Sailing Through The Trees – almost a finish

So close! Almost! Or maybe even done! Yes, you guessed right. The latest 30 x 40 inch canvas of Sailing Through The Trees is “resting”. But, before we go to the end, maybe you would like to see a short video of part of the process along the way? Yes? I thought so.

And so it went, for several days, until I came close to the finish line. Then, I swore! A couple of times! Which didn’t help at all, in case you are wondering. Back to the folder of video and photograph references for the umpteenth time. Then down to the actual location, looking, searching, feeling and taking more photographs. Back to the winter studio, pick up brush and apply paint. Three more trees are added. Other trees are moved around a bit forward or back. Specific branches are added and so on. Finally, the painting shifted and came together as a completed work with all the harmony and mystery that was intended…. well, except for “resting” but I doubt it will change much from here. Lets start with a few details and work our way up to the finished painting.

We have the all important house…

We have the equally important sea…

and the lofty trees crowning the complete vista….

Now for the grand entrance, switching to the big camera, here is Sailing Through The Trees “resting” 30 x 40 inch oil on canvas still shiny and wet…

The painting will be set aside to dry and I will look at it over my shoulder while I continue working on the next painting. If, as time passes, I notice something that I just can’t resist changing, then there will be a flick of a brush loaded with paint in the appropriate spot. Most likely though, it will dry to the touch and be laid on its back to have the edges painted.

So, no more swearing as I look upon this beautiful day beside the sea where it would be a dream to live!

What are you almost ready to call done!?

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Conversations between Trees Recorded in a Large Painting

The earth turns and the sun comes up. The earth turns again and the sun goes down. This is one simple measure of a day. What time will it be tomorrow morning when the first light reaches the eastern side of the island? At about what time this evening will it be too dark to safely take the compost down the stairs and under the trees at the edge of yard without a flashlight? When will the snowdrops start to bloom on the southwest side of the house?  What difference does a day make, or even a few hours? These questions are possibly best answered by trees. At least, this is what I am musing about today as I continue my inner travels.

Last week I shared with you a large 60 x 40 inch canvas with a red ground. Now, on this most difficult week of racial profiling immigration orders in the United States and terrorist killings of Muslim worshipers allegedly by a white male in Canada, I shall take you through the development of this large painting to the point where it is resting.

(In the beginning a few painted lines guide the compositions on large canvas.)

the-need-to-start-some-place-on-a-large-canvas-by-terrill-welch-img_9324

I mention these two disturbing horrific North America events because I believe no painter can control their brushstrokes against the influences from within their daily lives. I am no exception. I frequently use my painting to process of everyday life with conscious deliberate acknowledgement.

(Getting somewhere on the  large canvas.)

terrill-welch-working-on-large-canvas-by-david-colussi-img_9344

But my end results do not often depict this struggle to make sense out of senseless acts. Instead, the canvases frequently conclude with a clear message of hope, possibility and resilience. I believe this is because our interconnectedness is the greatest gift that the landscape continues to offer me.

(Blocked in with major decisions made about large composition.)

blocked-in-with-majour-decisions-made-about-large-composition-by-terrill-welch-img_9447

I did have it in mind to simplify this painting and leave out the young fir tree on the bottom right and the old fir tree on the left. But the storytelling arbutus tree was having none of it. These trees need each other to create harmony and balance in their ecosystem and for that same reason they are needed in this composition. It would be a mistake to think that this ancient storytelling arbutus tree has survived on its own.

