Le Petit Show of original Terrill Welch paintings

Who loves the little paintings, the small works, the pieces that are always perfect to hang or rest or prop in your modest space? Maybe one like this small 8 x 10 inch acrylic sketch on gessobord? Yes?

Or maybe this wee work is more to your liking?

Or possibly this one?

The online Le Petit Show opens Thursday, October 25th for International Artist Day and will close Saturday, November 10th. The show will include the available work in the  Acrylic Painting Sketch collection and the Small Oil painting collection and the small works is easy to browse in the latest TerrillWelchArtist.com website post.

If you happen to be “on island” for the Remembrance Day weekend the Terrill Welch Gallery is open Friday evening November 9th from 4 – 5 and Saturday November 10th during the day from 11-4 at 478 Village Bay Rd in Miners Bay on Mayne Island in British Columbia, Canada. The gallery is also open by appointment during the winter months any day or time that is mutually agreeable.

Do enjoy this  small works, Le Petit Show, opportunity to add to your art collection with a Terrill Welch original painting and support an artist for International Artist Day.

Never Miss the Good bits! Sign Up Now for “A Brush with Life” the curated editorial Terrill Welch Gallery newsletter published every second Friday.

ONLINE GALLERIES include –

ArtWork Archive original paintings and acrylic sketches currently available

Redbubble painting and photography prints and merchandise

Work in progress BLOG –

Creative Potager – first place new work is unveiled. Subscribe to stay current.

Feeling The Joy of Complete

In recent years, I have not asked myself to be “out there” on the stage of public life as much as in the past few months.

There are oil painting classes to teach in person and online each week.

There are new art shows to curate and hang in the gallery every few weeks.

There are new paintings to paint, edges to finish, hanging wire to add and get into the inventory to be released.

There are paintings that sell and must be packaged and funds deposited using new technology. Here are two recent works off to new homes….

I can now do  “SQUARE” with a whole new meaning.

In between there are the usual life necessities and yet we still find time for a long lunch after buying art supplies in nearby Sidney.

And there are still the daily walks, though often later in the day.

Walks with the trees and the sea of course.

Always the Trees…

Then it is back to the gallery the next morning again, refreshed, grounded and ready for another day.

What feels complete in your life at the moment?

© 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

Standing with the Sea Painting from Life

“I don’t know how she does it, but Terrill’s paintings make me feel the rush of being there, of being part of it,” comments Anita Lewis, who shared on Google Plus the following completed painting.

I wish I had an adequate answer for Anita. The truth is I am not exactly sure. I can tell you that the landscape painter must have the courage to stand in the moment with as much raw, unfiltered honesty as possible. In this case, I am standing with the sea.

At first this standing is about the grey that shifts continuously in rolling spring storms. It is about a tide that seems to neither want to come in or go out as I set up the easel.

It is about enduring the dreariest gulf islands spring since the beginning of weather records. This has followed on a winter that saw snow on the west coast during most months.

I have come to realize that we are likely to miss out on are usual warm days of spring this year. Now my endurance is settling on an early summer. But at the moment rain is coming. It is time to pack up and leave with the 22 x 28 inch canvas roughly blocked in using walnut oil paints.

The next day it rains a steady drizzle. No plein air painting is going to be possible. I sigh and move on to other tasks. The following day seems like it may be promising. But it isn’t. As the painting class and I huddle under a gazebo in the national park near the painting location, they get a good chortle. The sun is shining through the rain but it isn’t going to be enough to break the spell and let us plein air paint. We retreat to the Mayne Island Community Centre and I provide tutorial examples while answering various painting problems posed by the students. The day is salvaged through our collective flexibility.

It is a long day which becomes even longer that evening when I learn that a long-time friend has lost his gallant 20 or-so-year battle with cancer. We had spoken only a few short weeks earlier. He had basically called to say good-bye. At the time he commented that he wasn’t sure if the cancer would get him or if his heart would fail first from an unrelated issue. In the celebration of life notice his family has asked that donations be made to the Heart and Stroke foundation instead of bringing flowers. I am assuming this might be a clue to how his question was answered.

