A Quieter Time

For much of the year,  I thrive on a creative rhythm of quick short inhales with repeated exhales of joy and possibility in our ordinary day. Blogs are posted weekly. Classes are taught spring and fall. Solo art shows are proposed and curated. Requested application deadlines are met for the following year. I take us on hikes, painting trips, studio views of work in progress and this year into the new gallery. Then it is November. The days are short. Winter storms arrive. My internal rhythm shifts. The inhales are longer, deeper and the exhales reveal little to outside world until early spring. This is my restorative time. Social media posts become sparse. I always announce that I am taking a break during this time. I am not though. Not really.

Road to Everyday – 36 X 24 inch oil on canvas by Terrill Welch (available)

What I am doing is diving deep into my own creative well and wandering the trails, reading books, visiting with friends and neighbours and, with few interruptions, covering canvases with paint! This time of year I need this just as the rest of the year there is a steady flow of engagement outward. I know and trust we will all be better for it. Or, at least I will.

So, just so you know, posts of all sorts will be unscheduled from now until early in the new year. They will still happen but on my internal whim rather than a schedule.

What does your winter schedule look like?

© 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

 

Feeling The Joy of Complete

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

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

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

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

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

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

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

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

Walks with the trees and the sea of course.

Always the Trees…

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

What feels complete in your life at the moment?

© 2017 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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

Show Time for Beauty of Oils Painters

After a summer of chasing the morning light painting en plein air, three students from the Beauty of Oils Painting class and myself are ready for a fall group show in our local Mayne Island Library. Details are in the poster below. The featured painting in the poster is by Jody Waldie.

These fellow painters carved out time on most Thursday mornings from May to September to brush in patches of colour on canvas from various vantage points around Mayne Island in British Columbia, Canada. Here are just a few of the paintings that will grace the freshly renovated walls the library for local or visiting viewer’s pleasure.

House on Stilts – Active Pass, 11 x 14 inch oil on canvas by Katherine Cox Stevenson

Spring at the Lighthouse, 11 x 14 inch oil on canvas by Glenda King

Summer Tide, 10 x 8 inch oil on canvas by Jody Waldie

Morning Along the Island Road Mayne Island BC, 20 x 16 inch oil on the canvas by Terrill Welch

For anyone who has ever attempted painting with oils out in the open air, it goes without saying that we know it takes years of practice and skill-building to render a proficient canvas. Still, from the very beginning, using some basic methods and processes, there is an aliveness, a deep pleasure of the moment, a delight in colour and movement captured on the canvases that is worthy of sharing.  I am honoured to have had the opportunity to have provided some of these basics in oil painting lessons and to have been invited to paint side-by-side with these fellow painters as our brushes flew across the canvases capturing our glorious island summer landscapes. There comes a point when nothing can replace regular practice, and more practice. At this juncture a painter has only one reasonable choice – get out there and do it! And we did. I am thrilled to not only having been invited to paint but also to be asked to include a couple of paintings with this group for the fall show. Seeing a selection of our summer’s paintings hung together will warm the chill off the months ahead like winter preserves.

How do you like to render your summer joy for winter preserves?

P.S. With a  bit of luck, we shall have another spring show from the Beauty of Oils Painters at the Mayne Island Community Centre following our winter/spring Studio Intensive oil painting class. The fall class is full with 10 in-person students for the skill building Beauty of Oils painting class and the online sister class is also at its maximum for the pilot class. I do not do much marketing of these classes and it is mostly by word of mouth or if a person happens to catch a Facebook post where I mention the offering. If this is something you think you would like to do either in-person or online you are welcome to let me know via email or messenger on Facebook and I will add your name to the list to be notified of future classes.

© 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

Summer Paintings of Farmers Fields

The weather is fine and a tractor was making the rounds in the field below us yesterday. It was likely the last day for a while because we have entered extreme fire hazard. All day equipment ban in effect Wed. July 26. No spark producing tools. However, I am still inspired to share a few of my summer paintings of farmers’ fields with you, just for fun as we wait for the Terrill Welch Gallery to open on August 4, 2017. No heavy equipment or spark producing tools were used in the making of these paintings or in posting them for your viewing today.

Haying – 14 x 18 inch oil on canvas

Haying time signifies summer and this impressionist style painting holds the desire for coolness in the deep shade of the big tree. This is one of the Deacon Vale Farm fields on Mayne Island in B.C. where I was doing a photo shoot of the harvest and later completed this work in the studio.

