In the News and more good News

Yaaaaaahoooo! Yippee! Ta da! Almost! Do I sound enthused? I sure hope so because my Open Studio Double Event is coming up fast! How many sleeps is it to November 8th? Here is the scoop…

Open Studio Double Event – including over 60 original oil paintings

On November 8th and 9th of 2014 

From 11:00 am to 4:00 pm

or 24/7 online

At 428 Luff Road Mayne Island, British Columbia Canada for face-to-face guests

(#19 Mayne Island Brochure and #1 Artisan Studio Tour maps)

And on a special event page at  for online guests! Drop on by to check out the “what’s up” at: or just click on the photograph.

Artist Terrill Welch Open Studio event November 8th and 9th 2014 Poster

Psst! For the curious, as shown in the poster, Terrill Welch and her art were mentioned in the British Columbia Provincial newspaper, The Province, in a feature article by reporter Paul Luke on Sunday, October 19, 2014. Though the photographs are all at the top in the online version, you can read the full article at

I think this is about all for now.


Question: What would be your quotable quote if a reporter was to call YOU this afternoon?


© 2014 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada


Artsy Home for most original oil paintings currently available

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Garry Oaks viewed from Brown Ridge – Canadian landscape painting

Today’s new painting release is Garry Oaks on Brown Ridge. Enjoy!

Canadian Contemporary Terrill Welch Gallery

These muted hues have endurance and awe brushed into their presence. So often painters seem to feel the need to resist the gray and brown and heaviness of our southwest Canadian rainforest. This is a mistake because there is beauty to explore in these melancholy landscapes. There is fuel to feed our own inner strength. We need not brush it over with artificial colour. We need only to seeking deeply into the hues and hold this wonder on our canvas. These are this artist’s musings as Terrill Welch worked on this oil painting inspired by a resent hike when the mist was rolling along the ridge, the air damp on her skin and her body warm from her steps.

GARRY OAKS ON BROWN RIDGE 14 x 18 inch oil on canvas

Garry Oaks on Brown Ridge 14 x 18 inch oil on canvas contemporary Canadian landscape art by Terrill Welch 2014_09_15 025

Detailed view and purchase information available by clicking on the image or HERE.

Following the goat paths where…

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Painting from the White Room in Aix en Provence

Sometimes two means three and this is often the case with counting the floors is to a walk-up apartment in France. The ground floor with its entrance and coffee bar is frequently not considered the first floor. So up and then up again we go to our one room plus bathroom apartment in Aix en Provence that is a soft egg-white with two large opening shutter-clad windows to the streets – busy streets even though it is single-lane and heavy with foot traffic. Oh, did I mention motorcycles – lots and lots of motorcycles. But we grew to love this simple, clean and sparsely decorated space particularly after visiting the art museums and walking through the outdoor market. The lack of stimulus in this room gave our overloaded sensory systems a chance to rest.

On our first evening, exhausted from travel, we went to bed early and fell asleep even with the street noises thumping, banging, drumming, hollering and honking in the background. At 5:45 am I awoke to the smell of fresh croissants coming out of the oven in the café below us while safety-clad men with leaf-blowers bellowed ahead of two street cleaning machines with a group of twenty-something year olds staggered past munching large hamburgers and yelling in drunken good-natured French to each other. To add to the commotion there are these funny blackbird-like birds that sound like our flickers slapping out their good-morning song against this background of foreign confusion assaulting my sleepy senses. This is Aix en Provence, the cleanest streets anywhere and a cacophony of sounds and colours.

From the vantage point of this room I often stood and observed the interactions and comings and goings of locals and tourists as they passed on the street below. It was a delicious bird-like view where few looked up and noticed my prying inquires.

window to Le Forbin by Terrill Welch 2014_05_18 012

One afternoon while David was taking a long nap I set up my makeshift easel by the open window,

window of possibility by Terrill Welch 2014_05_18 029

pulled out some paint

daubs of paint by Terrill Welch 2014_05_18 046

and gave it my best effort to capture the full richness of this city.

plein air window in Aix en Provence by Terrill Welch 2014_05_18 062

I am happy with the results. The movement and vitality feels like Aix to me with its young university students mixed liberally with business people, city maintains workers and tourists.