From the time we could barely call ourselves teenagers, through our wild years, into young adults, on into our mature years and finally to becoming grandparents – we never lost sight of being friends. Even if years sometimes passed without so much as a phone call, there was no question – we were friends. Though I will miss him, I cannot help thinking he suffered more than his share to remain with us as long as he did. He fulfilled one of his greatest wishes and saw his children grown and had time to enjoy his grandchildren. He knew great love and what deep caring really means through his relationship with his partner. His life was fully lived around what I feel matters most – love, family, friends, frank honesty and hard work.

The next morning has offered up the promised sun. I am standing before a grey-scale roughed in painting with a heavy heart, squinting into the sky blues. Yes, I definitely will miss him. I look across the Strait of Georgia which seems to widen with every glance. I put up the sunshade to keep my canvas neutral.

I work diligently as if without skin and bone protecting the most vulnerable parts of my being. I listen to the sea as it rolls waves forward with each passing boat and ferry. The moments are filled with frequent commas from song birds that are occasionally punctuated more heavily by seagulls and eagles. The sea lions roll up to the surface with their unmistakable breathing raising the hairs above my pinched shoulder blades. I am consumed by salt air, spring grass and exposed seaweed. The breeze lifts the branches of the fir trees behind me and the escaping sun warms my back in brief fragmented caresses. What blue? What blue do I need most? I mix and layer and release the colours onto the canvas within the rhythms of the sea, the rhythms of life…. and the rhythms of our immediate and pending death. Finally the brushes still.

I take the painting back to studio. After letting it rest for a bit, I add a few more brush marks over the afternoon and a few more the next day before calling it done.

The painting was only five days from start to finish. Yet, the world, my world, is forever changed. I am reminded of a line from a poem “The Speed of Darkness” by Muriel Rukeyser – The universe is made of stories, not of atoms.

A final photograph is still needed of course but this one will do for today.

So the “how does she do it” remains a mystery in some ways, even from me – hidden in unedited, intuitive renderings of experiences from life onto a canvas.

When was the last time you stood by the sea and asked it to share with you its greatest mystery?

© 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

In the Beginning there was Oil Paint and a Canvas

So you want to learn how to oil paint!? How does nine steps or building blocks to accomplishing this task sound? Does it make your brushes start dancing in their jar? Do your tubes of paint start squeezing themselves out on the palette? Okay, maybe that is just a bit too much to expect. But you get the idea. Painters have all started from somewhere near the same place….

The painting supply shopping is done and you are feeling slightly nauseous from the decrease in your bank balance. But you are ready with a few good oil paints and a handful of quality canvases. You have a couple of big brushes, a couple of medium brushes, one or three small brushes plus a tiny one for your all-important  signature. You have chosen some old clothes or a painting apron and you have scrounged up a painting rag. You have wrestled your portable easel together without running screaming into the night. You know to clean your brushes carefully with soap and water at the end of each painting session. You know that you are painting with your whole body and not your wrist and hand. If you can, you will stand to paint and when possible do it barefoot. You know to use all of the information from all of your senses, not just what your mind thinks your eyes are seeing. You know that “alla prima” is an Italian word for painting wet-on-wet in a first attempt. Now what?

With a flick of my painterly brush and fingers fluttering across the keyboard, let’s get started!

Today, we are going to begin en plein air (in the open air). Choose a canvas that is small to medium is size. Once you get to your painting location, possibly feeling a little like a pack mule with an unsecured load of pointed objects protruding from various bags and sacks, you are ready to decide on your subject. Once you have given the subject and composition of your painting careful consideration, set up your easel.  Swearing is allowed if no one is within hearing distance. Now, decide on your painting intention.