Purchase information available HERE.

August Fields – 12 x 16 inch oil on canvas

An ever-changing view with eagles and turkey vultures often at eye level as they glide by – fields and hills changing with the season and the passing of each hour. This is the Meadowmist Farm field below us on Mayne Island and it was painted plein air from our outside deck.

Purchase information available HERE.

Road to the World – 12 x 16 inch oil on canvas

This painting was completed in two plein air painting sessions on my parents’ farm outside of Vanderhoof  B.C.

Purchase information available HERE.

I have painted other summer fields but these are three of my favourites.

 

Do you have a favourite farmer’s field near you?

 

© 2017 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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

Without a moment to spare and arbutus trees on the ridge

I tell you, sometimes blessings require running shoes and a sweater as one tries to keep up and keep warm to their cool wisps as they streak across the surface of our everyday life. This week shall be met with abandon and somewhat reckless pleasure between the art studio and grandmother duties. Without a doubt, it will be a “yeeeeehaaaaawwww!” kind of week with Thursday being filled with crazy creatures wandering in the night asking for treats.

Of course, the light and shadows will still move unruffled by my daily activities. This 12 x 16 inch oil on canvas landscape which appeared in the studio under my brushes over the weekend reminds me of this.

ARBUTUS ON MT. PARKE

Arbutus on Mt. Park  12 x 16 inch oil on canvas by Terrill Welch 2013_10_26 059

The painting will likely be released sometime next week when I get a moment to put it up. But it is done and I am happy with it as it makes a wonderful grounding reference point for the week ahead. Many Monday blessing to you!

What will be your grounding reference point this week?

P.S. I am keeping a secret that I am just  barely able to keep from telling you! Stay tuned because soon we are in for a real treat and addition to sharing my paintings and photographs.

Also, a notice is up on my website about the online and physical November 9th and 10th Open Studio event ANYTHING BUT NEUTRAL. Do drop by for more information.

© 2013 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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

Unraveling the artistic influences and intentions behind the painting EVENING AND THE ARBUTUS TREE

The time has come to try to write about what happened on the canvas of EVENING AND THE ARBUTUS TREE 36 x 60 inch oil on canvas.

Evening and the Arbutus Tree 36 x 60 inch oil on canvas by Terrill Welch 2013_01_07 018

(Detailed viewing and purchase information available HERE)

We can begin with the first hand experience on the evening of November 10, 2012 and the resulting reference images with the primary one being this one simply called “The Arbutus Tree.”

The Arbutus Tree by Terrill Welch 2012_11_10 036

We can refer back to November 23, 2012 and the early beginnings of this painting, where we can still see parts of the underpainting, and the hard lines of the tree and foreground developing.

Evening and the Arbutus Tree in progress by Terrill Welch 2012_11_23 009

We can examine the six paintings I painted in between this stage and completing the painting on January 4, 2013 for any hints of what was to come.

“Storm Clouds over Strait of Georgia” postcard size oil on paper

Storm Clouds over Strait of Georgia postcard size oil on paper by Terrill Welch 2012_11_29 008

“Evening Thunderclouds over the Strait of Georgia” 20 x 20 inch oil on canvas

Evening Thunderclouds over the Strait of Georiga 20 x 20 inch oil on canvas by Terrill Welch 2012_12_20 025

“Reef Bay morning experienced” 14 x 18 inch oil on canvas

Reef Bay morning experienced 11 x 14 inch oil on canvas by Terrill Welch 2012_12_20 016

And these three that were painting on the same morning as I returned to work on the larger canvas bringing mostly to completion by the end of the day.

“At the Beach another time” resting 12 x 12 inch oil on canvas

At the Beach another time resting 12 x 12 inch oil on canvas by Terrill Welch 2013_01_02 050

Late December West Coast Sunrise resting 6 x 6 inch oil on gessobord

Late December Westcoast Sunrise resting 6 x 6 inch oil on gessobord by Terrill Welch 2013_01_02 059

Pear Trees in winter first light resting 8 x 10 inch oil on canvas

Pear Trees in winter first light resting 8 x 10 inch oil o canvas by Terrill Welch 2013_01_02 040

We can review my contemporary colleagues whose work is often part of my daily artistic exposure. The list is long with more than 300 in my network but a few may be worthwhile considering in relation to this particular work.

