Temporary Custodian – Painter

As I break through the constraints of winter into longer days with budding plum blossoms,

cracking open with the magnolia blooms,

I am reminded of a subtext,

an endless reaching for a finish which, whenever it comes, will of course be too soon.

“Searching for Colour Active Pass” 8 x 10 inch plein air acrylic on gessobord

I am but a temporary custodian of these renderings we call paintings.

“Early Spring Dinner Bay” 8 x 10 inch plein air acrylic sketch

Letting go….

a bow of gratitude for the lessons learned in their creations.

 

What lessons are you learning as a temporary custodian?

 

© 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

Painting Spring

Something happened yesterday on the official first day of a late west coast spring. At the end of last week I was still in my contemplative winter mental attire. My grey, northern, rain forest interior is filled with homemade soup warmth, maybe a touch red-wine melancholy, smoothed over with by woolen thoughtfulness and a sparkle from a waterproof jacket garnish. It is a savory mix best served hot. During this time I often explore the underbelly of my daily life both in painting and in words. But the garment of winter fell free as easily as the first night of hearing the frogs in the pond in the valley below. Consequently, I had something intricate and dense simmering about the language of painting for this post. But it is not to be, at least not for this week. The joyous zealous brushstrokes of spring are here. Who can ponder at a time like this!?

So I dug through the archives and have chosen seven springtime paintings or painting sketches representing a variety of locations I have been over the past four years. There is a spring work to enjoy for each day of week. Happy spring!

Spring in Tuscany 20 x 30 cm acrylic sketch on canvas board and a rare painting where I have overtly included the painter in this Florence, Italy countryside.

Prints available HERE.

Villeneuve lez Avignon France 24 x 36 inch oil on canvas with its layers of memories and visible history.

Original painting available HERE.

Fremont Hills California Early Spring 18 x 24 inch walnut oil on canvas. Painted from a plein air day of reference material with a colleague and friend, Lena Levin.  We were just talking last week about how our paintings were so different even though we were standing almost right beside each other.

Original painting available HERE.

Cherry Blossoms Mayne Island Japanese Garden 20 x 24 inch oil on canvas. The gardens are a divine place to be in spring and a local year-around treasure.

Original painting available HERE.

Sea and Sun Cox Bay Tofino BC 24 x 48 inch oil on canvas. Know as our real west coast, spring is the time that the sun breaks through the winter rains and spirits are lifted as high as the rollers coming in from the open sea.

Original painting available HERE.

Rolling Spring Storms Rocky Point PEI 20 x 40 inch walnut oil on canvas. Bit of weather out there today, someone will likely comment. Collars of light jackets will be turned up and tightened at the neck but the smiles, they tell us one thing – spring!

Original painting available HERE.

Blooming Point PEI 8 x 10 inch acrylic plein air sketch on gessobord. Spring comes a little later to Prince Edward Island. So on this particular year we had two springs! The first on the west coast Canada and then a most lovely second on the east coast.

Prints available HERE.

Now that we have been to Florence Italy and Avignon France in Europe, Fremont California in the United States, Mayne Island and Tofino on the southwest coast of Canada and finally to Prince Edward Island on the East coast of Canada, what about you?

Is it spring yet where you are?

And yes, I am publishing a day early this week. Why not, it is spring after all.

© 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

The Painter’s Notion of Noticing

The need and desire to summarize and dismiss information is a necessary skill for survival, comfort and freedom. Yet, the development of repeating and overlapping patterns of knowing is often my least helpful skill when painting. However, noticing repeating patterns within a specific subject and within its context is a useful skill to the painter. This second skill gets me into the overreaching and granular similarities, differences and unique aspects of my composition. In contrast, it is the layers of “knowing” the painter has for a subject that sometimes can be challenging. So though these approaches to seeing are related they are not the same. The layers of knowing collected from past observation tend to filter and distort what is actually before us. This is where trees become straight, flower petals similar in shape or skies become blue in such a way that the immediate experience of the subject fades into something quite cliché or overly familiar. In this situation the painter has lost awareness of the subject itself in favour of everything that they already think they know about it. For example, let’s look at the photograph below. Do you see these specific daffodils or do you see these specific daffodils through the filters of all the daffodils you have ever seen before?

The filters might include the daffodils in the painting above. Or possibly the daffodils you have on your own table. Or maybe even the crepe paper replica you made in your first years of school. You may like daffodils or you may have no relationship with them at all. You may be distracted from the daffodils completely and be more focused on the painting sketch of the Japanese Garden which then reminds you of a trip you once took to Japan. Thus your proposed focus on daffodils is subsumed in favour of the painting sketch. Or the yellow colour of the daffodils may remind you of a spring outfit your mother once sewed for you to wear for a spring pageant.  Yes, filters are diverse, insistent and can get messy.