25 X 35 cm acrylic painting sketch on archival 185lb paper

From the White Room Aix en Provence 25 x 35 cm acrylic painting sketch by Terrill Welch 2014_05_18 069

(Art Prints are available in my Redbubble Storefront HERE)

 If you were to sleep above a busy street on what city street corner would you like it to be?

© 2014 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to


Aix en Provence with Cezanne and photographer Mme Miceli Brigitte on the Painters Ground

I rose only sort-of-early in a French city that overlaps its evening and day crowds. It is Aix en Provence at 7:45 am and I am headed up to the Painters’ Ground with my small painting box, tripod and camera.  The morning is pleasant and, though the walk takes about an hour, I enjoy the climb out of the old city center and into the more tranquil edges of the city. As I walk, I stop to rest on a bench just before the street reaches Paul Cezanne’s historic studio. But it is much too early to visit. Maybe we will stop in on our way back.

While I am climbing I am thinking about what it must have been like for Cezanne as a painter. What might he have been thinking about as he climbed this hill in the 1880’s? This was a time when he had separated himself from the ideas of impressionism. It was a time when Cezanne was working mostly on his own, developing a unique painting language that would later become a key plank and supporting strut in a bridge that eventually lead towards abstract painting. We often think of Matisse and Picasso in this regard but there are others that came later like Diebenkorn, an American expressionist and figurative painter, who also sites the influence of Cezanne. We could spend the whole of our climb discussing the relationships and the strengths and weaknesses of focusing on light, colour, form, realism and abstraction in the painting process. But we won’t. Let’s just say that Cezanne added some powerful and unique painting language to these conversations.

The street becomes quieter as I continue to climb and turn around meandering bends that lead me higher up the hill. I spot Cezanne’s mountain at an opening and stop to give it my full attention. Though a prominent outcrop on the horizon, in some ways it doesn’t really look like much. What was it that had him paint this landscape of the Sainte-Victoire mountain more than 87 times?

I keep walking until I see a sign on my right pointing across the road to the left indicating a trail to the Painters’ Ground. The path is rough-laid stones and though uneven, it is not difficult. I suspect that these are a newish addition – maybe to keep the ground from wearing away as admirers and painters such as myself trek up and down repeatedly. According to the little pocket-size walking tour brochure I picked up at the tourist office, “Cezanne’s most famous pictures were painted from this marvellous vantage point on Chemin de la Marguerite on the Lauves hill.”

Slightly flushed with the climb and excitement, I stop almost at the top and turn. This is it. This is the spot. There are places on this earth where the ground hums with a heartbeat of stillness, an energy that settles and becomes observable on the inhale and exhale of a breath. This spot is one of those places. This is what I believe brought Cezanne here to paint again and again. It was a place where he could work uninterrupted on his painting problems and the mountain became a convenient tool to this end. Oh, who knows if this is true or not. We both know I just made it up on the spot but I believe it could be true so I take a few reference images.

May morning on the Painter Ground by Terrill Welch 2014_05_18 092

Then I go about the task of attaching my small painting box to the top of my camera tripod and maneuvering the tools around in the less than ideal conditions of facing the direct morning light. Just as I am about to start to apply paint to canvas an elderly couple wave and come down from the very top of the hill to greet me. We quickly establish that it was going to be a dramatic signing and gesturing conversation with bits of French and English Language thrown in for good measure. Believe me, this approach is often extremely effective when human-beings are determined to have a conversation that just MUST be had. The woman searches her pockets for her phone and made a long face. The fellow asked why she wants her phone and she said, for a photo. I thought she just wanted to be able to remember who I was so I reached into the top of my camera case and pulled out a business card. Her face lit up like halogen bulb but it wasn’t at my business card. It was because of my camera. With unrestrained enthusiasm she asks if she can use my camera to take photographs of me. What could I say? Yes, of course. I set the camera on automatic, put the cord over her head and, as best I can, indicate that it is ready to go and where it is she needs to press the shutter. She nodded repeatedly, pulled the camera down where she could see the dials and started turning them.

