Two Arbutus Trees Rendered One for New Gallery One Sold

I am still paintings as we are rounding the last corner into the home stretch for the Terrill Welch Gallery to open Friday August 4th. This is my new normal as I learn the rhythm of both/and between studio and gallery.

Yesterday, saw the eight painting sketches arrive at the gallery for the first show.

The lights are now up and I am thrilled with the quality of luminescence I will have to work with for photographs.

Last Thursday, Friday and Sunday were painting days. The first is a plein air over two mornings of an arbutus tree caught between the sea and the road.

Morning along the Island Road Mayne Island BC 20 x 16 inch oil on canvas plein air

Details and purchase information HERE.

The second is a small study of a favourite arbutus tree from reference images.

Arbutus Tree with a View 8 x 10 inch acrylic study on gessobord

This one is sold already. Other new works are released in the online gallery HERE.

On Friday morning with a bit of luck we will have a live video of the opening of the gallery on the Art of Terrill Welch Facebook Page. If you want to be there in our virtual world head drop by the page at 10:00 am Friday August 4th. A few people who helped with the raising of the gallery and collectors will be there and the gallery will open to the public at 11:00 am.

 

How do you stay in the flow when adding something big to your life?

 

© 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

Three Large Plump Peaches in the Studio Today

There are just three large plump peaches, fresh from the fields, sitting in a bowl on the table.

Almost done still life painting sketch of peaches by Terrill Welch August 26 2016 IMG_9338

I paint the still life sketch promptly because there is a great risk of there only being two.

Study of Peaches 11 x 14 inch acrylic still life sketch by Terrill Welch August 26 2016 IMG_9390

The result is slightly larger than life contemporary impressionist style painting sketch.

Still life painting sketch of peaches by Terrill Welch  IMG_9400

Because this is all there will be, no larger painting anticipated, the 11 x 14 inch original acrylic still life painting sketch on gessobord has been released immediately HERE.

I have also released this work as a print and products in my Redbubble storefront HERE.

The studio study was completed simply for the pleasure of summer, peaches and paint.

 

What simple pleasures of summer are you enjoying?

 

Happy Friday to you!

 

© 2016 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

Until later Prince Edward Island as I leave with more painting sketches

Has the past three weeks really gone so fast that I have not intrigued you with my gallivanting from shore to hill to shore again? Well it seems so though I did share ten sketches on the website update, there has been more – so much more! But one must choose what to share I think, otherwise boredom will have you on the next global surf for website spectacular viewing. We must get on with it!

Let’s see…. oh yes, we shall start with just a few of the latest painting sketches and then a handful of photographs of subjects I find particularly fascinating.

I can never seem to get enough of the red dirt and sandstone of Prince Edward Island!

South Shores PEI study 8 x 10 inch acrylic sketch on gessobord

South Shores PEI study 8 x 10 inch acrylic sketch on gessobord by Terrill Welch IMG_5264

Cape Bear on edge study 12 x 9 inch acrylic sketch on gessobord

Cape Bear on edge study 12 x 9 inch acrylic sketch on gessobord by Terrill Welch IMG_5259

Wind Swept Murray Head PEI study  11 x 14 inch acrylic sketch on gessobord

Wind Swept Murray Head PEI study 11 x 14 inch acrylic sketch on gessobord by Terrill Welch IMG_5245

Hilltop View Above DeSable River PEI study 8 x 10 inch acrylic sketch

Hilltop View Above DeSable River PEI study 8 x 10 inch acrylic sketch by Terrill Welch IMG_5492

But in truth, it is the relationship between land, sea and sky that keeps my attention no matter if it is red or white sand and stone.

Fogged In At Basin Head PEI Study  8 x 10 inch acrylic sketch on gessobord

Fogged In At Basin Head PEI Study 8 x 10 inch acrylic sketch on gessobord by Terrill Welch IMG_5530

But there are also the lighthouses…

West Point Lighthouse 1875 PEI

West Point Lighthouse 1875 PEI by Terrill Welch IMG_4851

Colourful fishing huts…

Georgetown Harbour PEI

Georgetown Harbour PEI by Terrill Welch IMG_4896

And the churches…

This one comes with a story about its photographic capture even:

I almost didn’t get this photograph of the Roman Catholic Church of the Immaculate Conception, built 1848, in Brae, PEI. You see, there is at least one or sometimes two churches, of some sort it seems, within walking distance of pretty much every farm and fishing village on Prince Edward Island. There are large churches, small churches, plain churches, beautiful churches and unusual churches. Many, like this one, only open the doors for special occasions and eventually may be lost to more central houses of worship that can be reached easily with a vehicle. But, in a day’s adventure on this gorgeous island, we see a lot of churches!

