Tumbling Red Pears – a still life from conception to painting

How does it happen that a painter notices red pears in the local grocery market? Then without looking at the price, she grins widely, grabs a handful and comments “they are for a painting!” How does this happen? What did she see in those pears that was more enticing than say the lemons or the oranges or that green skin of the avocado? Nothing. She picked up an assortment of these as well. But it was the red pears that she knew where going to be the main attraction.

Back home she arranges them this way…

Still Life with red pears in the studio by Terrill Welch 2014_02_26 009

and then that way

Still Life with Red Pears Falling by Terrill Welch 2014_02_26 013

She settles on “that way.”

You see, she was caught up in some ideas about “seeing” and realism in a conversation that was hosted by artist and colleague Lena Levin on her G+ profile. Partly because of this conversation, the painter kept thinking as she was painting – what am I seeing? What is the influence of what I have seen before? Where are my mental shortcuts? She has no answers but starts and continues to paint.

Tumbling Red Pears in process 1 by Terrill Welch 2014_02_26 021

As is common, there is no drawing to guide her brush. Her eyes must be her guide, along with her experience which is where the problem lies. It is in her experience that the mental shortcuts are developed and her eyes and brush stop noticing and actually “seeing” what is before her. She is even, in her noticing, not looking for details but rather relationships between light, shadow, colour and to-a-lesser-degree form. The painter understand that our brains construct images from rapidly gathered information from small areas that the mechanism of the eye scan and then the optic nerve delivers to the brain for translation and construction of a visual image. However, there is more information that is gather from the painter’s other senses that also assists in these constructed images. To name just a few bits of other sensor influence, there is the smell of the orange and linseed oil, the feel of the fabric and the planks of the wood floor with her bare feet and the sound of water dripping from the eaves. Then too there is all the previous data gathered about what a bowl of fruit looks like. There are all the bowls of fruit ever noticed and seen – both in real-time and in photographs and paintings. There are all the rules and breaking of rules about composition, about the actual process of painting as well as those about noticing, really noticing what she is seeing. Of all of this information, what will be the resulting rendering of THIS still life?

Well, the painter did not get very far before she decides to enhance what she is seeing. She adds a lemon on the bottom right. Yes, she says to herself, it should be there. And so it is.

Tumbling Red Pears in process 2 by Terrill Welch 2014_02_26 025

What could be the harm of adding one imagined lemon? I mean really. It is only a little bit of yellow right?

The painter chooses to ignore that her noticing had resulted in imagining a whole lemon.

Tumbling Red Pears in process 3 by Terrill Welch 2014_02_26 031

She determinedly continued to focus on the bowl of fruit. In fact, she focused so hard that the red pears began to tumble forward out of the painting.

Tumbling Red Pears in process 4 by Terrill Welch 2014_02_26 036

This is about the exact point where the still life painting made a notable separation from its visual reference. It is that blue curving line on the left at about the middle of the painting that did it. Then, without any ability of the painter to rest the brush, another blue line of motion appeared on the bottom right. She knew then that even the slight visual impressions of the paintings in the background would go. They would be replaced by the gold fabric and the light leftover from the blue in the sky of one of these paintings as an easy reference for the light coming in from the skylight and the window behind the still life set up. This was now a deliberate mental shortcut.

Tumbling Red Pears in process 5 by Terrill Welch 2014_02_26 042

Memory and imagination had conquered the physical evidence of what the eyes were actually seeing.

Tumbling Red Pears in process 6 by Terrill Welch 2014_02_26 062

The intention of the painting had clearly become focused on the illusion of red pears falling out of the bowl – a focus that intends to encourage the viewer to hold out their hands and try to catch the fruit before it tumbled out of the painting. The painting is set aside until later in the evening and then, with a few edits that lead the painter’s work through to the next morning, it comes to rest.

TUMBLING RED PEARS 20 x 16 inch oil on canvas

Tumbling Red Pears 2 resting 220 x 16  by Terrill Welch 2014_02_28 039

It won’t be released just yet as the painting still needs to sit for its final photo shoot once the paint is dry.