Well, my face must have given me away because the fellow said – its okay (hand up in the calming position). She is a professional.

Satisfied that she had the camera set the way she wanted it, Mme Miceli Brigitte directed me to start painting. What does a painter with a professional photographer at her disposal, up on the Painters Ground, in Aix en Provence, facing Cezanne’s mountain do with such an instruction? There is only one thing that can be done. I pick up the brush and go to work.

In the Zone on Painters Ground by Mme Miceli Brigitte 2014_05_18 102

While I painted, the photographer moved around making satisfying and comforting comments in French that told me that she was having as good a time as I was. Among a few others, there was this moment…

Terrill Welch plein air on Painters Ground by Mme Miceli Brigitte  2014_05_18 103

and then this one…

taking on Cezanne's Mountain by Mme Miceli Brigitte 2014_05_18 107

and finally this one, which is likely one of my favourite photographs of me.

Plein Air pinting in Aix en Provence by Mme Miceli Brigitte 2014_05_18 109

It is a favourite because at this point I had relaxed and was able to focus on my painting. I was aware of the photographer but she had lulled me into a place of comfort with her soft voice and slow deliberate movements. She had become part of my work rather than an entity capturing it. She was deeply inside my painting space which is something only I usually get to experience. The man was standing back a little, quiet and waiting in an unhurried kind of way. I had stopped noticing him all together. It was a beautiful moment at 9:08 am on May 18, 2014 between three individuals up on a hill with the most important language of all in common between them – the language of appreciation and respect.

The photographer hands me back my camera and both of them encourage me to keep a close eye on it and tuck it under the easel so that it doesn’t get stolen. I make a promise to comply. I have the good sense to ask the photographer to write down her name and address so I can send her a copy of the photographs. We say our good-byes and they continue on with their morning walk and I finish up the painting in the few minutes that I have left before I need to pack up and start back down the hill and into town.

plein air of Cezanne's Mountain 25 x 35 cm acrylic painting sketch by Terrill Welch 2014_05_18 123

We can take a quick snoop into Cezanne’s Studio garden. Do you want to?

The Garden at Cezanne's Studio by Terrill Welch 2014_05_18 160

Yes, I did go into Cezanne’s studio where no photographs are allowed. There is the dutiful splash of open turpentine for authenticity.  However, on this day anyway,  I do believe the painter was still up on the Painters’ Ground where we met the photographer this morning. But not to disappoint, one of most intriguing features of Cezanne’s studio is the opening he had built into the wall to bring large paintings in and out of the studio. I climbed all the way back up in the early evening to get an outside view of this for you…

Evening outside Cezanne's Studio by Terrill Welch 2014_05_20 012

and another photograph of Sainte-Victoire mountain.

Sainte Victoire Aix en Provence by Terrill Welch 2014_05_20 024

Generally, I like to work in the morning but this spot would be most interesting in the afternoon and early evening. Yes, I am sure I saw a quick glimpse of Cezanne heading down the path by some tall bushes with his painting gear resting heavily on the shoulder of his weary frame that had  put in a long day’s work figuring and painting slowly and methodically.

CEZANNE’S MOUNTAIN – 25 x 35 cm, 20 minute acrylic plein air painting sketch

Cezanne's Mountain 25 x 35 cm 20 minute acrylic plein air painting sketch by Terrill Welch 2014_05_18 139

(Art Prints are available in my Redbubble storefront HERE)


When was the last time you were totally blow away by the positive serendipity of a series events?


© 2014 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to

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Art Studio Spring Thaw Event

When the southwest coastal trees of British Columbia in late February remind me of a northern winter, I am incline to take action.

Late February Snow Mayne Island  by Terrill Welch 2014_02_23 010

Let’s turn up the heat!

Here is my Artist’s invitation to SPRING!

mostly off the wall by Terrill Welch 2014_02_16 068

With the release yesterday of RED GATE (30 x 40 inch oil on canvas contemporary landscape) all of my current available work is now posted.