I hope by now you can see how easily the painter can get tripped up and lost in repeating patterns of what they know instead of noticing repeating patterns and uniqueness in the specific subject before them. If you have also had the good fortune to be in a painting class, you might remember how differently each painter’s result becomes while viewing the same subject. As a fellow artist and friend was remarking yesterday – we are sometimes in awe as to what happens to create these differences. So the next question is of course what can we do to address this issue of filters that keep us from experiencing the subject that is directly before us? Here are three activities we can do both to increase our awareness during the process of painting and also to be more present in life in general.

First, sit and observe your subject and do nothing else for 10 – 15 minutes. In the beginning you may need to set a timer so as to keep your attention on the subject for what often seems to be – too long! At first you will want to keep your focus to the point where it passes through a point of boredom. With practice you will become familiar with a kind of internal click where your filters start to fall away. Overtime this “click” happens more quickly until you are able to do it at will. This shift is a little different for everyone but frequently you start to distinguish more variation in the sounds around you. Maybe you start to notice distinctive smells – some you can name and many others you cannot. Sometimes colour saturation and contrasts become more distinguishable. You start to notice variations and see colours you hadn’t noticed before. You begin to discern differences in shapes and textures and so on. After 10 -15 minutes of doing nothing but noticing our whole system becomes curious and we start saying to ourselves – this is important. What is it that we have here? When we become curious and we notice even more!

Secondly, write, draw, paint or do all three to capture what you have now noticed. Or if that feels too structured just create large shapes of colour that represent what you seem to be experiencing. At this stage the gathering of information should be free flowing or raw data about your experience of the subject. The purpose of the activity is to just get the information gathered in some form and if you can, get it gathered before your reductive skills can make sense out of it or begin naming it.

Thirdly, once you have recorded your own personal raw data on paper, in any form that works for you, again sit and notice. This time, look for repeating patterns and how various aspects of your subject relate to one another. Look for clues about the spaces between various elements. What is there? What is dominant and what is supportive? What sings to every cell in your body? What is changing? What is temporarily constant? What feelings are present? The process is not about finding words for an answer but just noticing. In many ways it is noticing without needing to “know” or without attachment.

Now, after these three activities are completed, you are ready to begin translating your subject into a painting language with some confidence that your filters will, for the most part, leave your subject revealed to the way you are experiencing it – on this specific day, at this specific time. If you find you are faltering or become unsure, repeat these activities again and yet again and as often as necessary to remain present to your subject.

You may remember having had this kind experience before when traveling to a new location that is very different to the one you call “home.” Or when you find yourself in a place where the people around you are speaking a different language. Or there has been a storm that took the power out and so on. These three activities I am suggesting, though more gentle, are designed to take you to this same kind of observation and sensory alertness. They are not new or revolutionary but rather old and tried methods to gain awareness. I am willing to argue, based on my own lengthy experience, that anyone, not just a painter, can gain a richness or vibrancy of experience through these practices.

 

What subject would you like to use these three practice exercises to experience more fully this week?

 

I suggest that you are unlikely to feel like “the moon is no longer there” after having applied these three activities to your subject. Let me know if you find this is so.

There is also a new round-up post on the TerrillWelchArtist.com website featuring five new painting releases, noting three recent sales and mentioning two shows coming up for May and July. If you choose, grab your beverage of choice and drop on over for a Canadian landscape painting experience HERE.

© 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

Death by Insignificance – Contemporary Landscape Easel Painter

Six inches of wet whiteness filled our long driveway. At its end there is a narrow trail down the middle of the secondary road, with mounds of molded heavy snowballs guarding each side of the single lane made by the plow truck. I power the Outback down the first part of the driveway so as to glide up and over the crest of the steep hill on the secondary road that follows. Now, if I don’t meet anyone until I get to the main road, all will be good. All is indeed good.

Reaching the Japanese garden on the other side of our small island, I notice that the snow has stopped temporarily in the -1 degree Celsius early March wintry weather. I gather a few photographs for a friend and then settle into painting after setting up my French Box easel in the bamboo shelter on the east side of the gardens. I paint feverishly for an hour. It starts to rain and then rain and snow as I am finishing up. My toes are cold from damp wool socks from when I stepped in a puddle getting out of the car. By all accounts the midday light is bleak, the weather miserable and I am thoroughly chilled. But the work is done. I feel like an explorer exhilarated by having clawed my way over a mountain to a new and promising land.

This 11 x 14 inch walnut oil sketch on a panel board is a series of half-finished sentences in a shorthand painting language that provides rough reminders for a later more thoughtful and larger painting.

