Work Life In Progress

A great big sign at the entrance of the driveway may accurately read: PROCEED WITH CAUTION WORK LIFE IN PROGRESS. Not that this is a bad thing. The alternative is much less appealing.

It is just means that the question usually asked about how are things going will be answered by –  “Oh, round and round!”

Or – “Busier than a painter with three brushes in her hand.”

Neither of which tell us much at all.

So a better question might be – “Terrill can you tell us one thing that pleases you today?”

Yes I can. I have a new painting roughed in on the easel that I am going to muse about while I drink my morning coffee. Let me show you….

The canvas is 12 x 24 inches and started with a yellow ground and a few marks to guide the scale of the composition.

The spring morning sky brightens all in its path including the green firs on the hill across the way. Song birds sing, grass grows and an eagle cries somewhere in the distance across the pass.

First leaves are soft and translucent in the warm light as the blues of sea catch my breath and swing it skyward and back again. How many mornings has the Springwater Lodge, the oldest continuously operating hotel in British Columbia, seen like this one?

There is the scent of fresh coffee filling the loft with a hint of linseed oil underneath. I decide to leave the studio lamps off for just a little longer. But I will sort out the angles of lines, the relationships between objects and the spaces in between later today – one brushstroke at a time.

Update: Now as the end of the day nears and the work has come to “resting” all shiny and wet on the canvas…

Early Spring Morning at the Miners Bay “resting” 12 x 24 inch oil on canvas

How about you? Can you tell us one thing that pleases you today?

Note: “The Beauty of Oils Class of 2017 Art Show” was a wonderful success. All the pieces are falling into place for the Art! Vancouver Fair at the end of May and the background material for advertising has been sent in for the six week solo show opening June 30th 3-5 pm in the afternoon. Next will be a focus on getting the last of the edges painted on the selected work for the solo show.

© 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

High Desert Dawn revisited

Pungent sage brush rustles with a family of wild turkeys as the heavy clouds lift up from the horizon. It is morning, early morning. Low hills glisten with the dampness of departing rains. Why not revisit? After all, it has been five years has it not?

I pick up my brush and begin reworking the canvas. After an hour or so of stepping back and forth, it seems to be coming along.

The morning light sliced through the heavy storm clouds over the high desert in Orville Washington.

High Desert Dawn – 30 x 40 inch oil on canvas

I am happier with it now I think. Those variations of blues make the photo editing program cross-eyed. You will just have to believe me when I say it is much nicer in person.  Details and purchase information is available in the on online gallery HERE.

Mostly, this week has been a time of catching up and preparing for the next show which is Art!Vancouver Fair, May 25 – 28, 2017 at the Vancouver Conference Centre, East 999 Canada Place. I am showing my paintings with three other Canadian artists in 30 feet of booth space sponsored by Artists in Canada. I would love to see you there and your friends too for that matter 😉 The details regarding advance tickets and such are on the website HERE.

Other than that it has been long walks sometimes in sun and sometimes in rain.Spring is here. Taxes were done on time. Life is good.

What are you enjoying most about your week so far?

© 2017 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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

Standing with the Sea Painting from Life

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

© 2017 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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

If a painter decides to paint a recognizable hill with a road then it best be drivable

I do think it is important that regardless of an approach that a painting is plausible or maybe it becomes plausible with time as we begin to experience the work as the artist did in its creation. This means if there is a recognizable hill in a painting that has a recognizable road then it is reasonable to expect that it would be drivable.

detail 1 Early Spring Muir Beach Overlook California 18 x 24 inch oil on wood with 1.5 inch cradle. by Terrill Welch 2015_04_27 057

Hence came about the resolution to a recent painting problem when I was working on EARLY SPRING MUIR BEACH OVERLOOK CALIFORNIA. I had about 20 reference images and I printed four before I started working.