Of course, I am not the first painter, nor will I be the last, who studies the trees. A week ago, I purchased an amazing book of new sketches discovered to be by the hand of one of my mentors, Vincent Van Gogh. The sketches have remained hidden for 120 years and have created all sorts of scholarly disputes and discussions about their authenticity since the book was published in November 2016. The author, Bogomila Wesh-Ovcharov, is a Canadian art historian and specialist in Van Gogh. She is also a good writer. The book, with its 65 actual-size sketches, makes for tantalizing study.

vincent-van-gogh-the-lost-arles-sketchbook-bogomila-welsh-ovcharov-photograph-by-terrill-welch-img_9239

One of the sketches in this book of four people in an olive grove has particularly captured my attention.

for-study-purposes-sketch-by-van-gogh-photograph-by-terrill-welch-january-24-2017-img_9241

I am specifically reminded how in the past our daily work would often take us out into a forest or a grove of trees. Currently for me, this connection is my daily walks or plein air painting to gather reference material for larger landscape canvases. But the relatively recent changes to urban living means my experience is a much more rare. In 1800, only 3 percent of the world’s population lived in urban areas. By 1900, almost 14 percent were urbanites. In 1950, 30 percent of the world’s population resided in urban centers.  At times, in some locations this is still a routine practice. But for most of the 82 percent of urbanites in North America and 54 percent in the world, it is history, leaving large segments of our populations with no direct experience of their relationship between trees, and the landscape. These are the many individuals I believe who may have lost their ability to see the moon. Their lack of awareness, appreciation and understanding about our interconnectedness to trees, the sky, the sea and the land leaves them blind to the moon. For many our natural elements and our dependency on them for our well-being is an abstract concept, rather than an intake of breath with a thank you to a tree. For these individuals the moon is no longer there. I am guessing that with this loss comes another lost, the loss of knowledge about our interdependency and interconnectedness not only to trees but also to each other. In these conditions greed, fear and hatred can take root in the fertile ground of disconnect.

This is why I paint this grand storytelling arbutus tree on a large canvas in my home studio. I am hoping that, when a viewer sees this finished painting, they will remember and experience their connectedness to all things in our natural world. They will again be able to see the moon, the tree and each other with kindness and appreciation. This is my wish anyway. It may be a naive and foolish wish but I must try. And no I do not think a daily walk in the woods will cure all the ills of human short-comings. I do believe it can do no harm and that it has a chance of allowing us to reconnect with our own goodness and act with care and compassion in the face of hatred and greed.

working-on-storytelling-arbutus-tree-bennett-bay-mayne-island-bc-60-x-40-inch-oil-on-canvas-by-terrill-welch-img_9550

 

The painting is not quite finished but it is close. Another couple of sessions with my brush and paints will see it complete. Here is where the painting is at this week.

Resting “Storytelling Arbutus Tree Bennett Bay Mayne Island BC” 60 x 40 inch oil on canvas.

resting-storytelling-arbutus-tree-bennett-bay-mayne-island-bc-60-x-40-inch-oil-on-canvas-by-terrill-welch-img_9532

The next time we see this storytelling arbutus tree painting it will be released in a post on the website. But for now, we can enjoy our interconnectedness to it and all that is. We have in this an opportunity to build our resilience, to gather our energies in the face of possibly some of the most difficult times in recent history in Canada and the United States.

This what I heard from the trees this week.

 

Have you found a storytelling tree near where you live? If so, what is it telling you?

 

© 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

Intention, Composition and Underpainting are Tools of the Trade used by the Artist

Today’s work set aside to dry ….

Beginning with underpainting of Westerly Winds Victoria BC 30 x 40 inch oil on canvas

Beginning with underpainting of Westerly Winds Victoria BC 30 x 40 inch oil on canvas by Terrill Welch 2016-01-14 IMG_7555

Sometimes I am asked why do I use this tool of a flowing, rather shapeless underpainting? Wouldn’t a ground colour do? Why not just begin the painting and start with a pencil or charcoal sketch to mark the forms?

The answers to these questions are interrelated and to some extent personal and subjective to my intent. So lets start with my intent with this painting – I want my viewer to be standing along this specific shore on this specific day and be able to feel their presence within the landscape. Admittedly not a small task considering that 80% of the North American population lives in urban centres and has limited ability and time to spend watching how a specific landscape looks at different times of day and at different times in the year. Still, I believe part of my job is to provide this experience which then becomes more familiar to the viewer in the face of the actual physical environment. I make no assumption at all that the viewer is familiar with what it is I am about to paint. If we keep this in mind, it helps to understand the task I must complete with a rather simplistic landscape in order to convey the power of the universe through the sun, sea, and land.