Early March Snow Japanese Garden Mayne Island BC

Why do I bother I ask myself. Painting as a representational art form offers nothing new to a world that craves discovery and sensational entertainment. Easel painting has been declared dead as art with predictable frequency for the past 150 years. Yet, here I am – painting. Here you are following my adventures, saving the work to your phones, ipads and laptops and even buying a few finished works now and again. The latest of my art books As We Breathe may even grace your coffee table. So why? What is it about these representational landscape paintings and quick painting sketches that repeatedly hold your attention?

My landscape paintings are of everyday moments. They are ordinary easel paintings and the techniques are familiar contemporary impressionists’ renderings. There is nothing new or sensational or entertaining in my. In art history, the subject of landscapes has always been just a little vulgar and unrefined and uninteresting for the tastes of highbrow fine art galleries and juried exhibitions. So right from the start with my choice of subject, the work is placed at the fringes. Eugène Delacroix’s landscape paintings were painted for his own private pleasure and were only sold after his death. Delacroix was a renowned history painter but it is his landscapes that recently discovered and I most enjoy. The impressionist and post-impressionist painters used the immediacy of landscapes to render light and shadow and then to later reintroduce the importance of form before this painting approach gave way to cubism and abstraction. Though a lot of credit is given to the major breakthrough of these painters, it was only towards the end of these impressionist and post-impressionist movements that any of these artists saw what might be considered success. Some were already dead by the time recognition of their efforts, such as Van Gogh whose hard-working sister-in-law was able to successfully promote his work after his death. The history of Canadian Modernism in art exemplifies the landscape paintings of Tom Thomson, Group of Seven, Emily Carr and the Beaver Hall Group in what is touted to Canadians as a uniquely Canadian art approach. But how globally unimportant these works actually are to world art movements is obvious when reviewing a rather extensive European and North America History of Art Timeline. Canadian art is not mentioned – landscape or otherwise.

So I ask again – why? Why do I bother? Why do you bother to view, save images and purchase my work over and over again? What is it that makes you want to feel the sun on your back, the splash of the sea or the wind blowing through your hair as you look at these simple, insignificant, quiet almost meditative landscape paintings? After all, you just need to step outside into nature and notice these moments for yourselves. Possible, though you have stopped noticing as North Korea, U.S.A., Japan, South Korea and China posture on the brink of yet another war on our small planet. Or maybe you read about several famines expected in the next six month that could kill 20 million people? Or possibly you will be impacted by the U.S.A. travel ban or changes in the health care act? Or is it Brexit that is about to separate you from a country you have called home for many years? Under these circumstances, possibly mundane nature moments drift over your sensory apparatus without even a ripple of recognition – until you view one of my landscape paintings. Then you are reminded and even comforted by the work’s ordinariness. I suspect this because it is what you tell me in comments on social media and during studio visits. So it is not a wild guess but rather a plausible hypothesis. This, on some levels, is a good thing. It means there is no immediate danger by your natural surroundings. You do not need to notice the moving light or rising tide or buds on the plum trees. Basically it is safe not to notice the natural landscapes as they change around you. Your energy is free to contemplate other pressing matters.

So why might you notice and use precious minutes of your valuable time viewing these irrelevant landscape paintings? I believe the answer is as simple and uncomplicated as the paintings themselves. These hand-rendered easel paintings speak to our sensory experiences and memories. These paintings help to remind the viewer that they are alive and that this life, their life, is precious, unique and valuable. At least that is my intention and it is something you so often confirm when viewing the results.

There is the potential for this landscape painting language to be vital, fresh, and unique. These landscape easel paintings attempt to capture the essence of a particular time on a specific day. Similar to a snowflake, or a fingerprint, no two brushstrokes of an immediate moment are ever exactly the same. For an art culture, a micro-culture in a larger herd of humanity, that is obsessed with originality and progress, the immediacy of a changing landscape subject and the painter’s individual brushstrokes guarantee uniqueness (please note I am not implying that “quality” and “uniqueness” are the same thing). It would seem reasonable then that landscapes would be the highest most esteemed subject. However, such that “uniqueness” is the strength of landscape paintings, so is “uniqueness” its weakness. Value is most often created by rareness or scarcity. There is nothing rare about the landscape. Further, it is a given that it will always be changing so change is of no more interest than the ticking of a clock. It is a naked fact, that beyond our pleasure from the landscape’s sensory triggers, my paintings are of little of interest and of even less importance to ART with capital letters. For these easel paintings to become significant their subjects, the landscape, would need to become threatened or disappear. Melting ice caps, rising sea levels, or the potential a rupture in the Cascadia Subduction Zone in the next 50 years are not yet enough to declare any kind of rareness. Only once the landscape can no longer be experienced directly and no more painting of it can ever be painted, then there is a possibility, if the paintings were to survive, that they would become important or significant to art movements and human history.