Painting intention: What are you loosely holding in mind as you work today? What is your aim? If you could direct the powers of the universe onto your finished canvas, what would the viewer experience?

Now you are ready to paint:

1. Your canvas can have a wet or dry ground colour. In this case, we have a dry ground in cadmium yellow. For our west coast landscape this is often the best ground in order to bring our many blues hues alive on a canvas. But, since this is early spring in a garden, the ground could just as well have been a taupe if it is a wet ground or a thin layer of raw or burnt umber if it is a dry ground. The use of a ground helps to break the barrier between painter and a stark white canvas. You become familiar with the size and shape of the canvas you are using in a very physical way by the time the ground is painted. You have made a start. The ground can sometimes make it easier to see the values or colour relationships as the painting is developing. It is also my preference to have parts of the ground showing through later on rather than the blank canvas.

1. start with a wet or dry ground by Terrill Welch IMG_9194

2. Set out your palette. In this case, I am using Lukas Berlin water-mixable oil paints. The pigments are rich, the clean up easy and the paint requires no use of solvents, making it more environmentally friendly than regular oil paints. My other choice, though a little pricey, is M. Graham walnut oil paints. Again, no solvents are necessary in my painting process. However, if you are using paints that require solvents, please make sure you have lots of ventilation. Eventually, each painter develops their own preferred palette layout. The most important aspect of this is that it becomes habitual in some way. You need to be able to easily remember where each pigment is located – without having to stop and think about it every time you want to mix a colour. I am left-handed. The arrangement below works for me. The lightest blue is at the bottom left. The lightest yellow starts in the top right and is arranged below until it gets to the deepest red. The top left is where I will mix my darkest hues, even though I need to reach across to my deepest red to make this happen. I sometime put out a flesh colour when painting landscapes as an alternative to adding white. Naples yellow is used in the same manner.

2. setting out palette by Terrill Welch IMG_9192

*Tip – Pigments mixed in various mediums and from different brands of paint behave slightly differently and may have different names. Learn how the brand you are using behaves by doing a few colour studies on a scrap of old canvas or panel.

Today, I have no black or payne’s grey on this palette. In fact, I recommend leaving this off until later in the learning curve of oil painting. Notice as well that there is no green or violet. These will be mixed for use as needed. If you haven’t studied a colour wheel recently in order to know what colours can be mixed to make another, don’t worry. For now – put your scientific adventure headband on and experiment. A detailed study of colour theory can come later and will continue for as long as you set about the process of painting. Paints are kind of like being presented with a spice cabinet and a garden full of herbs and then being told to gather together what smells right for the soup you are making. The first few times, you may come up with some rather strange combinations. However, eventually you figure out what you like and what works best for you. You could have just followed a recipe of course. But this leaves you looking up another recipe every time you want to make something new. If you learn by practice, from selectively gathering and using the raw ingredients, eventually you can flavour anything to your satisfaction that you want to cook. You can make adjustments at the start and at any point along the process. Painting is like this. If you experiment, from the very beginning, you have a better chance of developing the skills to allow you maximum creative freedom in the future. Methods, techniques and approaches are all just tools to accomplish the intention that you set out before beginning the painting process.

3. Mix a few of the more obvious colours in your composition or those that you want as reference points. In this case, my intention is to catch the very breath of early spring. I want to ensure I have the variety of pinks, violets, plums and purples of the plum blossoms. To have the best chance of getting this painting to sing the flush notes of spring, I mix these to ensure I have strong reference points for later on. At first, try to use your palette knife for mixing what you want to lay onto the canvas. However, I admit to having always used my brush, at least half the time, and continuing the final mix right on the canvas as I lay the wet paint down beside and on top of what is already there.