I was nervous about my intuition for this painting. The landscape is hardly known to me. Though I stood there for a long time trying soak in all the information I could. Though I had my photography sketch type images, I still wasn’t really sure if I understood or if I knew this place in my bones. I had not witnessed year after year of subtle seasonal changes. But also I question my ability because the California landscape does not have the cool clear blues of its northern sisters. The haze and atmosphere are warm and rich – almost buttery, even in early spring. There is a constant taste of chalk with a hint of salt on the air in this drought-ridden geography. I must learn a new palette, possibly even a new approach. I do not know this landscape even as my rain forest hair registers a more waif-like wisp on the sea breeze. I want to know it though. I listen and peer as if learning a foreign language. I am hypersensitive a I prepare to paint All my sensory recorders on high alert. What I can not discern, I must guess. I am doubtful of my ability to read the body language of this landscape with my brush where words and understanding fail me. But I must try. I painted the ground a week ago and this morning I start.

1 outline for Early Spring Muir Beach Overlook California 18 x 24 oil on wood with cradle by Terrill Welch 2015_04_26 004

After a few quick lines to help guide me through the composition I start blocking the painting in. I knew there was a strong underlying difference between sky and sea. They were not the same family of blue though a slight reflective element on the sea connected them on the surface. So I started there.

2 beginning to block in Early Spring Muir Beach Overlook California 18 x 24 oil on wood with cradleby Terrill Welch 2015_04_26 010

For future reference there is a dirt road on the first hill above the beach. At this point, it is not so bad for being accurate. So far so good. I finish blocking in the landscape. That blob of white is just a reminder to put in a sea stack later on.  But look what happened to the road. In my mind’s eye I wanted the road to go to the beach. I am not aware of my mistake and continue on with this lively work which is already breathing on its own.

3 Blocked in Muir Beach Overlook California 18 x 24 oil on wood with cradle by Terrill Welch 2015_04_26 016

Several hours later, I am disappointed and frustrated but I must leave it to rest. I am physically tired from a full day of painting and unable to comprehend what needs to be done. Here is where the painting rested until after dinner.

4 Muir Beach Overlook California resting 18 x 24 oil on wood with cradle by Terrill Welch 2015_04_26 031

I sat and looked at it while my husband said  over and over “it was fine – just leave it alone.”

But something was very wrong. Something was bugging me. I sat on the stair steps and gave the painting that was resting on the windowsill across the room my full attention. Finally, I saw the problem. There were no switchbacks on the bottom of the hill. It was not navigable. I leaped up, scramble the stairs to the loft and my reference images. Sure enough I had moved the road! It need to go farther up the side of the hill as it didn’t lead to the beach at this point at all. With a few quick brushstrokes everything is made right in the wet paint. I can then see other work that needed to be done but I wait until the next morning.

After waiting for daylight, I turned my loose brushstrokes onto the canvas with clarity. The rocks on the foreground hill picked up their natural brightness above the trees. However the cottages remain missing by design.

detail 3 Early Spring Muir Beach Overlook California 18 x 24 inch oil on wood with 1.5 inch cradle. by Terrill Welch 2015_04_27 057

I added highlights to the sea and scaled back the far hills where San Francisco sits unnoticed in the distance.

detail 2 Early Spring Muir Beach Overlook California 18 x 24 inch oil on wood with 1.5 inch cradle. by Terrill Welch 2015_04_27 057

It is a private view for the viewer alone to savour. The road denotes a connection to civilization that does not intrude on the landscape. I feel I have been true to place and true in using all of lessons of those painters who have gone before me.  At the same time, I have registered  something of my own unique vision. This is not a small task to accomplish and one I may question both for its relevance and its success on another day. But for today, let’s enjoy the view shall we!

EARLY SPRING MUIR BEACH OVERLOOK CALIFORNIA 18 x 24 inch oil on wood with 1.5 inch cradle.

Early Spring Muir Beach Overlook California 18 x 24 inch oil on wood with 1.5 inch cradle. by Terrill Welch 2015_04_27 057

The work needs to dry and then have its final photograph but I am fairly confident that the painting is finished.

And do feel free to take a drive along that dirt road. I am sure you will find it quite satisfactory.

 

When was the last time you couldn’t see something that was right in front of you?