Now we can ask the painter – did you know you were going to paint these red pears tumbling out of a canvas when you saw them in the grocery store?

The painter blinks, slightly confused and unable to answer as she comes out of her painting trance – her deep practice of noticing what she sees, a seeing that uses all of her sense, a seeing that is disrupted by her memory and is enhanced by her imagination. At this moment all she can remember, all she can “see” is tumbling red pears – the ones she imagined, the ones she painted on the canvas. This is her painting of reality.

When have you most acutely recognized that you were “seeing” more by your imagination than with your eyes?

Before I leave us, I want to thank everyone who shared last week’s Art Studio Spring Thaw Event post. Your ongoing support is what warms my heart and also grows the global awareness of my paintings and my photography. Without your efforts my ability to financially sustain my studio practice would be gravely hampered. So thank you, Thank you and THANK YOU!

Also, I am lighting a small candle each evening to focus energy on a peaceful resolution in the Ukraine. My mantra is – use your words. Listen and talk it out rather than bully and fight it out. My focus is calming energy sent to Russia’s leadership with this message. However, it isn’t narrowly directed and I disperse it as a blanket over all global decision-makers and citizens. You are most welcome to join me in this practice. I am an artist yes, but I am also more than that. I am a human-being and I desire to live in peace and I desire this for all of us. This, like the effect of full sensory “seeing” in this painting, is a tangible practice in attempting to render my desired reality.

© 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 http://terrillwelchartist.com

Fourth Year Creative Potager Blog Anniversary

Just three days ago, on December 27th, it was the fourth anniversary of Creative Potager. During this four years, the space has shifted and changed with the patterns and needs of my life. We have shared much haven’t we? Blogging is sometimes a little like a public journal. It captures more than we intend because of the comfortable conversational exchanges. It doesn’t capture all of course. An artist has to have a few secrets. But it does string together my intentions, my focus, the main events and the rhythms of my work. Much has happened in four years and much has remained the same.

I still take you on long walks where the winter afternoon light is fine.

Horton Bay Mayne Island by Terrill Welch 2013_12_26 089

Quality photography prints available HERE.

Places where the Surfbirds entertain with flashes of white above the water.

Surfbirds by Terrill Welch 2013_12_27 025

Mallard ducks can surprise as I climb over large sandstone rocks along the shore.

Mallard Surprise by Terrill Welch 2013_12_27 067

Quality photography prints available HERE.

Places where trees embrace moments that we may not have noticed otherwise.

Maples in Winter by Terrill Welch 2013_12_27 415

Places on a small island off the southwest coast of Canada where the sea is ever-present.

ripple  with ink outline by Terrill Welch 2013_12_27 401

Thank you for walking with me this past four years.

Thank you for joining me in the studio to render these impressions from our walks.

Together, we have mixed paint.

Art of Terrill Welch by Allison Mullally _MG_5740

We have brushed it onto canvases and gessobord.

by Allison Mullally_MG_5755

We have pushed it around with a palette knife.

by Allison Mullally _MG_5886

In a effort to render those walks and those moments, where the heart and soul is most alive, I have worked hard both en plein air and in the studio. And you have been the most gracious, supportive and encouraging of company.

Terrill Welch working in her studio by Allison Mullally _MG_5726

Tomorrow, I shall post on the Terrill Welch Artist website my personal selection of the best thirteen of 2013 paintings. There were over fifty finished works to consider so it wasn’t an easy task to choose just thirteen. However, without hesitation I can say it was a good year and a year you were so much a part of making it so.

Thank you! You are one of the finest of Monday morning blessing.

This not the end of course, just a pause for acknowledgment before we proceed into 2014 which is shaping up to be a truly grand adventure. More about this next week.

I have no question today so I ask instead – What question do you most want to answer before the end of 2013?

Please note: The last four photographs were taken by photographer Allison Mullally at a recent studio photography shoot.