3 a. mix some more obvious colour in the compostion start with brief sketch by Terrill Welch

That long tail on an oil painting brush isn’t there for you to dangle the brush off the end of your fingertips. It is there to help with balance and to keep the tension between brush and canvas as you apply paint on a surface that is at an upright angle. Each paint brush is a little different. You will need to learn the balance point of each one by holding it between your fingers with a light grip that eventually allows you to roll it over-and-around with easy. Practice moving your fingers up and down the handle until you find your perfect balance point. If at any point you start to feel frustrated with how the paint is showing up on your canvas, the first thing to do is recheck that you are holding your brush in balance.

3 b. find the balance point to holding brush firm but lightly by Terrill Welch

*Tip – your brush is a tool or vehicle to get the paint from your palette and onto your canvas. To most efficiently accomplish this task, load ample paint on just the tip of the brush. But even before you do that dip the brush in oil or water if you are using water-mixable oil paints and squeeze the excess out. This makes the brush easier to clear at the end of the day and helps to release the paint from the brush onto the canvas.

3 c. for alla prima load ample paint so it sits on the tip of the brush

4. Using a large brush or brushes, we are ready to start making a few marks and points of observation and reminders on the canvas. In this painting method, limited-to-no medium is necessary. You do not need to pay too much attention to fat over lean because the paint, for the most part, will all be of the same medium balance. The fat over lean lesson can be learned later on as it becomes necessary. Since you have spent time considering your composition before setting up to paint, don’t over-think this beginning. Just get started. It is only oil paint and canvas. Nothing is right or wrong at this point. You are starting a painting conversation with your subject. Short, brief sentences are perfect. Hello. How are you? What kind of day is it? I like the shape of that darkness stretching up. Look at that patch of pink!? Where is the movement in this composition? Where is the viewer? And so on…. You are beginning to warm up with the most pronounced darks and lights. Your canvas is being introduced to its subject using colour, shapes and the movement of directional brushstrokes.

4. Begin to quickly block in composition by patches of colour IMG_9203

5. While working on your whole canvas, keep going until shapes start to appear. Now check the strength of the composition. Ask yourself – in this composition, who is the star and who are the supporting actors that make them shine? Make any corrections necessary in the various patches of colour. The painting won’t look like much yet but you should be able to see where it is going. The start should have good bones before we proceed. This is often called “blocking in” your composition. It may literally appear as blocks of solid colour. Or it may be more abstract patches of colour as I have here. If you are just beginning to paint, take the time to organize the bones of a composition maybe fifty or even a 100 times without ever proceeding to the tendons, muscles, skin, clothes and some fine jewelry of a finished painting. Research and learn what elements make a good composition. Study and practice composing compositions for a few minutes each day. You can use your smart phone for assistance or you can make a sliding rectangle with by placing your pointer fingers to your thumb on the opposite hand. If you want to get real fancy, you can even buy a small viewfinder and put it in your pocket. The point is that excellent compositions are everywhere. We just need practice in seeing and composing them. The skill of blocking in an initial strong composition, accomplished quickly with large brushes, is essential to the later quality of a painting. It is the support beams and studs of your painting building. This is not the time to be hanging curtains or putting down a throw rug! For now, large brushwork only. To keep the painting from becoming too muddy, you can use one large brush for darks and one for lights. Wipe the paint off the brush between changes in colour. But you don’t need to be too fussy about cleaning it at this point. The purpose is to get some paint on the canvas in the general location that it needs to be placed.

5. keep going until shapes start to appear then check strength of composition IMG_9209

6. Remember to be flexible. Up to this point it has been raining and I am set up in a little overhang. The air is cool enough that my water-mixable oils are a bit stiff. Ideally, I would have used my M. Graham walnut oil paints. But I wanted the easier clean up of the Lukas Berlin paints for the plein air work this morning. Now, the worst thing possible happens. The sun comes out. I have no place to protect my canvas from the direct light and then to still be able to see my subject. I seldom work with an umbrella over my painting easel so I am stuck. I try moving the easel around a few times. I look at the unpredictable sky that threatens to rain again without notice. I make a decision. I am best off to pack up and head to the studio to complete the work.

