Quiet Grace

June 8, 2010June 8, 2010 / Terrill Welch / 29 Comments

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Often it is the quiet grace of a scene, individual or object that draws me in. There will be brighter hues in the evening sky, or a more colourful character at the cafe or a shinier pebble on the beach, each providing a flash of engagement. They are not the ones that hold me. I will be waiting for the softer moments to appear – ones that I can linger over and savour. The sunset in Dinner Bay above is a perfect example. And so is this pottery pot.

When you see this lovely pottery pot on the shelf with other more brightly coloured cousins it may be tempting to pass it by. But all you would need to do is pick it up to know and see its unmistakable beauty and quality. As with many of the potter’s pieces, it is multipurpose and can be used to cook a small roast, chicken or bake a stew, casserole or beans.

Just look at the detail on the lip of the lid which fits smoothly onto the pot.

Here is a dew-covered snapshot of the bottom. Are you smitten yet?

Mayne Island Quasimodo Pottery creates unique, extremely high quality craftsmanship and functional art in its pottery pieces.

Of course, there is no point in having a pot like this without a good recipe for homemade baked beans. This recipe is from my mom and given to her by her mom. It was my favourite dish as a child and I used to request it for my birthday dinner.

Homemade Baked Beans

1 lb dried beans (pinto beans)

1/2 tsp dried mustard

2 tbsp dolmolso (dark) molasses – I use about 3 tbsp with another tbsp maple syrup or bit of brown sugar but it is a matter of taste and what kind of pork you use will change sweetness.

A piece of unsliced bacon, salt pork, smoked pork hock, ham bone, (or beaver tail if that is all you have)

1 small onion

2 stalks celery (and I add a couple of carrots)

black pepper to taste

*Note: don’t add salt until partly cooked and tasted because of salty pork

Cover dried beans in lots of water add a dash of baking soda and soak overnight. In the morning, rinse beans add fresh water and simmer for about an hour on top of the stove. Then put beans in roaster or bean pot with other ingredients and enough of the liquid to cover. Bake at 250 degrees until done – probably will take all day. Add water if and as necessary – very important when using a roaster as beans tend to dry out more easily than in a bean pot.

This pot of beans was served with fresh wholewheat sourdough bread.

Sprout Question: How would you describe what attracts you in creativity?

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Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Searching for lost and soft edges

June 3, 2010 / Terrill Welch / 33 Comments

When we see, we see around corners because of our rapid eye movements, our moving feet and bobbing head… and because we touch things.

Tuesday’s post “Seeing and Creating” talked about how the brain builds a visual field using rapid eye movement to create the image we are seeing. Some of the information that the brain uses to build an image comes from a history of spatial measurements that we have gathered through touch.

Seeing takes more than our eyes. We must learn spatial relationship, specifically our spatial relationship to other objects. We discover how to see where things are through practice using our hands and feet to touch and move around our world. Babies reach for our faces. Children will crawl, climb, run and jump with varying degrees of success as their brains and bodies learn to coordinate the distances of time and space. Our brain gathers and reuses these measurements in combination with information received from our eyes to provide context and relational information about what we are looking at. This complex relationship of gathering and building our visual field happens constantly and rapidly. Most often we are not even aware of the process.

However when we are creating it is helpful to understand and consider this information in our work. Some of our work in building a visual field will happen intuitively. In fact, many situations a lot of our work in building a visual field will happen intuitively. We won’t know why we at first place a certain word in a particular sentence or why we paused the music on that particular note or why we made that particular mark off on the left side of the page or why we decided to include a particular boulder in our photograph. Mostly we just do what we do.

We can strengthen our work by increasing our conscious ability to build a visual field. A current practice of simplifying photographic images through noise reduction and sharpening and taking out what is not adding to the image is one way to play with how the visual field is built in the photograph.

Practices of adding, leaving or taking away in our creativity are not absolute creative positions but a tension we hold during the process of creating. It is in searching for lost and soft edges that I find I can most consciously building a visual field in my photography, painting and writing.