© 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

Second to Last and other moments of an artist

Many months ago Kathy over at Lake Superior Spirit blog suggested the idea of a blessing post each week until the end of the year. I liked the idea. I accepted the challenge. This now is my second to last Monday morning blessing post for 2013. It has been a good practice as my blog writing had become very sporadic. The topic also offered a way to focus and organize my thoughts as an artist and as a sole-entrepreneur who regularly shares work-in-progress and other experiences that underpins my creative process. Thank you Kathy 🙂

That said, I have no idea what I should share or leave out this morning as a tree frog croaks in the woods outside the studio and the sun reaches over the hill in its winter golden light. I am reminded of a quick study that isn’t released yet from a few weeks ago from a similar morning.

MORNING GREETS FIR TREE 10 x 8 inch oil on canvas

Morning Greets Fir Tree study 10 x 8 inch oil on canvas by Terrill Welch 2013_12_03 040

The paint easily dances with the sunlight of the branches and I know the blessing of nature and my own breath intimately.

Then there is travel and a recent trip to Vancouver British Columbia and time with family. There is me standing on the back edge of an old bathtub and leaning far out the second story window to flip it wide enough to get a clear shot of the city.


Vancouver December Twlight by Terrill Welch 2013_12_17 076

Is this nature too, I ask? I suppose, if an anthill or a beaver dam is nature then maybe this is as well. The evening light certainly doesn’t mind treating it as such.

On the way back home, I am drawn to the beach in the Saanich Peninsula on Vancouver Island. I had gone to Victoria to pick up more oil paints and to get a few Golden heavy acrylic paints to see if they would work for our trip to Europe in the spring. What do you think? Will the do?

DECEMBER SEA VANCOUVER ISLAND STUDY 8 x 10 acrylic on canvas board

December Sea Vancouver Island study 8 x 10 inch acrylic on canvas panel by Terrill Welch 2013_12_18 007

The trick I believe with a medium is to go with its strength while knowing its limitation – much like anything else in life. These paints and I will be learning their strengths and limitations over the weeks ahead. Imagine the what a blessing early 1900 painters would have thought it was to have more than one kind of paints in tubes to squeeze out and set to work with no collecting of pigment and mixing of paints? We live in luxurious times here on the west coast of Canada, almost embarrassingly so. I resist the guilt of such a blessed and easy existence. I know that it can change, will likely change.  My first job is to use my time purposefully and wisely, today.


The big Fir in snow  by Terrill Welch 2013_12_20 035


Best Wishes from artist Terrill Welch  by Terrill Welch 2013_12_21 134

Best Wishes, happy holidays and Merry Christmas!


What blessings do find the most difficult to recognize?


© 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


Golden Plums Summer Flowers with Rilke Cezanne and Matisse

August golden plums and a large arrangement of local flowers provide sensual release in the abating summer of paint and canvas. Yet, it is not so much the canvases where the study and work is occurring. I have been reading Rainer Marie Rilke‘s LETTERS ON CEZANNE that he wrote to his wife in 1907 while viewing an exhibition of Paul Cezanne’s paintings shown one year after the painter’s death. This master painter, along with Henri Matisse, has cast a distinct hue and influence over these most recent canvases – none of which are released as I am not sure of their completeness. Maybe they will remain studio studies or maybe just a few brushes of paint and they will separate from the creative process and stand on their own. But complete or not it is time to bring you my dear friends into my painterly space.

I start arranging and exploring the possibilities for the still life with my usual camera sketches.

Should it be this way?

Cezanne comes to visit by Terrill Welch 2013_08_12 023

Or maybe this way?

Flowers on a chair painterly by Terrill Welch 2013_08_12 007

And then of course there is just the plums…

Golden Plums and an Apple painterly by Terrill Welch 2013_08_12 134

What would Paul Cezanne have to say? Well, very little probably. He certainly wasn’t know for his eloquent oratory. Rilke on the other hand and to our good fortune gifted with words:

It’s as if every part were aware of all the others – it participates that much; that much adjustment and rejection is happening in it; that’s how each daub plays its part in maintaining equilibrium and in producing it: just as the whole picture finally keeps reality in equilibrium.

(Paris Vie, 29, Rue Cassette, October 22, 1907)

Shall we begin?