 

© 2015 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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

Storm Watching and its progress on a large canvas

At 10:00 am today the morning light was not strong enough to work without the studio lamp. It is heavily overcast and last I checked there is a wee bit of snow expected. However, I was able to put the finishing brushstrokes on this large 30 x 40 inch oil on canvas painting this morning. It may be weeks before I can get a decent photograph of it so we will take a look now at the shiny-wet resting point of STORM WATCHING. Storm Watching 30 x 40 inch oil on canvas still on easel by Terrill Welch 2013_12_09 034

We may think that this painting began with this quick painting sketch on the canvas. Not really the beginning of Storm Watching 30 x 40 inch oil on canvas by Terrill Welch 2013_12_08 001

But we would be wrong. It all started on Friday December 6, 2013 at about this same time of day when the power went out. I was surprised as there was little wind at la casa de inspiracion. But then the email notifications started coming in with Ferry boat cancellation and they were for the Inside Passage which is not common at all. So I knew then that there had to be wind somewhere and took a guess that it was on the east side of the island. Sea View Mayne Island by Terrill Welch 2013_12_06 024

Sure enough it was blowing a bit out there. But this isn’t the spot we need to be. We have to walk out to Campbell Point in the Gulf Island Park Reserve because the waves are break on the rocks in a big way. Let’s go and have a look. Dress warm and still expect to the wind to go right into a person’s bones and starts sawing away with an ice-cube. Rough Sea  by Terrill Welch 2013_12_06 142

Scrambling out onto a rock ledge the wind whips my big lens and me around with the same ferociousness as the sea. But I am determined. I hunker down low and steady myself against the roar. WILD SEAS WITH MOUNT BAKER IN THE DISTANCE

(Detailed view and quality prints available HERE.) There was no chance of using a tripod in these conditions. It was all up to my stabilizers and years of practice of framing and shooting waves. There wasn’t much time because I would get to cold to be able to work the camera and it was no place to be getting stiff and wobbly when I stood back up from where I was crouching. So steady does it. FULL STOP

(Detailed view and quality prints available HERE.) BREAKING OVER TWICE

(Detailed view and quality prints available HERE.) Sunday as in yesterday I pulled out the large canvas and placed it on the easel. I wanted the immediacy of this moment while it was still fresh to me on a cellular level. Choosing the overall colour of the filtered air with seaspray by Terrill Welch 2013_12_08 004

The continuous motion of the winds and the sea stir sea-spray high up onto the cliffs above. I want that. I want that feeling of stirring and motion. I decided no underpainting so that spray would have the advantage of the white underneath. I had noticed the spray shadow in one of my reference images and took advantage of this to create additional depth. I worked on getting the painting down with as few brushstrokes as possible. Building up the movement in paint Storm Watching 30 x 40 inch oil on canvas by Terrill Welch 2013_12_08 007

I want us to be slightly queasy from it as we are swayed in the waters and crash against the rocks within our viewing of this painting.

Storm Watching resting 30 x 40 inch oil on canvas by Terrill Welch 2013_12_08 021

At the core there is a knowing and a thimble-size of silence which makes it bearable. This too shall pass. This is the stage that the painting rested overnight. This is where I started earlier this morning and finished at the first photograph which will not be its final of course. For this we must wait for better light.

UPDATE OCTOBER 13, 2014: Link to detailed viewing of the completed painting with purchase information and a link a short (less than six minutes) video where I talk about this painting can be found on the Terrill Welch Artist website HERE.

In conclusion, my Monday morning blessing is patience, admiration and determination. If we are willing to try we can most often do more than we believe we can. A large wave from a large canvas as you forge through the week ahead.

What are you determined to accomplish this week even if the winds of doubt are fierce?

© 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

Large autumn seascape oil painting released Today – Sliced with a Tear

Released today – Sliced with a Tear…

Canadian Contemporary Artist Terrill Welch

There is something about autumn by the sea with the gray melancholy wrapped in fall colours. This particular day is one of those slow-baked, melancholy west coast Sundays, so moist and tender you can slice it with a tear.