On this note then, I wish for death by insignificance! Whether it is a quick painting sketch like the one above or a more thoughtful work that has been months in the making below, there is something ridiculously freeing in having the paintings overlooked – not by you of course, or by the equivalent of a small city-size of others who follow my work. But overlooked by an abstract subjective notion about what is important contemporary art.

Winter Late Afternoon Georgina Point Mayne Island BC 18 x 24 inch walnut oil on canvas

I can assure you that any description of an important contemporary artist does not include a middle-aged woman living off the southwest coast of Canada who paints the natural world around her. Nope! Her work is of no particular worth in this current context….. and, let’s hope this remains so for the sake of us all!

Besides it leaves you and I to enjoy our time by the sea, in the Japanese Gardens or along the trails under the arbutus trees without the clambering crowds. I kinda like the joy and freedom of this landscape easel painting perspective. It is fortifying, generous, kind and, for the most part, devoid of trolls.  I find it is good and simple way to live in a competitive, chaotic, globally connected world.

Happy International Women’s Day! As and independent artist with a small business, I have my red apron on in solidarity and I shall spare you the details about inequality in the Arts. Maybe another time. Though if you found the fate of landscape painters bleak, we should wait a while. 😉

What do you think? Do I have the answer to the “why” about right?

If you care to browse, new work has been released in my online gallery HERE.

What do you value that has no generalized worth in contemporary society?

© 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

Organizing Fleeting Glances Into Painterly Consciousness

Darting, constructing, deconstructing, organizing and reorganizing patches of colour based on brief glances as the lens of my eyes send focused light to my retinas which then sends electrical impulses via the optical nerve, in an upside down image, to my brain is the first parts of seeing. After turning the images from both eyes covering the areas from my darting glances right-side up and placing them in some kind of recognizable pattern, under the influence of surrounding sound, tactile sensation, smell and memory I can SEE. I trust this visual reference to be tentatively true until such time as new information is provided. As I write this explanation, I reach out, without thinking or even really focusing my attention, and pick it up my coffee cup without hesitation and take a sip. My mind remembered exactly where the cup was placed, how far it is from my body and my glance tells me it is still there, sitting next to the two books that have been on the desk for months and on top of a few papers. My brain did not need to think about the cup, the books or the papers. It could “see” at a glance that the image it had already stored for reference was still relevant. This same process happens over and over all day long. These are the sensory clues that allow my brain to protect and engage my physical being in the world around me when primarily relying on the use of sight.

I am fascinated by this mystery of seeing and how we construct tentative realities as we go about the process of living an ordinary everyday life as a seeing person. But what happens when we see something that is so puzzling or intense that we have no immediate way to recognize what we are seeing or any reliable references to be able to categorize it? I describe these moments as – every cell in my body becomes focused on making sense out of all the information that is available to me. We all have these moments. These are the moments where you hear better, smell better, sense the temperature of the day, the direction of the breeze and the colours and shapes of everything are more vivid. These heightened sensory moments can be induced by fear, pain or pleasure. Or drugs I suppose, but I am most concerned with our natural interaction with the world around us. These temporary moments of sensory intensity are the places I most desire to capture when painting. I want to capture a landscape as if we are seeing it for the first time and need all our awareness to make sense out of what you are seeing. As you might guess this is not an easy task.

First, I must use every bit of conscious information I can discern, combined with all of my intuition and unconscious strength, when I set brush to canvas. Second, in our current overly stimulating daily lives gaining anyone’s interest in the resulting landscape painting is an almost impossible task. We so often will only see trees,

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

and more trees.

arbutus-on-mt-parke-12-x-16-inch-oil-on-canvas-by-terrill-welch-reworked-dec-11-2016-img_9103

There will be an ocean,

catching-waves-at-georgina-point-mayne-island-bc-30-x-40-inch-oil-on-canvas-by-canadian-artist-terrill-welch-sept-20-2016-img_0760

and more ocean,

blooming-point-pei-a-meditation-on-world-peace-40-x-60-inch-oil-on-canvas-by-canadian-artist-terrill-welch-august-10-2016-img_9055

and even more ocean!

sea-and-sun-cox-bay-tofino-bc-24-x-48-inch-oil-on-canvas-by-terrill-welch-july-15-2016-img_7138

Our brains say to self – been there, done that, moving on. For many of us then, we can no longer experience our natural world in its fullness – neither in a painting nor in real life. A wave

on-the-rocks-in-tofino-24-x-30-inch-oil-on-canvas-by-terrill-welch-2016-03-30-img_2079

is just a wave.

last-view-chesterman-beach-tofino-tsunami-30-x-40-inch-oil-on-canvas-by-terrill-welch-july-15-2016-img_7167

Our brains and our memory tell us that we have no real need to know. In this situation, the metaphorical moon is no longer there. The moon becomes identifiable by a collected set of irrelevant references, unrelated to our safety, our well-being or our need for engagement with our ordinary everyday life. There is no blame. There is no fault. It is just us humans sorting out what we most currently need and what is most important to our tentative truth.