I had taken a few reference images before I started painting when I was still deciding on my composition. The light in my finished painting is hiding some place between here…

7. about ten am reference image by Terrill Welch IMG_9180

and here….

8. almost noon with the sun reference image by Terrill Welch out IMG_9219

*Tip – a specific photograph is almost useless to the process of rendering a painting alive. However, several reference images from various angles and perspectives, often captured over a few hours of plein air painting, can be a helpful resource once you are back in the studio. I frequently take between 50 and 150 reference images for a specific canvas. Sometimes I even have years of photographic references collected on a specific subject before I decide on a larger landscape canvas. The most significant difference between a photograph and the process of painting from life is that a photograph freezes the light and shadow. It has one still perspective. On the other hand, a painter, working from what is in front of them, paints the light and shadows in motion. This dynamic experience is combined with the actual motion and movement of the painter. A camera cannot see around corners. But a painter can. The painter also has all of the other information available to them from their other senses. In order to replicate this body of rich information in the studio, it must be gathered in the field to provide the sensory memory-triggers for the painter when they no long have the subject directly in front of them. The human eye darts around continuously recording patches of colour. The brain organizes this information by relevance and in relationship to each other, allowing us to quickly discern objects. This organizing is influenced by more than information provided by the eyes. It is accomplished by referencing information from all of our senses and by past experiences. We have, over our life-time of observation, created a refined system of “seeing” that has built-in short-cuts. In the painting-from-life and alla prima process, we want to unpack this refined system of observation and conclusions that our brain has developed. We attempt to bring our awareness back to as much of the raw data being input into the brain as we possibly can. The single camera image used as a painting reference interferes with this raw data retrieval process and, by extension, will interfere with the painting. However, a collection of images will more easily allow the painter to access what the eye, the ears, the nose, and the physical body observed  – before the brain began to organize and make sense of this information. A painter almost always wants access to the cumulative raw data from all of their senses when painting from life – before they attempt to draw any conclusions with a brush on a canvas. This is how mystery, intrigue and also familiarity is rendered onto a canvas. As a  painter, you are inviting the viewer to organize the raw information you have discovered and skillfully arranged onto the canvas for themselves. Through this painting kind of invitation, you have the best chance of being able to engage the full-body sensory receptors of the viewer when they look at your work.  They then use their own life-time practice of “seeing” and organize the information you have provided for themselves. In this manner the painting conversation will continue with each individual viewer – endlessly. That is the possibility, the promise and the hope anyway.

7. The closer to the actual life-experience one works in the studio, particularly in the beginning when learning to paint, the easier it is to access the first impressions of a subject within its context. So, when I return to the studio, I immediately continue working on my painting. By now, it is evident that the plum blossoms are my star and everything else is my supporting actors. To fulfill my intention of capturing the first breath of spring, all high, low and minor notes in the painting must come together in a full inhale and exhale towards this single purpose. The boldest of the bold must be visible on the canvas. The darkest dark and the lightest lights begin to fall into in place. The shimmering curves of colour must be placed and exaggerated just slightly for emphasis. We are now ready to add a simplistic garment over the bones, tendons of our composition.