First, in this case I began with a quick 20 minute plein air sketch yesterday.

Westerly Winds coming Ashore on the Sea 8 x 10 inch acrylic plein air sketch on panel board by Terrill Welch 206-01-13 IMG_7543

I wanted and needed that time on the shore to gather as many sensory notes as possible so that I can retrieve them for this work. So let’s unpack this underpainting process.

To proceed with a loose flowing “sketch” if you will for the underpainting is preferred in this case because the simplicity of the landscape makes it all the more difficult to render the movement and tension between the elements in the scene. This style of underpainting is preferred to a ground in this situation because the process provides a first check on the “rightness” of the composition for the intended purpose. The reds, yellows and oranges are simply a tool to bring the most movement and brilliance to the greys, blues, browns, yellows and whites of the finished landscape. Through trial and error I have found these pigments for underpaintings the most effective for capturing the significant range of lively blues in our west coast landscape. Therefore, the underpainting adds a strength to the end result that is near to impossible to replicate by beginning with the specific colours of the finished painting.

Do I always do an underpainting? No. Its use depends on my subject and my intention for the finished work. I sometimes do a quick painting sketch and work with the white canvas. I sometimes use a ground colour only. I sometimes work with wet grounds too. But this kind of underpainting, used for this work, is a favourite and there are reasons for this that go beyond any visual result and more to an intuitive remembering.

When I work a canvas up with this kind of underpainting, I begin to physically learn the window of space and the painting language that will be translated onto the canvas from my sensory information which I have gathered up to this point. My physical reference material will often include both photography and painting sketches.The sensory information is much more than what I see. It includes what I heard, smelled, tasted, and felt. There was the rolling of the stones on the shore beside me and the steps of people walking past. I could feel wind pushing cold air into my back and brushing my hair across my face. I could smell the cold dampness of snow, rain and salt. My eyelashes were cool. My hands were stiff with cold. But there was a warmth in the gray, the blue-green and the a brightness in the sky that was punctuated by the sturdy cliffs and the jut of land. It is all of this that I must translate into brushstrokes. The movement of the brushstrokes for the underpainting are like rough notes for the beginning of this painting conversation. I am intimately aware of the forcefulness between the elements of this seascape. I want this on the canvas from the very beginning.

iphone capture plein air painting Victoria BC by Terrill Welch 2016-01-13

I hope this helps to explain why I sometimes find this particular process of underpainting necessary to the rendering of my final work. Thanks for joining me and all the best of today.

Here is the finished painting:

Westerly Winter Winds Victoria BC – 30 x 40 inch oil on canvas

Details and purchase information are available HERE.

© 2016 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

Ten Days Over and Under with Nature is Calling

A deer browses outside the studio window as I ponder how much easier it is to be in nature than it is to record being in nature. Since my last post many days have past. I am reminded of weaving and the over and under of life, living and my complex relationship to nature. Let see if we can pick up the pattern and weave it together.

The rooster crows over top of the small forest birds as I try to decide whether to paint the third of three California surf paintings or write this blog post.

beginning the 3rd of 3 surf paintings by Terrill Welch 2015_05_12 062

The other two are complete and under review with other new work in the main part of the house.

early morning review of recent work by Terrill Welch 2015_05_12 057

While I should be musing over this body of work in the early morning light as I gather my apple and toasted whole-wheat raisin bread, instead I think “darn those windows need washing!”