The first of these colleagues being Lena Levin for her skill in using and splitting colours into intricate tensions within her paintings.

Montara Beach 16 x 20 oil on canvas panel by Lena Levin

But there are also Gabriel Boray for his boldness and commitment to exaggeration

The Fields by Gabriel Boray

 

 

Shell Rummel and her attention to design so much so that it is now being made into fabric

Water’s Edge by Shell Rummel

 

This is not everyone of course but just a few of my peers whose landscape paintings come to mind.

Yet, there is also my long-term and recent study and musing of historic landscape works by Emily Carr

The Shoreline by Emily Carr

and The Group of Seven

as well as the landscapes of  Edward Hopper

New York, New Haven and Hartford by Edward Hopper

and Gustav Klimt

Farm House with Birch Trees by Gustav Klimt

Of course, it would be impossible not to mention the French Impressionist painters with particular attention to Claude Monet and Camille Pissarro when listing those whose work I spend time digesting.

Yes, we can do this referring, reviewing and examining of influences and though these are all relevant aspect, they are not the nub of importance. What is, I believe, most important is my conscious effort to divorce the impressionist influences of Claude Monet and the other French Impressionist painters that are so predominantly relevant and internalized in my own painting process. This notice of separation was given on or about August 5, 2012.

However, the intention of my work both in painting and photography has not changed.

What is this intention you might ask. It is roughly as follows:

To demonstrate our relationship to our natural environment and the continuity of time. What is the season? What time is it? Where is the sun? Where am I? Where are you? Where shall we meet in this canvas? How is it intended to influence us?  How does it influence us? The underlying tension is that if we do not address this connection and relationship in a deep and profound way in our daily lives, humanity will parish in a spiral of its own self-destruction.

(Reference: art journal March 21, 2012)

If the intention of my work holds then I must define the problem:

I was taught to start a painting from the farthest point from me. In a landscape this is often the sky. Also, I was to establish my darkest value somewhere in the foreground (though I often forget to do this until part way through a painting). Once the composition is blocked in then, when using oils I was told to work from my darkest areas towards my lightest areas while building the whole painting up at the same time. The reverse process was recommended for water colours for obvious reasons. The intent was to paint what was there or what was seen by following the light source with more detail in the foreground and less in the back ground – a rule I break repeatedly. Further, it was recommended to paint into the shadows in search of colour, light and shapes – noting the difference between cast shadows and form shadows.

But what if this isn’t so? What if even cast shadows are part of form – a continuation of the relationship between visual and energetic space of an object? What if Form is more than Shape, more than composition and cast shadows are part of understanding the elements and there relationships in the painting – beyond position and time of day.

I have primarily set my painting intention on painting light, movement, relationship and connection. Form has been a back drop for the other actors in my paintings. Hence, at times, I have never felt I was successful in providing adequate contrast between light and dark. To be frank, I have trouble seeing the shape or form of shadow even though I understand shadow intimately due to the significant amount of time I spend in natural light. I have had no concept to explore its strength until this idea came to me.

My proposition: The form shadow and the cast shadow are both in a primary relationship with the form. They should be painted and understood as one. Both continue to be attached to our understanding and experience of the Form – and not just with the light source and the underlying subject in the shadow of the form. For example, the grass is NOT understood as grass in the shadow of the tree but rather the tree’s shadow (possessive intentional) is spread across the grass. (Reference: art journal August 5, 2012)

This proposition is what I am exploring in current paintings and this is what is behind the shift we see in EVENING AND THE ARBUTUS TREE. It is this that is the impetus for my primary separation between my impressionist foundations in recent paintings. It is not an approach that consistently holds because I find it is so easy to follow the light into the shadows and represent how it softly plays on the grass instead of letting the shadow stand on its own, sometimes harshly against the light in the evening sky or the edge of the tree trunk. What this painting is saying is that the shadows can speak for themselves in relation to the light land the form. It is a complex language but can intuitively be understood. These harsher edges are part of the stillness that comes with the beginnings of silhouettes that will soon follow as time takes us steadily towards the approaching night. This is an important voice to record in the conversation of this landscape.