So it is a fair question then to ask – why do I bother? Why do I turn my home into a painting studio

great-room-studio-space-by-terrill-welch-img_1735

and spend the majority of each day following the light across vast landscapes

impact-on-the-reef-by-terrill-welch-img_1372

through intimate views of trees

woods-after-the-snow-by-terrill-welch-img_1759

and over the edges of clouds?

winter-morning-sky-mayne-island-bc-img_1803

What is it about this driving practice of observation that gets me up early, clambering over slippery rocks, kneeling in the cold water, standing barefoot on the deck in the snow or sitting shivering waiting for the moon to rise? What is it that keeps me standing at the easel for hours without noticing the strain in my lower back until I lay down to sleep at night? What is it that keeps my brush moving across the canvas recording these fleeting remembrances of sensory information when, possible, the work is irrelevant to anyone but me? I am not sure I can fully answer these questions to either of our satisfaction. However, I can still see the moon and it is magnificent!

Mayne Island Blue Moon rise July 31 2015 by Terrill Welch 2015_07_31 170

What full sensory memory of our natural world do you most often revisit in your mind’s eye?

 

© 2017 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

A Start on the PEI West Point Lighthouse Painting

A warm grey ground has dried and is ready for the next work. I have decided on the West Point Lighthouse in Prince Edward Island for this 30 x 24 inch oil on canvas. I have been dancing around this work for a while. How does a painter get a lighthouse painting beyond a caricature of its own specific unique presence? Not an easy task but let’s see what we can do.

First we gather up a couple of reference images from the day at west point and a quick acrylic sketch of a location just south of the lighthouse.

1-reference-material-for-west-coast-lighthouse-pei-painting-img_9954

The sketch holds more sensory images than the photographs and remind me of how muggy it was that day and that the back swampy area was already starting to hatch mosquitoes. The smell of the sea and the intricate lacing of greens and reds between the sand and the grasses were pulled into focus. But what was I going to do with that large black and white monstrosity!? Because of the structure I decided that I best start with a few brief lines in yellow paint to guide my hand into the composition.

a-few-reference-marks-on-the-grey-ground-for-composition-by-terrill-welch-img_9943

Now what? Well, possibly the best approach is to sneak up on the lighthouse and let it fit into the environment rather than the other way around. I am going to need strong supporting actors to anchor this star subject.

blocked-in-sky-and-water-first-by-terrill-welch-img_9945

I keep working and the palette needs additional paint now and again.

palette-after-blocking-in-west-point-lighthouse-pei-by-terrill-welch-img_9957

But an hour later, we are finally getting somewhere….

west-point-lighthouse-pei-in-progress-30-x-24-inch-canvas-by-terrill-welch-img_9959

The painting is now blocked in. I am going to give it a bit of a break before I dig in and complete the work as I want to use it as part of an example for an advanced colour-mixing demonstration in this week’s painting class. There are lots of other wonders still to partake in though.

Maybe we could enjoy an evening sunset to watch the full snow moon rise?

snow-moon-rising-in-reef-bay-mayne-island-bc-by-terrill-welch-img_0133

Or how about a meditative walk on another day along shore by the sea? If you turn the sound up, there are sections where you can hear running water or the waves softly coming ashore or if you are really good at recognizing sounds, someone is cutting up firewood across Campbell bay.

My intention is to do more of these meditative walk clips from our wanderings. I find they hold much more sensory information then a simple photograph because of the addition of movement and sounds.

What natural wonders are stoking your creative fires?

© 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

The Moon is No Longer There – notice of extended travel

Dear friends, colleagues, fans, collectors, followers and random connections, starting immediately, I shall be on an extended leave to travel. My purpose is to bring you “the moon” in a way you will remember and notice for all time.

Mayne Island Blue Moon rise July 31 2015 by Terrill Welch 2015_07_31 170

In order to do this, I must live my best life. I am required to travel deeper and even more focused than ever before. My intention is clarified. My inner compass is set. My resources and research materials are organized. I am about to begin my journey to capture something unforgettable, rare and valuable – our ordinary, everyday, natural world.  The new series of work “The Moon Is No Longer There” may take a year or a life time. Only one thing is absolutely clear – my spiritual, emotional and physical bags are packed. I am ready.