Canadian geese announce their departure as I climb back up stairs to the studio. I am fixated on a painting problem and it goes like this – how does one paint the sound of the surf?

how does one paint the sound of the surf by Terrill Welch iphone

This problem about painting the surf took over following an Oregon and California road trip this spring. It has rooted itself into my consciousness like invasive Scotch Broom on Mayne Island – a beautiful problem but still one that there is a community desire to resolve.  But Scotch Broom is an issue that is complex and not easily addressed. Practically speaking, both my painting problem and the broom take hard work as much as anything else to resolve. This is where #NatureIsCalling and the David Suzuki Foundation 30 minutes x 30 days in May Nature Challenge gives me a boost and possibly even a reason to sidestep the second issue – getting rid of Scotch Broom.

If we propose that over and under is a repetitive motion that in weaving and nature never allows a person to return to exactly the same place twice, what have I discovered?

The Georgina Lighthouse park on Mayne Island is beautiful in the direct midday sun.

at the lighthouse Mayne Island by Terrill Welch 2015_05_07 005

or plein air painting in the early morning grey of heavy haze and cloud.

“Scotch Broom and Arbutus Tree set in grey quick study” – 8 x 10 inch acrylic plein air sketch on gessobord

Scotch Broom and Arbutus Tree set in grey quick study 8 x 10 inch acrylic plein air sketch on gessobord by Terrill Welch 2015_05_11 016

We have come back again and again these past few days for picnics and reading.

afternoon reading in the park by Terrill Welch 2015_05_12 044

Sometimes I am distracted by the sounds of ferries entering or leaving Active Pass. But mostly, the seals and sea lions surface on the water and the seagulls and eagles call from the sky while I feel free to sprawl on the grass with nothing more to do than take it all into the core of my being – even the Scotch Broom.

Scotch Broom at the lighthouse by Terrill Welch 2015_05_12 049

Scotch Broom you see is not really suppose to be here. The invasive shrub got away from gardens and has a habit of taking up any vacant space available regardless of who usually would be seeking residence – kind of like humans. It has definitely made itself permanent on Mayne Island as it has elsewhere. The best way to keep shrub out is not to disturb the ground. This patch has developed due to shore erosion. It is a tough beast with deep roots. Possibly it is a natural solution to the erosion in this case.  I am willing to entertain this idea for the moment anyway. By the way, if you look long enough and carefully enough there are two humans in this photograph sitting quietly looking out to sea.

The lighthouse park is sometimes included in our longer walk each the day which are usually five to six km long and the same equivalent as climbing eight flights of stairs. These walks frequently include trails leading to and from the sea.

nature walk by Terrill Welch iPhone

Maybe it is a low tide…

low tide Georgeson Island by Terrill Welch iPhone

or the beauty of an old fir tree curved from winter storms…

fir tree west coast curl by Terrill Welch iPhone

or the strength of light, wind in the trees and patterns of roads sometimes are best understood in a painterly paintography fashion that catches my attention.

walking close to home painterly by Terrill Welch iPhone

These last four images were taken with my iPhone as it was all I had with me. My iPhone is sometimes a secondary part about being in nature. I leave my good camera at home in order to limit the distraction of framing images. It helps a small amount but not a lot. This habit of seeing light patterns and recording compositions is like a musician playing their daily scales on the piano – it is necessary practice. I would argue it is as important to my well-being as being in nature  for its own-sake. I mean, how does one even come up with a crazy question about how to paint the sound of the surf if not from years of observation?

receding Califonia Surf  in progress 16 x 20 inch oil on canvas by Terrill Welch 2015_05_07 016

During the past ten days storms pass through…

Sky is all I can see  by Terrill Welch 2015_05_05 062

first visit with five day old grandson take place…

baby L five days old by Terrill Welch 2015_05_05 039

A Cinnabar moth is spotted (found in Europe and western and central Asia. It has been introduced into New Zealand, Australia and North America to control poisonous ragwort, on which its larvae feed.)