In this painting the caste shadow is from the lighthouse. It is this shadow that creates the strongest bridge between the foreground and the mist in the background and the rich hues on the right where the last vestiges of the evening sun are slammed against the sandstone and shrubbery before spilling across the sea and the mist. Therefore, I did not paint a tree that was half cast in shadow. I understood that the cast shadow was important to understanding the form shadow of the tree, of this landscape’s foreground and of its relationship to the background.

detail 1 Evening and the Arbutus Tree by Terrill Welch 2013_01_07 033

These tensions would have become unintelligible if I had followed the light into the shadows to such an extent that the relationship of the caste shadow lost its importance.

So if we can now hold all of these aspects of influences in one brush stroke and then another we possibly might have some idea as to what happened on this canvas that has brought about a notable shift from previous work. Yes, the work, as some have already confirmed, is still recognizable as my painting. It is still following the same intention as earlier work. Yet, I think we might agree that the language of expression has become more refined and complex in its simplification.

What now? Will it mean that this shift becomes consistent in future work? I do not know. If we go back to the previous six paintings that were painted in between starting and completing this painting, I would guess that there will continue to be this flip-flopping between the practice of following the light and that of letting the shadows stand on their own as part of the tension and expression of the relationships in the landscape. We shall have to wait and see.

What are your own most recent attempts to discern your creative influences and intentions?

© 2013 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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

STORM COMING THROUGH original painting by Terrill Welch

Winds howl as the rain slaps driving mist across the landscape. It takes fortitude, girt and a bit of foolishness to be out on a day like this. With shoulders hunched I yell against the beastly day with no effect. The sounds are carried away, across the water, through the trees – gone, like the day that will end in nothing more than a short, perpetual early dawn. Such is a winter storm in January off the southwest coast of Canada.

I’m not ready to make this painting available for purchase just yet. The painting and I are still discussing its current state of completion. If you want to know more about how this conversation is going you can read my account of the dialogue HERE on one of my  G+ posts.  When we have reached a mutually agreeable conclusion,  the painting  will be posted at the Artsy Home online Gallery with my other paintings that are currently available.

This a 24 x 36 inch oil on canvas and is my second attempt to capture one of these storms on canvas. Here is the first smaller study I did of just a section of this scene

(available for purchase HERE

Pssst! May is just about upon us and you know what happens to me between May and September – even October right? I am less frequently online and in front of the computer. It is just the way it is. I wish you the best for the summer and will post as the opportunity presents itself. May you be digging your toes in the sand, tossing your hair in the breeze and enjoying the few short months of fine weather.

Good morning and the best of Wednesday to you!

SPROUT: If you could do any creative project you wanted this summer what and where would it be? 

© 2012 Terrill Welch, All rights reserved.

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

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

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Terrill Welch online Gallery at http://terrillwelchartist.com

Held Over by Popular Demand

Thank you everyone for your support. The show has been a whopping success and it is not over yet!

The STUDY of BLUE solo exhibition was extended at the request of the venue until tomorrow August 2, 2011. However, SEVEN of the original fifteen paintings are now SOLD. I have replaced some of paintings at the end of the original close date so that they can be delivered to buyers. The Oceanwood Restaurant & Inn has also asked to hang paintings in their luxury B&B rooms so their customers will get another chance to purchase them. This is a lovely offer particularly for some of the larger paintings.

Here are quick links to my seven original oil paintings from the show that are still available for purchase at the ART OF DAY online gallery:

ONE 24 X 36 inch oil on canvas BUY NOW.

OWL’S VIEW 24 X 18 inch oil on canvas BUY NOW.

SALISH SEA FOUR 24 X 48 inch oil on canvas BUY NOW.

EAST POINT CLIFFS 24 X 18 inch oil on canvas BUY NOW.

BREAKING THROUGH 36 X 48 inch oil on canvas BUY NOW.

WINTER SUN 18 X 24 inch oil on canvas BUY NOW.

And the very last of the smaller paintings still available…

STORM COMING 8 X 10 inch on canvas BUY NOW.

 

Sprout question: What creative accomplishment are you celebrating this week?

 

p.s. I have a surprise that I hope to share by the middle of August… once I review the proof. I think you are going to like it.

 

STUDY OF BLUE  solo exhibition extended to August 2, 2011.

 

© 2011 Terrill Welch, All rights reserved.

 

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

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

Creative Potager – where imagination rules. Be inspired.

From Mayne Island, British Columbia, Canada

Terrill Welch online Gallery at http://terrillwelchartist.com