Christmas Day Full Moonrise 2015 20 x 16 inch oil on canvas

christmas-day-full-moonrise-2015-20-x-16-inch-oil-on-canvas-by-terrill-welch-2015-12-26-img_8442

To my 780 friends and family and the 190 followers of my personal profile and the 1,360 likes of my Art of Terrill Welch Page on Facebook, you are important, generous and supportive individuals. You have been significant and instrumental in getting 90 or so of my paintings out in the world since 2010. As I begin traveling this quiet and sacred inward journey, I shall keep you in touch by sharing links to weekly posts on my Creative Potager blog  HERE.

To the over 100,000 followers of my West Coast Landscape collection and the more than 47,000 followers of my Artist in the Art Studio collection on Google Plus, once a week postings will continue. Or, you may want to join the over 5,000 direct and indirect followers of my Creative Potager blog  HERE.

To my 4,100 tweet friends on Twitter, my experience tells me that you will most likely miss my weekly tweets completely. If you are truly deeply connected to my paintings and photographs, I suggest subscribing directly to my Creative Potager blog  HERE.

For all other social platforms such as Instigram or Ello, please be advised via this shared post that I shall only infrequently send a signal in a new post to let you know I am alive and well. You are great. You are even awesome and this is not about you. It is all about me. If you are still reading this, I am sure you have figured out what to do if you desire to come traveling with me. Yep! Follow my Creative Potager blog HERE.

For those that only wish to be notified when new paintings are released, the best option is to follow my website posts on TerrillWelchArtist.com  HERE. If you are looking for something in particular or want to see if you have missed a recent painting release just go to the Galleries page on this website and head on over to my Artwork Archives online gallery  HERE. This online gallery will always have the most current released work and let you know what is sold.

So, that is it my lovely fellow human beings. Having captured a spray of tulips in the studio this morning, I am sending them along with compassion, love and humility! I am traveling light, with conviction, trust, integrity and a small measure of reckless abandon!

bunches-of-tulips-by-terrill-welch-img_8864

If, for any reason, you do need to contact me, email, painting inquires in the online gallery, private messaging or telephone calls and text messages will still be monitored and answered along with comments on posts.

I wish you all the best in living your very own best life!

Terrill

p.s. I understand that this is going to be different and a little strange for both of us. And it will be fine, it may even be great.

p.s.s. The Beauty of Oil Paints class and its private Facebook group are not impacted by my travel schedule.

What arrangements are you making to live your best life?

© 2017 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

Art Studio Gossip

Gossip overheard in the artist’s studio this afternoon…

Standing on end and shouldering themselves into a rough order along the curved hallway, these landscape paintings whisper loudly to each other.

Gossip overheard in the the artist's studio by Terrill Welch

“What are we doing here? I don’t even have my edges painted yet!”

“Me either but I hear that is happening tomorrow. Apparently, we have a big gig coming up for September and October.”

“Yeah, I heard eight of us large ones will be showing in Victoria, BC ” says Seaside Mayne Island, as he heaves himself to a slightly better angle to be heard, without actually shouting, from the great room.

Then Evening And The Arbutus Tree leans over the railing from the loft.

“She told me that she wants to call the show ‘Above The Stacks’ because we are going to be in a new library and most of us will be way up high above the books. I said she had to add ‘Land and Sea’ to the title or no one will know that it is going to be us.”

Long Beach Vancouver Island sighs as the tide recedes farther up her midriff.

“You know” she comments patiently while stretching out one long sandy leg, and then the other “it is way too soon to be getting excited. There are still a couple of weeks to wait. No use wearing out all our shine in the studio.”

Then she winks and the light sparkles off of her sea “I do believe Emily Carr is somehow involved again.”

All the paintings in the studio start whispering at once. In fact one little fellow gets so excited that he falls over flat on his face in the magazine article he had been trying to read upside down.

Sea and Sun Cox Bay Tofino BC grumbles “You had to go and wake the little ones didn’t you!? You know they are too small to go in this show.”

“There will be other shows” Long Beach Vancouver Island replies. “After all, there are not many place that can handle the eight of us.”

The late summer afternoon warmth starts to make all the paintings drowsy – large ones, middle-sized ones and small ones. Sssshhhh!

The studio is quiet.

 

What are you whispering about 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

In the Words of Strangers

By now you may have guessed, as a Canadian artist, I often have conversations strangers about my work when I am traveling. It comes with geographic proximity to my landscape subjects and other human beings. These engagements are frequently brief and fleeting in nature but this does not diminish their impact as a kind of concrete gentle-kindness to fortify my solitude as I put brush to canvas over and over again.

detail wave Sea and Sun Cox Bay Tofino BC 24 x 48 inch oil on canvas by Terrill Welch July 15 2016 IMG_7009

This same kind of engagement also happens through the vast and complex inter-connectedness of the world-wide-web.