Cinnabar moth by Terrill Welch iPhone

and a  first Iris that hold my attention. It too is not native to this area. Like me, it is a transplant from someplace else.

first iris by Terrill Welch 2015_05_12 041

This close up is what I want to remember but it is not what I first saw in its raw awkwardness against the foundation of the lighthouse.

first iris standing tall and alone by the wall by Terrill Welch 2015_05_12 004

What I have noticed during the past ten days of #NatureIsCalling is how good I am at sorting, sanitizing and sensationalizing what are ordinary, messy and complex experiences in our natural environment. While I think that what I am deeply aware of is that the sun on my shoulder, the rumble of the jet overhead, the rain in the garden, the rise and fall of my breath I also become aware of a world where humans want to be right and to be good. It is a world where human sharing uses the shortest route to what is considered best and worst, good and evil or right and wrong. Time in nature reminds me of the complexity of our daily lives by its examples. Maybe the time and energy to eradicate Scotch Broom is ill placed? My wrenched shoulder from doing this task a few years ago agrees – today anyway.

Now, I am off to paint the sound of the surf in my third of three paintings on the subject. With a bit of luck, my next post will introduce all three completed California surf paintings.

 

What complexities are you musing about?

 

Note: #NatureIsCalling is the hashtag for the David Suzuki Foundation 30 minutes x 30 days in May Nature Challenge. I am outside more than 30 minutes in nature each day as a matter of work and life style but I committed to being particularly observant for the Month of May. As time allows, I will share these experiences with you here on Creative Potager.

© 2015 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

The Diamond on the hill is Villeneuve lez Avignon France

What is it that has us gasp in awe when we look across an expansive vista? I believe it is because we are able to find ourselves within a much larger context. We experience our relationship to our surroundings in a different way than when inclosed by trees or buildings. This experience is a challenge to capture in a painting or photography without separating the viewer from the view and leaving them standing outside of a landscape. You will know this from your own, sometimes disappointing, photography efforts when you say to yourself – but that wasn’t what it was like at all! If you have been having conversations with me for a while, you know that I like to have my viewers experience my paintings from inside the landscape or seascape. I believe I may have succeeded in this desire in my latest painting which has us looking down onto the Rhone River at Pont D’ Avignon and across the view to Villeneuve lez Avignon, France.  Before I explain further let’s look at the painting and you can experience it for yourself.

Villeneuve lez Avignon France – 24 x 36 inch oil on canvas

Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_16 030

If you just want to experience the painting for its own sake I suggest that you read no further. However, if you are curious about what happened in this canvas please feel free to join me by reading the rest of the post.

This is a good-sized painting so let’s look at it again with a bit of context around it.

on the stairs for context - Villeneuve lez Avignon France 24 x 36 inch oil on canvas  by Terrill Welch

Even though the painting is harder to see at this second angle in the early morning light, it does give us a feel for its size and how it looks relative to its surroundings. This is the same idea as what viewing a distant vista does for us. In the second photograph I want to move around and maybe get closer for a clearer view. The same thing happens when looking across a valley. How many times have you walked out on a viewpoint and then moved from spot-to-spot to make sure you were viewing it from the best vantage point? I believe this action of searching is what keeps us inside a landscape rather than viewing it as a spectator. So you might ask – how did I attempt to replicate this exercise for just our eyes in the painting above?

First, I stood on the very hillside that the viewer does when looking at this painting. I personally did the act of searching for that “best vantage point” by moving around the top of the hillside. Then I did a painting sketch. It was during the act of doing that painting sketch that I became familiar with the forms and structure of the landscape. We can read more about this in my earlier post “Artists Camille Corot and Terrill Welch Visit Avignon France 171 Years Apart” but for ease of comparison, I will post again the painting sketch

Across the Way Villeneuve lez Avignon France
plein air 25 × 35 cm acrylic painting sketch on 185 lb paper.