The first challenge is to get the still life up to a desired level for painting so that the view-point is similar to that of the photographs. This is likely not all that common an issue but it is one I have discovered to be a significant difference between painting from life and using my photographs for reference – I often photograph on my knees and almost always paint standing. I like the low angle so how might we do this with this chair and still life arrangement?

Coffee Table still life set up by Terrill Welch 2013_08_13 039

By setting it on the coffee table of course. I set three framed and finished paintings behind the set up not for any other purpose than to leave me room in another part of the room for the wet canvases. But after I did it I liked the effect and added a few cushions under the chair to pull everything together. Now it is time to paint.

Beginnings August still life with Cezanne and Matisse by Terrill Welch 2013_08_13 083

I feel very much alone in the studio. With the ground on the two new canvas I will be painting today, I wait for a little more natural light to reach the great room where I am painting. While I wait, I review yesterday’s work in progress images looking for clues that can possibly be brought forward in an even more conscious way into today’s work. It is interesting to me that one day can feel so different from the next. Well, there is only one thing to do – paint.

I am happily painting and visiting with Paul Cezanne when Henri Matisse shows up.

Visiting with Cezanne when Matisse arrived by Terrill Welch 2013_08_13 104

There are distinctive elements of Cezanne 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 this point 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.

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

August Stilllife with Cezanne and Matisse resting II 24 x 36 inch oil on canvasby Terrill Welch 2013_08_13 132

I have done more on this painting now but it is not significantly changed.

But I am not done. I start on another canvas and move more towards form. Hovering between representation and abstract I bring us in close to the still life setup.

GOLDEN PLUMS AN APPLE AND GREEN VASE resting 12 x 16 inch oil on canvas

golden plums an apple and green vase resting 12 x 16 inch oil on canvas by Terrill Welch 2013_08_14 075

I am left wanting for a chance to peer over his shoulder as he painted and I assume paced his way through long periods of time constructing the structure and rendering his still life paintings. How did he decide to have falling fruit, and tilted vases, tables, paintings or twisted warped, walls and furniture with more than one view-point in a single painting? What was it that brought him to these considerations? The results are of course a still life that is anything but still.

I set up a third canvas

PLUMS APPLES AND MOSTLY SUNFLOWERS – resting 20 x 24 inch oil on canvas

Plums Apples and mostly sunflowers resting 20 x 24 inch oil on canvas by Terrill Welch 2013_08_14 058


The light IS filtered for most of my painting session this morning. Hence the contrasts are minimal as I paint the spaces in between enjoying the colours and the tension in the relationships.

I set up a four and small 8 x 10 inch canvas.

one canvas still on the easel for still life set up by Terrill Welch 2013_08_14 091

But after looking at it for a few moments I realize I am done. I have exhausted my drive to capture this particular still life. So with a room full of colour I begin to muse about these three works.

These three paintings are “resting” and they are still very much attached to the process of their painting. I have left them here in the window so that I may look at them unintentionally as I go about other tasks. I am checking to see that I truly feel they are complete. Sometimes this process takes hours before I am sure and other times it takes months. While I am doing this evaluation, a question came to mind:

Which room in a home or office would be best suited to hang these paintings?


which room for these still life oil paintings by Terrill Welch 2013_08_14 102

You might think this is an odd question but many people who buy my paintings and photography prints hang the work in their bedrooms or in their private office space. I see these as the two most intimate places for people to choose to hang the pieces. Much of my work is in quieter colours with lots of natural blues, greens and earth shades. The paintings and photographs are full of movement yet the compositions are simple and spacious. Hence, it is easy for me to understand why the work might enhance restful and thoughtful spaces.

But these three are possibly not as visually quiet so it got me to wondering where they will most likely be hung. What do you think? If you were going to choose one or all three where would you hang them?

To help with size needs the smallest is 12 x 16 inches, the middle painting is 20 x 24 inches and the large painting is 24 x 36 inches.

So my curious mind wants to know – if you had a choice and these paintings arrived at your home, in what room would you hang them?


© 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