One tool or exercise we can use is to make marks or write words around your desired subject until it “appears” in your work. This helps us discover what clues or cues in the surrounding area are supporting our ability to see. In photography I do this by placing my desired object in various off-centre relationships in the frame. I change the height I take the image or the distance from the subject and so on.

Sprout Question: How do you know when less is no longer more?

Note: Here is a great reference I discovered as part of researching for today’s

The Senses of Touch: Haptics, Affects and Technologies by Mark Paterson (2007)

Also here is an online article that is also helpful – Eyes and Hands: The relationship between touch and space http://people.exeter.ac.uk/mwdp201/space.html

A question I can not answer is how people without use of hands or ability to walk develop spatial relationships in building their visual field. Does anyone know the answer or have a resource?

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Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Seeing and Creating

June 1, 2010February 16, 2019 / Terrill Welch / 22 Comments

“Bee in salal blossom” View and purchase full resolution image here.

Yesterday, I discovered a bookmark in my memory that gave rise to a set of questions, when I came across some notes from May 16, 2007 about building the visual field that I had made in an art class taught by Glenn Howarth. The following questions arise from my musings about these notes and the use digital and photoshop tools to create images.

What is this passion we have for cleansing images of anything less than perfect?

Can it possibly damage our ability to trust our viewer to see?

Let me explain, as best I can, without taking us too far down “the science of seeing” rabbit hole. When we “see,” the brain needs to imagine most of our reality through a system of expectation. This is because the human eye has only a 15 degree visual arc of acuity or sharp high-resolution colour visual field. We commonly believe that we “see” everything as if it were in this a 15 degree visual arc called fovea vision. This is not true. Our human eye must build a visual field using rapid eye movements and short-term memory so the brain can “create” the image we “see.” Most of the rest of our visual field has about 50 percent acuity and 50 percent colour perception with the far reaches of our peripheral vision seeing only movement in black and white.

Photographs like the bumble bee in a sala blossom image above hold more information in acuity than our eye actually can see at one time without using rapid eye movement to create the image for us. You may be able to notice how you look at this image and be able to catch the eye movement between the bee and the blossom both of which are in sharp focus and then notice how you can “see” the whole picture that is in focus.

Rapid eye movement happens very quickly, at about 3 times a second, and is something we are not consciously aware of, so if you don’t notice there is a reasonable explanation.

If you want to know more, I found this youtube video “Human Senses Touch and Vision” http://www.youtube.com/watch?v=S2sWE0qaOjg&feature=related About 3 minutes in they explain and show how our eyes and brain build a visual field.

Because our brain must “create” a sharp, coloured field of vision, it has a selection process for seeing. We fill in blanks and leave out information that history tells our brain is not relevant both consciously AND subconsciously. I am fascinated with the impact this has on our creativity whether it is visual, written or auditory. Here is a series of my quick charcoal sketches from 2007.

wooden forms for making shoes

I did these sketches while purposefully “seeing” using my sight beyond the 15 degree visual arc of acuity by paying attention to what is in my peripheral visual field allowing the hand to record the image with as little as possible interference from my fovea vision.

male nude sitting

This lesson stuck and I continue to create my work while exploring this way of “seeing” or consciously experiencing the world.

reading

It is not too much of a stretch then, to consider that when we create an image that has high-resolution colour and sharp focus over a larger area we are doing the work of the viewer’s brain “to see” or create that image. If we go the next step and take out “irrelevant information” we are also choosing for the viewer’s brain what is important to see. Your created work has become a powerful editing filter for the viewer. To some extent this is what happens anytime we create. The question I pose is more about how much of a filter is too much filtering and can it actually interfering with the viewer’s ability “to see” what we want to express? And can we hold the viewer’s attention when we do the work of the viewer’s brain to build most their visual field when experiencing our work?

Could it be that the gaps in our expression are of as much interest to the viewer as the sharp clarity? Like say this image….

finding the figure quickly

Sprout Question: How does your way of “seeing” impact your creativity?

On Thursday, I am going to explore further how our human visual system must learn to create spatial relationship between objects through touch and memory and what ways this learning may relate to our creativity.