Across the Way Villeneuve lez Avignon France 25 x 35 cm acrylic painting sketch by Terrill Welch 2014_06_012 106

In the earlier post I talk about crunching the landscape slightly in my mind’s eye to fit the canvas shape. But now I am not so sure that is the only reason it was adjusted. Let’s have another look at the underpainting with bits of masking tap marking lines of intersection and tension.

compositional tension in Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 005

If we look at the plein air sketch and the larger canvas these same lines of intersection and tension exist. Whereas in reality, if one was a surveyor and painted to measure this tension is stretched out much further. So what happened? I believe it is the process of walking around the vantage point for the best view. In doing this we gather information about the expanse and reconstruct it in our mind’s eye to provide us with the best view of all aspects. In this case, the elements of interest are brought closer together adjusted in size and clarity exaggerating the tensions and lines of intersection. The diamond shape of Villeneuve les Avignon is our eye’s anchor but we do not look at it closely do we? At least I didn’t. By having these conversations with myself while I painted I began to unravel how we can experience a landscape painting from inside of the view rather than as a spectator. The result is that the view is created as one might do for themselves if they were to be standing on the hillside gathering the experience in their own mind’s eye. We the viewer are therefore inside the painting through the intentional design and execution of the work. To do this I first had to understand the compositional intersections and tensions and then combine three different painting techniques from the realism of the arches on the bridge to the impressionism of the morning light hitting the trees to the abstract expressionism of the buildings on the hillside. This combination of technique is not evident in the plein air sketch however.  I developed this deliberate conscious use of brush and paint as I began working up the underpainting.

work-in-progress Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 010

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

work-in-progress 2 Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 021

I knew what I needed to do but I wasn’t sure I could make it work because culturally we have stripped these approaches into separate schools of practice. We have learned to understand paintings as if these are three separate painting languages. But from my recent visits through many European museums I find that artists are often multilingual. They will often find the perfect brush stroke using whatever painting language they have access to through their experience. This separation of painting languages is to some extent the work of art historians generalizing major movements in art and our understanding of  painting over time – which is directly influenced by our world experience as it intersects with our internal self. So I made a deliberate attempt to break these separation rules and stretch across as much painting history is covered by the Pont D’ Avignon itself. I wanted the viewer to view the painting as if they were standing on the hillside constructing the view within their own mind’s eye. This was much more important to me than conforming to painting schools of style and technique. I think that the strength of this approach is evident if we revisit the plein air sketch and then final painting. The same life and vitality of a quick sketch was carried over into the larger painting but the visual strength that the larger painting has is missing from the earlier painting sketch. At least that is what I experience. I would love to hear what you experience as well because the risk of mixing several languages of any sort is to be miss-understood.

 

Can you tell us about a time when you consciously merged separate approaches or languages to achieve a desired result?

 

Please note that the larger painting will be release at a later date – it is still resting 🙂

 

© 2014 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

In the Art Studio Still Life Painting

Until the end of December, my Monday morning posts are about noticing blessings and things I am thankful for receiving. Due to my schedule this week, I am posting on Sunday instead.

What I am noticing is that I often take action when I am feeling blessed. For example, I am thankful for the local apples and pears we have been devouring over the last couple of weeks. So good! In fact, good enough to want to put a few in a new still life painting.

First, let’s set everything up and take a photograph or sixty just for fun. The painting will be from a different perspective but this gives us the idea…

Pitcher with apples and pears still life by Terrill Welch 2013_10_17 030

Image available for purchase HERE.

Now for the beginning of  the still life painting.

pitcher apples pears under way by Terrill Welch 2013_10_17 089

It is hard to see but the whole canvas has a light wash to tone down the white and then I just begin to find the shapes and colour relations not really worrying about the final result too much at all. Things will change and move around with time and light. The idea is just to get started somewhere.