This is the first of four huge canvases I have completed over the past several months. I started this painting last year about this time but it was not completed until February. However, I was not ready yet to let it go out into the world. I coveted closely, showing it here, on my blog and to close friends, family and art collectors but it was not for sale. Today though, I am ready and I am releasing this painting to a good independently wealthy or willing-to-take-out-a-mortgage home. This is one large painting! 🙂

SLICED WITH A TEAR 36 x 60 inch oil on canvas

Sliced with a Tear 36 x 60  inch oil on canvas  by Terrill Welch 2013_01_25 115

Updated February 25, 2014: This painting…

View original post 142 more words

Off to kick leaves and have a good visit

It is leaf kicking time! I am heading north for better than week to visit with family. With a bit of luck, I will come back with at least few photographs of brilliant autumn colours. I can’t make a promise but I can assure you that there is a good possibility.

In the meantime, I have been busy with a large stack of administrative work with little time to paint. But I do have a new large 60 x 36 inch oil on canvas resting called SEASIDE MAYNE ISLAND

Seaside Mayne Island resting 60 x 36 inch oil on canvas by Terrill Welch 2013_09_11 048

It is not released yet and still needs a final photo shoot. I will also do a full work-in-progress post for us sometime in early October. Regardless of its newness and still “resting” status, I placed the painting in a prominent location last evening for a dinner we hosted with good friends and collectors of my paintings and photography.

dinner with friends and art by Terrill Welch

The hit of the evening, after SEASIDE MAYNE ISLAND of course, was a new still life painting…

AUGUST STILL LIFE WITH CEZANNE AND MATISSE
36 x 24 inch oil on canvas

August Still life with Cezanne and Matisse 24 x 36 inch oil on canvas by Terrill Welch 2013_08_23 034

There are distinctive elements of Paul Cezanne‘s work that go far beyond his use of colour to represent form. He had a way of presenting different viewpoints in his compositions that was and is exciting. This is something that Henri Matisse continued to explore while allowing the paint to become colour fields of flat surfaces. At one point in the of the development of this work I had a choice. I could continue to build up the colour fields or I could continue to follow the light and movement within the landscape. Matisse of course was arguing for letting paint be paint in its colour and simplicity. Cezanne was slowly working his way into the tension of form and structure of the still life using colour as his guide. I observed. I thanked the masters. Then I picked up my brush and continued to paint the light and movement between the forms until the painting came to rest. Edges are currently unfinished and can be completed to meet your needs.

Detailed view and purchase information at:
http://www.artsyhome.com/product/August-Still-life-with-Cezanne-and-Matisse

Where might be your favourite Leaf-kicking stroll when the golden light is shining low through the trees?

Psst! I have also started working on my second art book. The working title is ANYTHING BUT NEUTRAL: Mayne Island in paintings and photographs, Volume Two. I have about 57 of the estimated 80 pages completed in draft form. Tentative release will be early November. I shall keep you posted as it progresses 🙂

© 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

Deep into the painting process of West Coast Blues rolling waves Oyster Bay

Dear readers, I know you are used to regular posts about my work-in-progress and I admittedly have been more than a little tardy in supplying them.

1 underpaintings on three large canvases by Terrill Welch 2013_06_24 003

However, I am hoping that this rather vulnerable, revealing exposure of the painting process for my latest large 36 x 72 inch oil on canvas WEST COAST BLUES ROLLING WAVES OYSTER BAY will make up for this.

I find it hard to define where a painting really begins as each work is usually in the middle of a longer artistic exploration and painterly discussion. But for the sake of starting somewhere let us start with March 3, 2013.

The waves are rolling midnight blue on one of those rare days when the winter sky is just right and the west coast mountains remain visible across the Strait of Georgia.

2 West Coast Blues Oyster Bay Mayne Island

(Quality prints of this photograph  in various formats are available HERE.)

Not long after this day a small 12 x 16 inch painting WEST COAST BLUES STUDY is completed.

3 WEST COAST BLUES study 12 x 16 inch by Terrill Welch 2013 04 13 037

(Quality unlimited prints of this painting study are available in various formats HERE.)