Red Gate 30 x 40 inch oil on canvas by Terrill Welch 2014_01_09 014

So here is what I propose: Including shipping, save 20% on a choice of over 60 original oil paintings by Terrill Welch during the next four days. The offer ends at midnight on February 28, 2014.

To access this savings, go to my Artsy Home Gallery, scroll down,  find the painting you are interested in purchasing and then click on “Make An Offer” to send me an email that says “20% Heat Please!” and I will apply the Spring Thaw to the purchase price.

Alternatively, you can send me a direct message using any social media or an email at  and we can get things melting from there.

How can you turn up the heat on this spring thaw even without adding a painting to your collection?

Share, share SHARE. With each share a we are raising the temperature on this Art Studio Spring Thaw Event. Thank you for helping me turn this snow to green grass and daffodils 🙂

p.s. update to add a wee short Mayne Island  winter wonderland video…

© 2014 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to

Drawn to Simplicity in the Photography and Painting Process

A slow start to our Monday with heavy fog wrapping the house in warm silence. The dark black coffee is good.

The youngest step-son is here visiting adding a sprinkle of laughter to our mix. My sweetheart is being host and making breakfast and more coffee. Life is good and content as I hear the pages of the Saturday Globe and Mail turning slowly just outside my view from the studio in the loft.

With this backdrop, I am musing about the relationship of space to our lives and our well-being. I want to share an image that is my own laptop background at the moment called SERENE SEA…

Serene Sea by Terrill Welch 2014_01_24 084

I haven’t made it available yet for purchase as I am not sure if its power and lure goes beyond my own satisfaction. You see, these rare moments of spacial expanse with such simplicity are rare both in nature and life. I long for these uncluttered fragments of surreal and sparse existence.  Even a few posts from an older part of the pier with the island hinted at in the background feels like too much in comparison.


Abstract Mist by Terrill Welch 2014_01_24 074

This doesn’t take away from the beauty of another island in the same landscape.


Georgeson Island in winter mist by Terrill Welch 2014_01_24 080

Quality Prints available HERE.

Or even adding in a bit of the bay is a pleasant frame as well…


Bennett Bay Gulf Island National Park by Terrill Welch 2014_01_24 149

Quality Prints available HERE.

Or a few branches framing the farther off Edith Point…


Edith Point Enchanted by Terrill Welch 2014_01_24 146

Quality prints available HERE.

I admit some of the qualities of the first image still exist in the photographs that follow it but the spacial void is seriously diluted. Our view is noticeably anchored to the land. But is it a distraction or a necessity?

In this reference of thought I made some assumptions that the first image, which has been holding my attention, would be of no interest to others. This assumption was so compelling that I did not release this image or the next one for purchase. Yet, I personally come back to them again and again. I seem to take one step towards more inclusion and definition in my last three paintings while there is still a sense of keeping the landscape compelling with its simplicity. To explore this tension in the rendering of the paintings further,  there are three recent works that I released yesterday over on my website Terrill Welch Artist in the post “Sky and Sea in Three West Coast Contemporary Landscape Paintings

I feel myself leaning more strongly in my most recent paintings towards daring to hold a sense of completeness with a painting similar to the first photo composition of SERENE SEA. I sometimes wonder if this was a pull that Mark Rothko experienced in his studio when he painted those large patches of colour. Anyway, it probably will amount to nothing on the easel but still I must give its due. I must pause and consider.

Well, my coffee is now cold and the half of a fresh pear I had earlier has long worn off. It is time for a late breakfast and to see what else the day has to offer.

What are you pausing to consider these days?

© 2014 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to

The Painter’s Horizon Is Seldom Visible

Most days I have little idea what direction my painting is taking me. I like to think I do. However, it is a myth. What I have are intentions. My intention is to explore how my specific historical experience impacts my work with more conscious awareness.

Setting Intentions  by Terrill Welch 2013_09_03

But right now, I have a long list of tasks that must be accomplished in preparation for three months travel in Europe beginning in April 2014. The round trip tickets are purchased. We are committed. I updated the most urgent items that must be accomplished to a separate list on Sunday morning. Then I set it aside.