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Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

what seen is not always there

May 27, 2010May 28, 2010 / Terrill Welch / 29 Comments

Clouds break and the late sun rushes in, leaving its mysterious glow cascading across the valley. In this moment the turning of earth is visible and tangible – not just a known fact.

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Looking east finds the familiar last light from the west at the edge of the forest…

It is beautiful but not what I am feeling. Something is missing. I head to the digital darkroom musing about what the camera couldn’t catch. I went to work to find what it was I had experienced – teasing it out from between the pixels….

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Sprout Question: What do you do when your creativity on the outside doesn’t match what you are experiencing inside?

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Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Eagle over the moon

May 25, 2010 / Terrill Welch / 20 Comments

Through joyful tears and laughter the gifts are opened.

Friends prepare for a round of games. I slip outside, where clouds break, allowing slivers of evening sun and a rainbow across the way.

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The ocean is within touching distance and the tide is on the ebb, bringing a young eagle closer to shore – hunting.

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A bridal shower and an eagle over the moon – a good omen I think.

Sprout Question: Where has your creativity recently found something new in the familiar?

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Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Choose Your Dare

May 20, 2010June 22, 2010 / Terrill Welch / 30 Comments

On Tuesday we answered the sprout question about taking your creativity for a swimming lesson. In our conversation we discovered that some of us had specific waters you wanted to swim, others would go to the deep end of the pool and still others would wade knowing that swimming was not for them. Each response is perfect for the individual answering the sprout question. What we must each do is choose our personal dare, and then perfect our creative skills and strengths with integrity, commitment, joy and humour.

For example, I am absolutely fascinated by outcrops of big rocks. I observe their majestic beauty from a distance and up close – even possibly boring you with so many photos of cliff faces and sandstone.

beyond

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And I clamour over their surface as long as I can do it without rock climbing.

time

The thought of me rock climbing makes me laugh out loud and giggle for a long time. This is just not going to happen. I know it is safe when done properly. I can imagine why others may take on the hours and hours of skill and strength building activities to perfect this skill but… I can’t even watch the young woman in this photo climb.

Josie climbing in Squamish May 15 2010 photo by Sebastian Powell

This close up is almost too unnerving for me to look at.

Shall we get a real close look?

With creativity, as with other things in life, we must know where our strengths and desires meet. Yet we also want to stretch and push the edges just to check to see which challenge is right for us right now. So for now, I will photograph and paint the large boulders and rock faces and Josie, my daughter, will climb them… when I am not looking.

Sprout Question: What personal creative dare are you choosing?

Note: A special thank you to Sebastian Powell, the ACMG (Association of Canadian Mountain Guides) guide of The Boulders Climbing Gym, for this photo of Josie climbing.

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

Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Canada Geese on family swim day

May 18, 2010May 18, 2010 / Terrill Welch / 24 Comments

I happened to see a family of Canada Geese going for an early morning dip in Georgia Strait at Georgina Point on Mayne Island… would you like to join them?

Time for our morning swim everyone!

Yes that means you too. Now move along...

Don't worry we will show you how it is done.

There easy does it...

Now stay close.

I am so hungry

Me too!... Tasty little morsels

Keep an eye out for junior.

Well, I think they have it figured out.

Oops! There they go again...If you're not careful you are going to be eagle breakfast!

Everyone look right... that's it, beautiful!

I could hear the goslings’ little peeping voices as they swam along. And the eagle flew off to see if he couldn’t find a salmon for a morning snack but he sure watched closely before giving up on a small goose feed.

Sprout Question: If you were to take your creativity for a swimming lesson where would it be?

