be on his feet for several hours. He told me how blessed he was, because he could still drive during daylight hours. As I stood with him, shivering beside his car, he continued to count his blessings and tell me important stories that he knew I needed to hear. I listened intently, appreciating his calm, confidence as he said “you know god loves me so much that I just can’t help myself! I have to spread it around!” His face is lit with the excitement of his conviction, and even from my rather non-committal stance, I would be hard-pressed to deny the existence of his god or his love.

Then with equal importance he continues to tell me how his wife, who is several years older, has not being doing so well. His face is transformed by the sadness of his thoughts. Then he gives his head a little shake and looks up at me before continuing: “most recently she had been having a particularly bad day, and was in tears trying to get dressed, because she was unable at that time to dress or undress herself.” At this point in his story, his eyes start to squint with pleasure: “well, I went over and gently helped her, as I laid out my own complaint – I said, ‘well woman, you know I love you dearly, and I do not mind helping you take your clothes off at night, but it seems rather cruel to ask me to help you put them back on in the morning!’” He described how her tears gave way to laughter as she called him “an old fool,” and blushed from his continued life-long pleasure in her.

His living is an immediate gift, and his stories of living are a continuing gift that offers up a picture of infinite success, in their telling and retelling. Yet, to acknowledge his success (since it fails to fit the acknowledged and typical definition we as a culture have allowed ourselves to accept), it must be carefully and explicitly stated and justified. He has touched and influenced countless lives in his daily practice of joy, recognition and love. I have unquestioning confidence in the huge worth of the rippling effect of his life’s work, in giving and receiving. The consequence of his influence in my life alone has allowed me to have hope in the darkest moments, to believe in my abilities, to forgive myself when I fall short of my expectations, and to have total fascination and delight in people and in living. He chose to accept and embrace the paid work available to him, and to excel in using these positions to fulfill his true mission in life, which was to minister to those he met in his everyday interactions.

My challenge for us is to question all measures attributed to success – not just those that are beyond the quick and easy definition provided by wealth and position. I ask that we embrace the multiplicity of success, and carefully explore and articulate what we believe is success in a particular situation, and also what consequences result from that success. For me, success is not about getting it right and sailing to the finish line of life. Success is about allowing your persistence to sail your vision through every day… while the breeze of your passion and potential charts your course. (pages 75-77)

I have no pictures of him… isn’t that strange? To have been friends since I was fourteen years old and no photographs? I have never felt I needed any – today is no exception. I can see Uncle Frank anytime I want, by sitting with my heart open, smiling at what the day has to offer.

Sprout question: How might you describe your creative success?

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

Gulf Islands in Fog

October 21, 2010 / Terrill Welch / 16 Comments

View and purchase full resolution image here.

Ferry whistles wake me this morning as they navigate through the thick fog. The haunting sound is like that of a moving a fog horn being answered by another a little further on.

When we were out for our walk yesterday, I took this image of rolling fog in Active Pass. This morning we are still above it here at la casa de inspiracion but it is creeping towards the valley next to Heck Hill as it moves in off the water. We are only about a third of the way up the cliff side or 81 really large steps on the stairway to heaven but it is enough to escape the fog – for now.

I hope to have more images for us tomorrow of the fog in the trees. It was amazing.

Sprout question: What is your favourite experience of fog?

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

Where Line and Paint meet with Jerry Shawback

October 7, 2010October 7, 2010 / Terrill Welch / 29 Comments

Jerry Shawback is the most dedicated artist I know. His daily practice can rack up 500 sketches a week. Add to this his paintings, and we have ourselves a full-time talented artist. His line drawings capture depth and powerful expression with the strength of their minimalism. His self-portrait paintings always leave me craving to know more. As I flip through his flickr site I often ask “who is this artist – really?”

Then sometime over the summer, I notice something different happening in Jerry’s paintings. Lines familiar to me in his drawings started to appear in his paintings. I was hooked. I kept slipping back and spying from just off the side of the screen to see what he would do next. Finally, I mustered up my courage and asked if I could interview him for a dedicated feature here on Creative Potager. To my delight he said yes. So get your favourite cup of something warm and pull up a chair….

Born in small town Streator Illinois about 80 miles outside Chicago, Jerry lived in town but there was also a family farm. After the divorce of his parents when he was eight years old until he was sixteen, South Florida was home. This was followed by some time in North San Diego country where he completed high school.

Los Angeles is the only long-term love Jerry shared with me and the city has been his adult home since college though he spends a chunk of time in Nevada where he has few distractions and gets most of his painting done these days.

Jerry Shawback’s art:

Q. What is your training and background?

A. I went to Otis Art Institute of Parsons School of Design, a division of the new school for social research and studies communication design and illustration. Otis had a great foundation year program where all the students from different disciplines all took the same classes giving everyone a solid understanding of the basics of art as well as forming relationships between the different departments.

Q. Is there any particular aspect of your formal training which is fundamental to your current creative process?

A. Only one class in art school really stands out. History of graphic design was a brutal course. In 3 hours there were 200 slides and continuous lecturing. The following class there was a test on one of the slides. We covered the entire history of design and how it related to the broader world of art. When I got out of art school is when I really started focusing on my drawing. I found some great workshops and spent most of my available time drawing.

Q. I am curious about what got your thinking about drawing with paint? Do you remember what got you thinking about this?

A. There can be a disconnect between painting and drawing. I see it in the work of artists all the time. There are some artists whose finished pieces I find lifeless and uninteresting but when I can find an oil sketch or rough drawing it is just delightfully.

I went to the national Gallery in washington DC and saw several pieces by Toulouse-Lautrec. These oil on cardboard drawings, of women in various stages of undress are, for me, one the most thrilling experience viewing art I have ever had. The Lucian Freud show which brought me back to painting again after a long hiatus would be another. I may do up to 500 drawings in a week in many different styles. This allows for experimentation and results in some very spontaneous work.

Q. How did they end up separate in the first place?

A. Unfortunately I think they have always been separate for me and what I am working on now is trying to integrate the two.

Q. What process or guides do you use in choosing your colours when painting.

A. Painting a color and drawing the colors I see with line are very different things.

I never put a color on the canvas that I do not think is wonderful on its own. That does not guarantee that it will work with the other colors on the painting. But it is a good start. I enjoy the process of mixing colors almost as much as I like making the marks with them.

Q. What has life taught you about your creative work?

A. All of our experiences good or bad make us who we are and, if we are open to it, will come out in our work. Art, just like any other kind of work, requires effort and discipline and is not something that just happens on a whim.

Q. I often experience a sense of loss or sadness edging into your work. Can you tell us a little about this?

A. We often hold our emotions just below the surface in a very quiet way. This is revealed when we are less guarded. I try to capture this. I think every one has a certain amount of sadness and loss as well as joy and hopefulness. If you are sincere as an artist, it comes out in your work. I work with the human form so it may seem more obvious but this would show if I was painting landscapes as well.

Jerry Shawback’s plans:

Q. What is next?

A. Continuing to learn and grow as an artist.

Q. Five years from now?

A. It would be nice to be involved with a gallery who could market my work a year out and the most difficult thing would be getting the work done in time for the shows.

Q. Ten years from now?

A. It would be great to have an exhibit / workshop space so I could have an environment for developing artists to show as well access to space to work. I have come across so many terrific artists that could benefit from somewhere to work in a group environment with other artists on occasion as well as show their work.