Oh, I suppose could tell you about new works painted, several art shows and painting sales in the month since I have been home (my website has this information if it is desired). But, it has also been an unprecedented time of quiet recognition of my work. Complete strangers often contacted me to make requests about sharing my work elsewhere online. In the process, they frequently articulated why they wish to do so. Sometimes their words leave me rather stunned and deeply humbled with gratitude. Here are a couple of brief snippets as examples…

Received in my inbox today:

“I discovered your paintings from a Google image search of paintings of the Canadian coast. I grew up in ….. BC and spent much time sailing through Desolation Sound and the Gulf Islands. You’re paintings truly capture much of the beauty inherent in the
region. I was wondering if I could share one….”

Fog Inside Passage 12 x 24 inch oil on canvas

fog-inside-passage-12-x-24-inch-oil-on-canvas-by-terrill-welch-2013_02_03-064

Details and purchase information available HERE.

What do you think my answer was to this request!?

And here is part of a public comment this week on my TerrillWelchArtist.com website contact page:

“I have to tell you –though I hesitated to write this because I did not want to provoke anything which might disturb whatever wonderful thing it is that enables you to produce these works–I have spent numerous hours at the Musée du Quai d’Orsay fixed on one or another impressionist painting–usually one by Van Gogh. Your paintings have a similar effect. Your artistic sensibilities, while uniquely yours, seem to have a resonance with what I see communicated through Van Gogh’s pieces. Please don’t take offense at a comparison. Your work is truly original and beautiful–as is his. No mere imitator of Van Gogh, however talented, could ever hope to match this peculiar sensibility. I’m convinced that it must be something innately shared and, for me, your work expresses it in a way that’s of course your own. But these works could easily hang beside anything in the Orsay’s permanent collection.

It is no wonder to me that collectors snap up your paintings as soon as you finish them. If I had a fortune or was a curator at a major museum, I’d be collecting your paintings with the same interest that I’d have for any work by Van Gogh or Matisse or Raoul Dufy.”

Signed “P.”

One of the paintings of particular interest to this individual is Spring Tea, 16 x 20 inch oil on canvas, one of three paintings showing this weekend on Mayne Island at “La Vida Rústica” — multi-disciplinary reflections on the rustic life.

Spring Tea 16 x 20 inch oil on canvas plein air by Canadian Artist Terrill Welch 2015_04_25 140

Well, I must say, I really don’t know what to say when faced with such frank remarks…. except thank you, thank you – Thank You!

What is particularly powerful and meaningful to me is the clarity with which the paintings moved these commenters – it is as if the brushstrokes were felt even more than they were seen. There is no higher compliment or recognition as a painter I could ever wish for my work. This is a clean and perfect match to my intention and the driving force that brings me back to the studio again and again.

May the painting continue, without interference, and yet gently supported by the words of strangers!

On that note, I think we shall conclude with one of the latest paintings and the first large works from Prince Edward Island the East Coast of Canada.

In Studio placing last brushstroke on first large East Coast #PEI painting by Terrill Welch  IMG_6453

 

Can you share a time when you were moved by the insight and kindness of a stranger?

 

© 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

Until later Prince Edward Island as I leave with more painting sketches

Has the past three weeks really gone so fast that I have not intrigued you with my gallivanting from shore to hill to shore again? Well it seems so though I did share ten sketches on the website update, there has been more – so much more! But one must choose what to share I think, otherwise boredom will have you on the next global surf for website spectacular viewing. We must get on with it!

Let’s see…. oh yes, we shall start with just a few of the latest painting sketches and then a handful of photographs of subjects I find particularly fascinating.

I can never seem to get enough of the red dirt and sandstone of Prince Edward Island!

South Shores PEI study 8 x 10 inch acrylic sketch on gessobord

South Shores PEI study 8 x 10 inch acrylic sketch on gessobord by Terrill Welch IMG_5264

Cape Bear on edge study 12 x 9 inch acrylic sketch on gessobord

Cape Bear on edge study 12 x 9 inch acrylic sketch on gessobord by Terrill Welch IMG_5259

Wind Swept Murray Head PEI study  11 x 14 inch acrylic sketch on gessobord

Wind Swept Murray Head PEI study 11 x 14 inch acrylic sketch on gessobord by Terrill Welch IMG_5245

Hilltop View Above DeSable River PEI study 8 x 10 inch acrylic sketch

Hilltop View Above DeSable River PEI study 8 x 10 inch acrylic sketch by Terrill Welch IMG_5492

But in truth, it is the relationship between land, sea and sky that keeps my attention no matter if it is red or white sand and stone.