The painting SOLD still wet and “resting’ in less than 24 hours after it is completed. Fortunately, I am able to make arrangements to keep the painting in the studio as I prepare to work on the larger canvas. Sadly though, my external hard drive fails at this point and all but one other reference image of this scene are lost. I usually work with about 20 – 150 captures of a scene I want to paint but must now settle for two which includes this one…

4 West Coast Blues rolling waves Oyster Bay Mayne Island by Terrill Welch 2013_03_03 094

Driven by the movement of the sea which is far greater than the camera can capture, I choose a primary composition to guide the large painting…

5 Painting reference West Coast Blues rolling waves Oyster Bay Mayne Island by Terrill Welch 2013_03_03 094

Several months after painting the small study, I begin to work up the underpainting and with modern technology I am going to take you with me.

Oh to get that energy on the canvas from the very beginning! We now must leave the underpainting to dry for a few days before, with bare feet and all, I am ready to start building the whole canvas up at once – mostly working wet-on-wet or alla prima.

6 Progress 1 West Coast Blues rolling waves Oyster Bay by Terrill Welch

I paint for several hours at a time as the canvas is mammoth to cover, even with using large brushes.

7 Progress 2 West Coast Blues rolling waves Oyster Bay by Terrill Welch

I am always happiest at this stage of any painting because the possibilities feel limitless and exhilarating. There are often smiling moments of gems like this detail that will eventually disappear as the painting progresses.

8 Progress detail West Coast Blues rolling waves Oyster Bay by Terrill Welch 2013_06_26 010

As always I am conscious of the light direction, the season and also the movement and energy resistances within a landscape. My desire is to have the viewer inside the painting rather than sitting comfortably as an observer of the scene. This next video clip hints at how I go about accomplishing this.

At this point I want to caution that what I am sharing here is how I paint and my painting process. It is not “the right way” or “the only way” but rather it is my way. Other artists have their own well-developed approaches and techniques that works for them just fine. So this sharing of my process is NOT a “how to” sharing but rather an intimate personal sharing of my own painting process. I am allowing you into my artist’s head and heart as I work.

I am now to the point where the painting is at risk of the painting tightening up more than I want…

I keep working adding some studio lighting to try to even out the light hitting the canvas.

9 Progress 3 West Coast Blues rolling waves Oyster Bay by Terrill Welch

I continue and time passes until my physical ability becomes fatigued and yet I am reluctant to quit.

I must eventually leave it and walk away until the next day when, with some help, I get the painting down the stairs of the loft studio and outside for a good look.

10 West Coast Blues rolling waves Oyster Bay resting 36 x 72 inch oil on canvas by Terrill Welch 2013_06_28 009

Now is as good a time as any to tell you that between the first painting study that I did as part of the reference work for this large painting I also painted fifteen other smaller works and of these seven or almost half are already in private collections.

In a moment, I will share two of these smaller paintings that I feel are most relevant to this specific work and that are still available for purchase. But first let’s set up the iPad again for one last video clip…

11 iPad video set up for West Coast Blues rolling waves Oyster Bay by Terrill Welch 2013_06_28 020

A nifty new use for my French Box easel 😉

My disappointment is almost overwhelming. The painting is not measuring up and I am unsure as to what to do about it. This is the hardest part of the process for me both in experience and to share. All the hours, days, weeks and months have left me with what I feel at this stage is an unsatisfactory result. This moment is not new to me as I mention in the video. It is a common experience I have at or near the end of a painting. What to do? I wait it out by placing the painting where I look at it while working on other paintings.

This leaves me with one of the two other significant small studies that I mentioned early.

END OF STORM GEORGINA POINT MAYNE ISLAND 8 x 10 inch oil on canvas was painted midway through.

12 End of Storm Georgina Point Mayne Island 8 x 10 oil on canvas by Terrill Welch 2013_06_25 017

Detailed view and purchase information available HERE.

THE MT. BAKER REACH 8 x 10 inch oil on canvas was painted during that difficult resting period of uncertainty.