9. Plums Blossoms Japanese Garden work in progress 20 x 16 inch oil on canvas by Terrill Welch 2016-03-06 IMG_9240

8. I pause. I stand way back and revisit my composition. Some elements have shifted from their actual placement. Do they work better or worse than what I observed in my initial inspiration? At this point the painting must stand on its own. It must be able to breathe on its own. The painting must begin the process of separation from the actual subject and even from the painter’s own experience. Now, what is on the canvas and the painter’s intention must work together to bring the work to completion. I decide to take bit longer break before venturing into the final stages of completing the painting. A cup of tea. A twitter tweet. A Facebook post. A trip to the bathroom and a walk out on the deck. I glance at that painting from different angles out of the corner of my eye. I do whatever it takes to separate my ego-self from the painting and to allow me to join in an equal partnership with what is on the canvas. Do I want to continue the painting conversation? Is it a dynamic, meaningful and inspiring possibility? It is okay to if it is not, for then I ask myself and the canvas if it is a salvageable relationship. If it is not, then there is no need to go any further. The canvas can be scraped, the painting outlines with its rough paragraphs can be deleted. Or the bones of the work can be left to ponder or reorganize into another attempt. Whatever metaphors a painter wants to use, this is the point where I decide if I am fully invested in completing the work or if it was only a passing thought. The intention I set, before I ever pick up a brush or squeezed a tube of paint, is my best touch-stone in helping me to make this decision. Take yourself back to that loosely held aim for your canvas. In this way you can look at the canvas with fresh eyes. Now, make a decision one way or the other and move forward.

I decide to complete the painting. At this point I can start working with my medium and smaller brushes.

*Tip – to choose the best-size brush for the job of creating the painting impressions of your subject, pick up the largest one you think you can manage. Then put it down and choose one that is just slightly larger than that.

By the end of the day, I can feel the essence of early spring on the canvas. I am close to complete.

10. Plum Blossoms Japanese Garden resting 20 x 16 inch oil on canvas by Terrill Welch 2016-03-06

The next morning I refine the painting’s garments for a slightly better fit with a tuck here and a bracelet there, maybe a bolder pair of earrings for a bit of sparkle and I move the buckle of her plum-blossom belt right into the sunlight. The painting is done. Allow me to introduce you to:

Plum Blossoms Japanese Garden 20 x 16 inch oil on canvas by Terrill Welch

11. Plum Blossoms Japanese Garden 20 x 16 inch oil on canvas by Terrill Welch 2016-03-09 IMG_9315

You now have all the basic building blocks to paint your first oil painting using an alla prima oil painting method but one. Can you guess what it is?

9. To conclude your painting process, review your palette for clues to what you have learned, what you want to remember for next time and what worked and didn’t work. Ask yourself what you want to start doing, stop doing and keep doing for your next painting. No two paintings that use the method I have set out before you will look the same. Each painter brings their own experiences, temperament and attitude to the process. We each have our own painting fingerprint. Part of understanding these individual characteristics is to review your palette at the end of a painting process. To assist me in this process, I like to start with a clean palette at the beginning of each painting – because I love light and colour and the simple abundance that can be found in an ordinary day. This is part of my own personal finger print. A clean palette at the start of each painting gives me the best chance of mixing what I see before me rather than what I saw previously.

12. palette at the end of painting IMG_9280

Now you are ready to practice, practice and practice some more. As you come across new painting problems there will be new methods, approaches, techniques, painting theories and ideas to learn in order to find a solution. This process never ends. But you have enough information here to get you started. You have enough to allow your painting practice to serve your intentions. Of course, this is not the “right” way or the “only” way to approach oil painting. It is one way. As your body of knowledge and experience grows, you will refine and add to your own individual painting practice. The purpose of this post is to allow you to get started.

For my regular readers, this may seem like a gathering of the highlights from several years-worth of posts about my painting process that has been shared in this Creative Potager blog. Of course, it isn’t everything. Just a beginning. But it is a beginning that gives the reader some of the basics for a life-long practice of bringing the brush to paint and then to the canvas when using a wet-on-wet or alla prima method.

For new and regular readers, that want to learn how to oil paint, I hope you have found these nine steps helpful. If you would like to work together further, I am offering online feedback (for a fee) on your specific painting efforts via my personal Facebook profile or email at tawelch@shaw.ca  You may private message me if this is something that interests you. In order to prioritize my own studio time, I only have the capacity for a small number of participating painters at a time. However, please feel free to check in with me and we can see what might work. In the meantime, happy painting!

 

What intention are you setting for today?

 

© 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

Art and Landscape connecting one brushstroke at a time

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

detail of WEST COAST EARLY EVENING WINTER SEA 16 x 20 inch by Terrill Welch 2015_01_01 253

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

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

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

All the best of a fine Sunday to you!