You see, a request had come in from a fellow artist and friend for me to donate a postcard size work to Twitter Art Exhibit: Orlando. I usually do donate to this fundraiser and this was just the nudge I needed. The deadline is February 21, 2014 and I need 10 days travel time for the work to arrive in time. If I wanted to work in oil on canvas paper, the work needed to be completed now. Besides, the cause is compelling:

Twitter Art Exhibit: Orlando is an international exhibition of original postcard art benefiting The Center for Contemporary Dance, Special Needs Classes, a nonprofit (501)©3 organization dedicated to dance education and outreach. The Special Needs Classes include customized exercises that expand the student’s range of motion, creativity and social skills. Class work is further designed to enhance skills in memorization, problem solving and communication. Belinda Balleras, whose son takes classes every week, says: “He has a new sense of creative fulfillment and an additional pathway to productively express emotions.”

This is the fourth Twitter Art Exhibition, a concept founded by founder David Sandum, a Swedish-born artist living in Moss Norway, who conceived Twitter Art Exhibit as a vehicle for doing good through social media and online community-building. The idea is simple: artists around the globe receive a call through Twitter social media to create original postcard-sized art, which they mail to a local curator, who then exhibits and sells them to benefit a local charity.

Here is my 4 x 6 inch oil on canvas paper contribution set aside to rest and dry before submitting it to this event.


Walking an Autumn Road 4 x 6 inch oil on canvas paper by Terrill Welch 2014_01_19 045

The postcard size works will be sold for $35 a piece and ones that do not sell on the opening night of the event will become available for online purchase. If you want to know more or would like to participate follow the hyperlink above or go HERE.

After this, I picked up my list of urgent tasks…. well, not exactly. What can I say? There was paint on my palette? The sun hadn’t come out? I just couldn’t leave the easel?

Choosing a 12 x 16 inch canvas with a dark purple ground I began to contemplate quiet despair, broken promises and how some moments are too sad for tears. Why this aspect of our human experience had surfaced was a blog post by Deborah Brasket “Some Tragic Falling off” into Difference and Desire. This post and our west coast weather.

A January west coast afternoon.

A January west coast afternoon  by Terrill Welch 2014_01_18 025

We haven’t seen much of the sun during the past few weeks. In fact, the fog has been hesitant to raise her skirts much above her knees on the island ridges. We can’t really blame her. After all, we have been gawking without shame, seeking even the tiniest glimpse of blue sky and sunlight between her cottony ruffles. Today though, within the deep winter quiet, we are given brief moments of reprieve from her dowdy grey garments. It was not a dazzling display but enough to leave us momentarily content, hopeful even.

So I set to work. I like to think that I know my approach to a canvas and I am reasonably sure of the outcome. But I mostly just fool myself. My stubborn, overbearing intuition regularly slips the brush and palette knife from between my conscious breath and finds its own way across the canvas.

PROMISE – resting

Promise resting 16 x 20 oil on canvas by Terrill Welch 2014_01_20 004

The painting has a feeling all its own. My husband came in and said softly – oh, it is quiet. Then he smiled, satisfied, content even.

More about this painting and links to purchase information on my website Terrill Welch Artist HERE.

What might represent your idea of “some tragic falling off from a first world
of undivided light” as in Robert Robert Hass’s poem “Meditation at Lagunitas” posted by Deborah Brasket?

Now, before I dare pick up the brushes, that list. Where did I put that list?

© 2014 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to

A More Contemplative Year Ahead

My best guess is that I shall paint fewer paintings in 2014 and release more photographs and painting sketches. This will be partly due to three months traveling and living in Europe. We plan to leave sometime near the beginning of April. The tickets will likely be purchased by the end of the week.