13 The Mt. Baker Reach 8 x 10 inch oil on canvas by Terrill Welch 2013_07_02 015Update October 8, 2013: This painting is now SOLD to a private art collector in California U.S. A.

Somehow, unknown to even me I was able to determine what I needed to do on the larger canvas because of the work on particularly the second of these two small landscapes of the sea. After several days of letting the painting “rest” I went back in and did another day’s work and came away much more satisfied with the final results. The relationship between these smaller works and the large painting is best observed in these details from the larger work.

Detail one and each of the following details are about 15 X 20 inch portions of the overall 36 x 72 inch canvas.

14 detail 1about 15 x 20 inches of West Coast Blues rolling waves Oyster Bay by Terrill Welch 2013_07_16 064

Detail 2 with a good slice of the land, sea, sky relationship.

15 detail 2 West Coast Blues rolling waves Oyster Bay by Terrill Welch 2013_07_16 063

Detail 3 with an up close view of the water movement.

16 detail 3 West Coast Blues rolling waves Oyster Bay by Terrill Welch 2013_07_16 062

Detail 4 showing the largest rolling wave.

17 detail 4 West Coast Blues rolling waves Oyster Bay by Terrill Welch 2013_07_16 061

Recently a studio visitor asked how had I learned to paint water. I gave my best effort to explain that in order to paint something with its energy and with conviction I become that element and I feel the tension that surrounds it in relation to other aspects of its environment. This is a process of painting the light and space between the forms evident in a painting rather than painting the forms themselves.

Detail 5 showing a small piece of the sky.

18 detail 5 West Coast Blues rolling waves Oyster Bay by Terrill Welch 2013_07_16 065

Now I must leave for 10 days. I will not look at the painting and with a wee bit of luck I won’t even think about it.

Okay, here we are. It is August 3, 2013, five months after I began formulating the reference material for this painting and a total of sixteen smaller paintings and two larger paintings have been completed besides this largest of the large work. I have walked around the painting and allowed it to surprise me. I have had more than a handful of individuals through my home studio and I have seen the impact the work has as its presence reaches them.

Finally, though I may privately wish the painting was more, I am ready to say it is complete. Done. Ready to stand on its own.

Please allow me to introduce you to WEST COAST BLUES ROLLING WAVES OYSTER BAY 36 x 72 inch oil on canvas

19 West Coast Blues rolling waves Oyster Bay 36 x 72 inch oil on canvas by Terrill Welch 2013_07_16 055

Update January 16, 2014: This painting has now been release on my website Terrill Welch Artist post “Sea Tree and Fruit – new paintings by Terrill Welch

What creative process has held your attention over the past five months?

© 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

Sunday roses in June at la casa de inspiracion

I woke this morning with a full day to fill as I choose. No commitments that can’t wait until tomorrow. No restlessness I feel driven to address. Today is for June roses, quiet cups of tea, twittering birds, long strolls and simple meals. Today is for being charmed by the delicate strengths of a moment.  At the gate is a pavement rose puffed with blossoms with petals on her toes.

Sunday roses in June at la casa de inspiracion by Terrill Welch 2013_06_09 007

I linger over a fine red bud.

rose bud by Terrill Welch 2013_06_09 012

Then swoon down to a singular red beauty.

single pink pavement rose by Terrill Welch 2013_06_09 009

Dipping even closer, her fragrance tingles my sense of mystery and wonder.

try by Terrill Welch 2013_06_09 016

This pink pavement rose is not the only hearty soul in the garden though. There is of course “The Grandma Rose,” a most resilient Scottish Brier rose. Her small white buds are determined to drag our focus from the neighbouring greenery.

Grandma Rose in full bloom  by Terrill Welch 2013_06_09 029

She is resourceful in her attention-getting ways. The fragrance from these two-inch white balls comes no finer. Let’s see… oh, here is one. Now smell.

single  fragrant Scottish Brier Rose by Terrill Welch 2013_06_09 030

Perfect! Right?

The roses this morning remind me of the delicate balance of my week – a painting passing its final test of suitability for a new home. A new small painting resting on the easel.