 

© 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

Open Studio event and other Monday morning blessings

Have I told you about the Open Studio event this coming November 9th and 10th from 11:00 am to 3:00 pm? Yes?

Terrill Welch working in her studio by Allison Mullally _MG_5726

(photograph by photographer Allison Mullally )

Well, I shall stop working for a moment and please allow me tell you one more time – it will be both and online (right here on Creative Potager) and physical event with a fancy title – ANYTHING BUT NEUTRAL.  More information is available on my website HERE.

Open Studio Event Update – I encourage your online participation rather than trying to make this a day trip from either Vancouver or Victoria. As of November 4, 2013 B.C. Ferries advises that The Queen of Nanaimo ferry from Vancouver to the Southern Gulf Islands is not running due to damage in high winds. There is no other vessel at this time to take its place while it is being repaired. Passengers are being rerouted through to Victoria.

I was out for a walk yesterday afternoon and a nice couple said they loved the ad in the local paper and hoped that I had lots of parking available because I was going to need it! Sounds good doesn’t it?

Let’s us see if I can perform a little magic and get you a map for the Mayne Island artisan studio tour.

2013 Mayne Island Artisan Christmas Studio Tour Map

You see there on the top left – I am number ONE as in “1 ” or first on the tour which must be good luck wouldn’t you say? Oh, you noticed that the brochure says the Open Studio goes until 4:00 pm – well what is an hour or two when a person is on island time? As long as you don’t expect to stay for supper it is all good.

How does this come into my Monday morning blessing? Well, it started with a conversation with a friend on facebook when we were talking about the success of my art work over the past couple of years that got started because of finding money in my email for a painting that had sold. My part of the conversation went something like this –  there is a much deeper exchange than that of purchasing goods when one of my paintings finds a new home. It is hard to explain but, as you likely know, my work is expensive. A decision to purchase, I am sure, is never made lightly. Yet, once that decision is made there is a kind of graciousness that happens as money and painting or photograph or even a calendar or card changes hands. Hum… how to say it – like a deep mutual bow of appreciation, punctuated by these sometimes surprise email payments. I feel so fortunate as an artist to have been given the opportunity to not only create and do what I love but also to be appreciated for my hard work. It is far-to-rare of a blessing in life I think.

I take a bow and thank all you readers for your ongoing support in so many ways. Thank you!

Now for the “other” part of my Monday morning blessings. How about this?

mustache time sepia  by Terrill Welch 2013_11_01 014

I was away most of last week helping out with the two “O” boys. This is the eldest being very still so he can get mom to put his mustache on for Halloween. When his dad asked him what he wanted to be for Halloween this young fellow said “a cookie.” Dad said okay then – one chocolate chip cookie costume coming right up.

one chocolate chip cookie ready for Halloween sepia by Terrill Welch 2013_11_01 024

It is a funny thing sometimes about working and being online. There is this together and separate thing that happens in a different way than going to the office. Well, maybe not so much different but it shows up differently. Anyway, I decided that it is finally time to set up a facebook Art Page. You will see its badge to the left in the sidebar. Please go and have a look and even give it a “like” if you want. I still haven’t figured out how to easily get to my “liked” pages so if you have a trick I would love to hear about it. Mostly I search them by name when i want to go visit. There is something real special going to happen on Art of Terrill Welch – art reviews of both my paintings and photographs by a team of reviewers. That is all I am going to say right now other than to let you know that the first review will be posted this Wednesday. See, here we go – another blessing. Several writers and fans of my work have come forward to start this new adventure with me. Now isn’t that just amazing!? Pssst! Some of them you will know, I am almost sure of it. More later 😉

What is in YOUR mix for Monday morning blessings?

P.S. Two new paintings have been released on the website at Terrill Welch Artist.  I would tell you about them but that would spoil the surprise. Okay, Hint – there are two quick links in related articles below.

© 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