The 2013 year was a good solid success for my paintings but I want to go deeper into the learning curve of how my specific historical experience impacts my work. I want to go deeper into how I can paint the spaces in between light and shadow. I want to find ways to bring you, the viewer, farther into my work until you can clearly formulate the poetry of landscape. I want us to know and understand our embeddedness in our natural environment.  Human life, as we know it, may depend on strengthening that one relationship. I suspect that my trip to Europe and its museums and countryside combined with my camera and brushes is going to help me find answers to these searches.

Oh, there will always be new work to release in my Artsy Home online gallery, such as the two new paintings entered over the weekend. But I find it is not really important but rather a task similar to organizing the books on the bookshelf for a research project.

What is important then?

There is quote attributed to Buddha that I saw this morning which seems most succinct:

In the end only three things matter: how much you loved, how gently you lived, and how gracefully you let go of things not meant for you.

My only commitment today is a long walk. With the heavy rains water is rushing to the sea.

Rushing to the Sea by Terrill Welch 2014_01_12 037

Quite possibly it is a stone in a stream that will hold most of my attention today.

Stones in Stream by Terrill Welch 2014_01_12 016

This , and a few of the lines from the Mary Oliver “Morning Poem”

If it is your nature

to be happy

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit carries within it

the thorn

that is heavier than lead –

if it’s all you can do

to keep on trudging –

there is still

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted –

reference; p. 106/7 of New And Selected Poems volume one (1992) by Mary Oliver

What are your focus and intentions for the year ahead?

© 2014 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to

A Tall Tale of Autumn painting resting and another Emily Carr story

With the holiday season upon us, I truly should put the paints away and get cards and presents ready for delivery. But one more I said to self, just one more to make it an even 50 paintings completed this year. That was last Thursday.

There are no work-in-progress images only this one that was taken as the painting came to rest. Forgive me if you have already seen this painting in progress, along with 8, 965 others last time I checked the post on Google plus alone.  It has now had two small edits, wee clean-up adjustments and will get its final photograph soon. But it seemed to be asking to be my Monday morning blessings image for mid December 2013 and so here we are.

Why a tall tale of such a simple autumn painting, you might ask? It is because the combination of fog and memory keep it from a cleaner truth. These are my childhood trees – popular trees growing on the riverbank. They are my first subject of paintings. I cannot pick up a brush to render them without being transported back through time with its many stops before these trees. These are trees I met before there was even a field in front of them. These are trees I introduced my first lover and later others. Then much later my now husband. These are trees I walked beside while I carried my babies and then with them while they carried theirs. These are the trees that my mother and father have walked with me since they were younger than I am today. Painting the spaces of light and shadow in between is filled with the residue of many visits. It is a tall tale that gets taller with each telling. All I intended to do was to use up the paint leftover on the palette.

A TALL TALE OF AUTUMN STUART RIVER resting 16 x 12 inch oil on canvas

A Tall Tale of Autumn Stuart River resting 16 x 12  inch oil on canvas by Terrill Welch 2013_12_12 019

This time of year is family time and I suppose in my case tree time. Which brings me to another tall tale and that is a strange happening last Friday on December 13th. I happen to notice that the Creative Potager blog views were going a bit crazy. So I looked and it was this post “Emily Carr Mystery Solved” from November 9, 2010 more than THREE years ago! What could it be I wondered? Well after a couple of hours and views were still piling up from Canada I did bit of sleuthing. It was who was celebrating the Canadian landscape painter with a doodle on their home page. What you might ask would this have to do with my very old stale dated blog post? It had to do with what came up when a person clicked on that doodle. The image and search results included this blog post right near the top, not at the very top but near enough to entice the curious. So belated 142 happy birthday Emily Carr, another painter of trees.

For those in Vancouver, British Columbia over the holidays  an exhibition of more than 40 forest paintings by Emily Carr will open at the Vancouver Art Gallery on Dec. 21, 2013. Emily Carr: Deep Forest will run until March 9, 2014. The show spotlights works created by Carr in the 1930s, most of them depicting scenes within 25 kilometres of her Victoria home. The paintings in the show are almost all drawn from the Vancouver gallery’s permanent collection. The gallery is home to the most significant collection of Carr’s work in the world, comprising 254 paintings, drawings and other works.