End of Storm Georgina Point Mayne Island resting 8 x 10 oil on canvas

End of Storm Georgina Point Mayne Island resting 8 x 10 oil on canvas by Terrill Welch 2013_06_06 024

Two paintings released for sale over at Terrill Welch Artist

New Growth West Coast in late May 8 x 8 inch oil on gessobord

New Growth West Coast in late May 8 x 8 inch oil on gessobord by Terrill Welch 2013_06_01 024

From Felix Jack Road Mayne Island 14 x 11 oil on canvas

From Felix Jack Road Mayne Island 14 x 11 oil on canvas by Terrill Welch 2013_05_28 267

(For the curious and serious fans and collectors alike, links to detailed views and purchase information for these two paintings are posted over at  Terrill Welch Artist. )

Equally important to this delicately balanced week,  my husband is happily spade-deep in a project and my Saturday was spent with a good friend.

This pretty much wraps up what is blooming in my corner of the world. I am contemplating taking a wee bit of time off but this will not be until July. In the meantime, for my everyday, I wish it to be much like this week.

What is blooming in your creative corner of the world?

 

© 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

 

Working on THE EDGE can offer some interesting possibilities

There is a sandstone bluff, battered by the wind and sea but also hosts a familiar arbutus tree on its top most tip. THE EDGE, a rare large, long-lean 48 X 24 inch oil on canvas painting to out of my studio. In fact, I almost couldn’t reach the top when it was on the easel and had to squat yoga style to paint the bottom quarter of the canvas. Further more, it was not possible to paint it upstairs on my French Box easel. This canvas called for taking over the great room with my large portable easel which I have had since graduating from high school.  Shall we have look at how it all came about?

The Edge work in progress 1

As usual I am not all that keen on sketching in my compositions and prefer either a loose underpainting or just a few paint lines to guide me. In this case, I chose a few paint lines to get started before starting to added in some blues for the sky and other patches on the canvas.

The Edge work in progress 2

It most certainly doesn’t look like much yet. But I am hopeful and the day is young.

The Edge work in progress 3

The deliberate addition of red in these specific areas of the canvas will serve two purposes. The first is to pull out the red pigment that is already part of the stones and the bottom of the trunk of the arbutus tree. The second is to gradual in a very subtle way bring in the warmth of the evening light over the whole of the scene. It is now time to start building up some colour blocks and just get that paint on the canvas!

The Edge work in progress 4

This particular stage in any painting is the most demanding. The paint catches on the dry canvas and seems to drag the paint off the brush. On a canvas this size it seems to take forever to build up the bulk of the painting so it can be completed alla prima or wet-in-wet.

The Edge work in progress 5

My body starts to physically tire from the long stretches of painting and reaching to move across the whole canvas as I work. The day moves on hour after hour. I break for lunch. I move the canvas around a bit to keep it out of the direct sun coming through the skylight. I then keep going until finally – it comes alive. Shiny and wet I can now leave it to rest.

The Edge work in progress 6

In the morning I make a few more adjustments and remove it from the great room downstairs and place it on a chair to lean against the wall in the loft studio.

The Edge 48 x 24 chilling back in loft studio E7C16EC0-1691-4E3C-82E0-32502C2CD411

I look at it for a few more days and decide it is done!

One of the hard things about a painting this size is to give it enough context that a viewer can imagine what kind of space it will take up once it is hung. So I took one last photograph before calling the work-in-progess on THE EDGE painting complete.

The Edge in the cob courtyard by Terrill Welch 2013_05_08 006

(Updated December 13, 2015 following a reworking of this painting)

After my confidence that this work was completed, done, finished, I came back to it for another painting session. Here it is in the great room following its most recent transformation.

The Edge still on the easel in the studio of Canadian Artist Ter

The Edge still on the easel in the studio of Canadian Artist Terrill Welch

The final image along with links to a detailed view and purchase information are available at Terrill Welch Artist in the post “The Edge and At The Beach Another Time – Canadian landscape paintings

The post includes the release of a second painting and a quick nod to two more that are now safely in their new homes.

 

What Edges have you contemplated recently?

 

© 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