Bonus: Hatchlings are covered with yellowish down and their eyes are open. They leave the nest when 1-2 days old, depending on weather, and can walk, swim, feed, and even dive. The mother goose leads the way on the first family swim and the father goose takes up the rear. Young Canada Geese or goslings grow so quickly that they are virtually indistinguishable from adults in only about nine weeks. With a lifespan of up to twenty-five years, the oldest known wild Canada Goose was 30 years 4 months old. They mate for life with very low “divorce rates,” and pairs remain together throughout the year. Geese mate “assortatively,” larger birds choosing larger mates and smaller ones choosing smaller mates; in a given pair, the male is usually larger than the female. References – mostly http://www.allaboutbirds.org/guide/Canada_Goose/lifehistory and a few other brief stops on a googling wild goose chase.

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Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Riot of Colour

May 13, 2010May 17, 2010 / Terrill Welch / 19 Comments

Several times during the past couple of days it seems that chance, good luck or divine intervention has presented the most amazing experiences. One of these was when the sun came through our skylight and touched on a large bouquet of flowers we had on the table in the great room. The Astramaris (or Alstroemeria) were particularly stunning with their various shades and shadows of yellow and orange.

And this is my personal favourite.

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When we pay attention, there are as many moments to experience amazement as there are moments. Attention is about seeing and feeling each object for the first time. This way it is always fresh and new no matter how many times we have encountered it before. Most often we see habitually using shortcuts developed by our great memories. For example, we can walk through our house without paying attention – and trip over something new that has been placed in a room because we “didn’t see it.” We have developed a habitual way of seeing as we walk from room to room. There are many practices for paying attention. I would like to know yours.

Sprout Question: How do you break free of your habitual way of seeing?

P.S. I also had the good fortune to be at Piggott Bay as a sailing ship was taking a tour of Navy Channel – I’m pretty sure I saw a pirate but you may want to have a look for yourself… http://www.redbubble.com/people/terrillwelch/art/5171261-1-sailing-ship-navy-channel

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Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Far Shore oil painting

May 6, 2010December 5, 2010 / Terrill Welch / 24 Comments

18X24″ by 1 3/4″ water miscible oil painting on 100% natural cotton canvas

I worked on this west coast painting much of yesterday afternoon and into the early evening. At one point I move out onto the covered deck because the natural light had faded in my loft studio. I believe it is to the “tweaking” stage or almost or maybe even completely finished. It is resting now and I will begin another while it lingers in the great room as the day’s light passes overhead. I will peer at it every now and then with a critical eye. At a later point I will take another photo for my redbubble account.

As I was working I mused on a couple of ideas. The first is something my son said when we were talking about song writing. He commented on how sometimes it is best to leave a song and start a new one that will be better rather than try to fix one that is not working. I think this is true for most creative work. Our learning is cumulative. With a certain amount of detachment, we take the work as far as we can, then release it and start again. Drawings in sand, ice sculptures and cake decorating come to mind as ways we can make marks and practice creative detachment.

Speaking of making marks, this is something humans have been doing for a long time. These markings are telling not only of our present but of our past and our imagined future. There is a collective bandwidth of creativity with most creative work gathered around the centre and much less work being created along the margins or fringes. The great work of the fringes will sometimes move to the centre of the bandwidth and new work will develop along the margins. William Blake , Claude Monet, Walt Whitman come to mind as well-known artist who worked in the margins of their time and yet held our attention until their work became accepted and even revered, at which point their creative views and style moved into the centre of the creative bandwidth. This process of margin to centre has always fascinated me because some work just falls off the margins and disappears while other creative work is shuffled into the centre. Most of us work comfortably in the full rich stream of the centre. Only some of us are compelled to work in the margins. Work in the margins is often recognizable by the name calling – bad art, lacking technique, improper, breaking the rules and shocking.

Sprout Question: Where would you place your work on the current bandwidth of creativity?

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Purchase photography at http://www.redbubble.com/people/terrillwelch

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Slice of Sun

April 30, 2010April 30, 2010 / Terrill Welch / 18 Comments

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Today being Friday, it is a good day to play with techniques and have a little fun. I am practicing the art of painting without a brush by using photo editing tools to paint for me. I have been doing this for awhile but it is starting to get easier to stretch into the resonance of what I am seeking.

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Please note that starting next week my posts will be Tuesdays and Thursdays until the beginning of September. But please come by for tea and a browse anytime.