So there we have it two tall tales and a blessing of trees all round!


What tree or trees might you offer a blessing on this fine winter Monday?


© 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


Tribute to Canadian Artist and Painter Joseph Plaskett

Recently I had the good fortune to see an exhibition of Joseph Plaskett’s most recent paintings at the Winchester Gallery in Oak Bay, Victoria B.C. The date on many of the paintings is clearly marked as 2011, a practice we do not often see on the front of a painting anymore. The wisdom is that it may impact its saleability if the painting has not sold for a few years. But in this case, my mouth dropped when I realized that the exhibition was  celebrating Joseph Plaskett’s 95th birthday year. He was 93 years old when he painted many of the paintings in the exhibition and by my observation may be some of his best work in a long life of painting.

Here is a quote from the artist that is posted on the Winchester Gallery page:

“The work I have produced in a long life has always been in constant change.  What I show this year at Winchester Galleries is, I like to think, only the beginning of another change which now becomes more obvious with each canvas, but will not reach the public exposure for a few more years.  This present show was chosen months ago. The changes have become more drastic.  There is, I like to think, a complexity and a daring to experiment with both colour and composition.  Only one canvas goes back more than a few years.  It is a large still life which I have been refusing to put on the market, wanting to keep it in my possession as long as I survive.  It is a brilliant example of an earlier and safer act of creation.  But now I am producing work that is the beginning of something more complex and dangerous.  I am taking risks, letting myself go.

I like to think I am not repeating myself.  I am influenced by much of what I see in contemporary art.  I will give one example.  Two years ago I was excited by the huge exhibition of the work of Peter Doig which I saw in both the Tate in London and in Paris.  It made me proud to think of him as a “Canadian” painter, as, though born in Scotland, he spent much of his childhood and early youth in Canada.  I can only envy the originality of his work.  My work is changing, but it is still a way of painting that is my own.”

reference: (first painting shown on the Gallery’s page of the artist’s work is one of my favourites.

The photograph of the work I am sharing here is from the BAU XI Gallery in Toronto website. The title of the painting is “Still Life with Apples (2)” 38 x 45 inch oil on canvas listing at $21,800.


Joseph Plaskett is considered to be one of Canada’s most talented and established painters. In the spring of 2001, he was awarded The Order of Canada for excellence in the field of visual art. Since the 1940’s, he has had over 65 solo and group exhibitions, with work in major public, private and corporate collections, including the National Gallery of Canada. He has exhibited with the Bau-Xi Gallery, both in Vancouver and Toronto, since 1973.

Born in 1918 in New Westminster, B.C., Plaskett studied art in Banff, San Francisco, New York, London and Paris. He has lived in Paris since 1951, and more recently in England. His chosen subjects have always been intimate expressions of everyday life – interiors, still life, and portraits of friends and models. There is a warm humanity to his work, a love of light and form and colour that is evident in every painting he produces. The works are composed with such superb quality of painting that the ensuing results are masterworks of visual delight.
(the several web pages of Joseph Plaskett’s paintings on this Gallery site are actually very easy to view)

Joseph (Joe) Plaskett studied with many prominent Canadian painters like A.Y. Jackson, Jack Shadbolt, Lawren Harris and Jock Macdonald. Joe Plaskett was a pupil of Hans Hofmann in New York and Provincetown in 1947[1] and 1948.

In 1950, he arrived in Paris where he studied with Fernand Léger, and Jean Lombard, etching and engraving with Stanley William Hayter. He taught intermittently in Canada until 1957. After that date he settled definitely in Paris where his studio became an informal salon for Canadian painters, writers, poets and filmmakers, interfacing with artists from other countries.

I hope you have as much fun poking around and exploring his work as I have done over the past couple of weeks.

May at least some of us still be painting some of our best work this late in a long life of painting. As an update, I did hear from the staff at the gallery that he is now no longer able to paint and is quite frail but still – what a painting adventure to still be painting quality work at 93 years old!

How might you want to be celebrating your 95th birthday year?


© 2013 Terrill Welch, All rights reserved.

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Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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