Fogged In At Basin Head PEI Study  8 x 10 inch acrylic sketch on gessobord

Fogged In At Basin Head PEI Study 8 x 10 inch acrylic sketch on gessobord by Terrill Welch IMG_5530

But there are also the lighthouses…

West Point Lighthouse 1875 PEI

West Point Lighthouse 1875 PEI by Terrill Welch IMG_4851

Colourful fishing huts…

Georgetown Harbour PEI

Georgetown Harbour PEI by Terrill Welch IMG_4896

And the churches…

This one comes with a story about its photographic capture even:

I almost didn’t get this photograph of the Roman Catholic Church of the Immaculate Conception, built 1848, in Brae, PEI. You see, there is at least one or sometimes two churches, of some sort it seems, within walking distance of pretty much every farm and fishing village on Prince Edward Island. There are large churches, small churches, plain churches, beautiful churches and unusual churches. Many, like this one, only open the doors for special occasions and eventually may be lost to more central houses of worship that can be reached easily with a vehicle. But, in a day’s adventure on this gorgeous island, we see a lot of churches!

Traveling with a landscape photographer, who is also the driver, can get more than just a little bit tedious. There is a lot of stop and go. There can be lot of turning around and going back even. So, by the time I spotted the Brae church through the trees and a ways over the fields and trees, my sweet husband was just about ready to crumble into a two-year old’s meltdown of angry despair. He is an extremely patient man but there are limits. Turning on the signal and thinking as fast as I can, I shout – LAST PHOTO OF THE DAY! while simultaneously and silently praying to the gods of fading light that I might be able to keep my word without regret. I didn’t dare look sideways at him, not even out of the corner of my eye. I just kept driving and searching for a photograph of the church from various angles as we approached. I knew I was only going to get to stop the car once without the floodgates of frustration overflowing the banks of spousal goodwill… and I was going to have to be quick about it. We were approaching the end of a long day, both of us hungry and tired.

At first I couldn’t find the shot. There were power lines everywhere and very little to use for context. Then I saw a small bridge and zipped across. Turning into the Brae Harbour Rd, I spin a slow u-turn and park. I leap out of the car and jog across the road. I had it! Last photo of the day – with nothing more than a heavy sigh and a grinning shaking of his head as he asks – did you get it!?

Phewffff! Love wins another round!

Roman Catholic Church of the Immaculate Conception 1848  Brae PEI

Roman Catholic Church of the Immaculate Conception 1848 Brae PEI by Terrill Welch IMG_4862

And then there are red dirt back roads….

Eliot River Rd PEI

Eliot River Rd PEI by Terrill Welch IMG_5362

Fresh leaves gracing Currie Rd PEI

Fresh leaves gracing Currie Rd PEI by Terrill Welch IMG_5394

Farrar Rd PEI

Farrar Rd PEI by Terrill Welch IMG_5397

No matter where we went, from North Cape to Cavendish to Summerside to St. Peters Bay, to East Point to Georgetown, to Murray Head to Rocky Point or just on the streets of Charlottetown, we were welcomed with exemplar Canadian kindness! Prince Edward Island has managed to cultivate the best of rural and urban living in its small province and it is a place that warms the heart and lifts the spirit. We will be back. We have made a promise to ourselves to have me come and work in the fall to early winter, maybe in 2017, to capture the landscape again in painting sketches and photographs during the autumn season. For now, I must go home and start working up the Prince Edward Island landscape onto larger canvases using the reference material I have gathered over the past seven weeks. I owe a huge thanks to all the islanders who have welcomed me and shared their favourite places and advice. There are too many to name but you know who you are! Thank you!!! Until we meet again!

 

I usually end with a question but I actually have not one to ask today so…

 

What question might you like to ask today?

 

P.S. Save the date for Mayne Island, B.C. – West to East Coast Art Show featuring new landscape painting sketches and recent large oil paintings by Terrill Welch on Sat. July 9th 1-4 pm and Sun. July 10th from 11 am – 4 pm at the Mayne Island Community Centre, 493 Felix Jack Road.

Terrill will be displaying over 18 of her new east coast painting sketches (prints of these works can be ordered) from her trip to Prince Edward Island this spring along with recent west coast landscape paintings that will be available to purchase.

During this pop up show, Terrill will be painting live and demonstrating how her work goes from a collection of sketches and photography reference materials to the final large oil paintings.

Come experience the magic of these landscape renderings of Canada’s west and east coasts as they are captured and translated by Terrill Welch with her brushes and paints onto medium and large canvases.

 

© 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