Working wet-on-wet or alla prima I continue to build up the paint on this roughed in start. The minutes slip by and eventually the painting time can be counted in a few hours…

Pitcher Apples Pears in progess 2 by Terrill Welch 2013_10_17 104

I must quit now. There is a meeting. There is super and then the full moon pushes against the fog and sleep arrives under the night sky. In the morning I push on. I set it to “rest” and have some breakfast. I make a few edits. The day passes into night and I make few more edits on the still-wet oil painting, until …

PITCHER APPLES PEARS on a 16 x 20 inch canvas

Pitcher Apples Pears 16 x 20 inch oil on canvas by Terrill Welch 2013_10_18 166

We now have a study of whites and how they are always leaning towards one colour or another. The tastes, smells and texture of this still life have slid onto the canvas. For this magic of creative process I am thankful.

Now to clean up the studio but before we do, one last shot…

Still Life Pitcher Apples Pears in the Studio by Terrill Welch 2013_10_20 055

Some of the pears and apples have been eaten. The brushes have been clean and the paint on the palette is drying but it is all still here.

May your Sunday be rejuvenating and bring a sense of awareness and comfort.

What blessings do your actions tell you that you are noticing?

© 2013 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

SLICED WITH A TEAR autumn oil painting and process by Terrill Welch

There is something about autumn by the sea with the gray melancholy wrapped in fall colours.

Do you remember my recent post called “Autumn Sliced with a Tear” and the photograph of the maple trees by the sea?

Do you remember me saying – “today is one of those slow-baked, melancholy west coast Sundays, so moist and tender you can slice it with a tear?”

For about a month I painted and repainted this scene in my mind – maybe a thousand times. I adjusted and readjusted my approach solving one painting problem and then another.

Finally, I pull out an extra-large 36 x 60 inch canvas (that is 3 x 5 feet or just plain BIG) and begin with the underpainting.

They never look like much at this stage but I find it an extremely useful step particularly when working on large paintings. I can now start working up the painting…

The canvas is shiny with wet paint but I can already feel the bruised coolness of fall in the sky and on the water. I keep working and building up the paint.

Days have now past with my dreams waking me up early to paint for many of my waking hours. I am consumed with the transitions between light and shadow and form.

The details show the looseness of easy strokes with two and one inch brushes.

There is the leaves against the sky on the far top right. Nothing but swathes of golden colour added to the sky with a hint of branches to hold them in place.

Then there is the clatter of colour near one of the main tree trunks a the top near the left side of the painting, colours that must roll over and under each other bringing the leaves forward in the painting towards the viewer.

Up close, we see nothing but wild and loose, meandering brushstrokes across the canvas. I like to paint wet-on-wet or ala prima and work a whole canvas up at once. This is no small task on a canvas of this size. But it can be done though it is often not the only painting approached used just because of the grand scale of the canvas. For example, even using this approach it took more than one sitting or painting session to complete this painting.

Finally, my brush and the painting comes to rest. Let’s stand back and have a good look at the whole canvas and see what we find.

I think it is complete, finished, done. Now it must rest and I reserve the right to make any changes that come begging to me during this time. So it is not for sale yet. However, I will let you know when it is. In the meantime feel free to browse through current work that is available at the links below.

UPDATE February 7, 2013

Well, I thought it was done but over the past but over the last couple of months I have made a few changes. Here is the now completed painting…

Sliced with a Tear 36 x 60  inch oil on canvas  by Terrill Welch 2013_01_25 115

It is not going to be released anytime soon for sale as I am keeping it in my Artist’s collection for now.
Sprout: If you could be anywhere under a fall sky where would you want to be?

P.S. This is an early warning that Creative Potager will be making some changes in the New Year. They are not big changes but ones that I hope you will welcome as I re-purpose the intent of this blog to reflect the changes in my own focus of providing an online studio experience of work for readers. More on this soon.

ONLINE GALLERIES with Terrill Welch paintings and photography include-

Artsy Home for most original oil paintings currently available

Redbubble for photography prints, greeting cards and posters

Current Local Mayne Island VENUES –

Green House Restaurant – small original oil paintings and photography prints

Farm Gate Store – one large painting

And by appointment at Terrill Welch’s home studio

© 2012 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 – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

Terrill Welch Artist website at http://terrillwelchartist.com