Traveling with a landscape photographer, who is also the driver, can get more than just a little bit tedious. There is a lot of stop and go. There can be lot of turning around and going back even. So, by the time I spotted the Brae church through the trees and a ways over the fields and trees, my sweet husband was just about ready to crumble into a two-year old’s meltdown of angry despair. He is an extremely patient man but there are limits. Turning on the signal and thinking as fast as I can, I shout – LAST PHOTO OF THE DAY! while simultaneously and silently praying to the gods of fading light that I might be able to keep my word without regret. I didn’t dare look sideways at him, not even out of the corner of my eye. I just kept driving and searching for a photograph of the church from various angles as we approached. I knew I was only going to get to stop the car once without the floodgates of frustration overflowing the banks of spousal goodwill… and I was going to have to be quick about it. We were approaching the end of a long day, both of us hungry and tired.

At first I couldn’t find the shot. There were power lines everywhere and very little to use for context. Then I saw a small bridge and zipped across. Turning into the Brae Harbour Rd, I spin a slow u-turn and park. I leap out of the car and jog across the road. I had it! Last photo of the day – with nothing more than a heavy sigh and a grinning shaking of his head as he asks – did you get it!?

Phewffff! Love wins another round!

Roman Catholic Church of the Immaculate Conception 1848  Brae PEI

Roman Catholic Church of the Immaculate Conception 1848 Brae PEI by Terrill Welch IMG_4862

And then there are red dirt back roads….

Eliot River Rd PEI

Eliot River Rd PEI by Terrill Welch IMG_5362

Fresh leaves gracing Currie Rd PEI

Fresh leaves gracing Currie Rd PEI by Terrill Welch IMG_5394

Farrar Rd PEI

Farrar Rd PEI by Terrill Welch IMG_5397

No matter where we went, from North Cape to Cavendish to Summerside to St. Peters Bay, to East Point to Georgetown, to Murray Head to Rocky Point or just on the streets of Charlottetown, we were welcomed with exemplar Canadian kindness! Prince Edward Island has managed to cultivate the best of rural and urban living in its small province and it is a place that warms the heart and lifts the spirit. We will be back. We have made a promise to ourselves to have me come and work in the fall to early winter, maybe in 2017, to capture the landscape again in painting sketches and photographs during the autumn season. For now, I must go home and start working up the Prince Edward Island landscape onto larger canvases using the reference material I have gathered over the past seven weeks. I owe a huge thanks to all the islanders who have welcomed me and shared their favourite places and advice. There are too many to name but you know who you are! Thank you!!! Until we meet again!

 

I usually end with a question but I actually have not one to ask today so…

 

What question might you like to ask today?

 

P.S. Save the date for Mayne Island, B.C. – West to East Coast Art Show featuring new landscape painting sketches and recent large oil paintings by Terrill Welch on Sat. July 9th 1-4 pm and Sun. July 10th from 11 am – 4 pm at the Mayne Island Community Centre, 493 Felix Jack Road.

Terrill will be displaying over 18 of her new east coast painting sketches (prints of these works can be ordered) from her trip to Prince Edward Island this spring along with recent west coast landscape paintings that will be available to purchase.

During this pop up show, Terrill will be painting live and demonstrating how her work goes from a collection of sketches and photography reference materials to the final large oil paintings.

Come experience the magic of these landscape renderings of Canada’s west and east coasts as they are captured and translated by Terrill Welch with her brushes and paints onto medium and large canvases.

 

© 2016 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

Profit and Losses of Peonies and Poppies Still Life in the Art Studio

Notes from my artist’s journal:

Saturday’s flowers for $12.00 from the Hardscrabble Farm stall at the Farmers Market resulted in “Peonies and Poppies Still Life” 12 x 16 inch acrylic painting sketch shown here just as itwas completed in the studio. Thegessobord was $5.20 and the paints used maybe $2.80 bringing the total investment for materials to around $20.00 dollars. Then there is my hard-earned skills, creative genius and of course my time.

Peonies and Poppies Still Life 12 x 16 acrylic painting sketch just completed  in the studio by Terrill Welch 2015_06_07 305

I took it off easel and set it next to the flowers for a moment.

A June Sunday morning in the studio by Terrill Welch 2015_06_07 379

This was my June Sunday morning in the studio and a good morning it was!

I usually do not sell these sketches as they remain in my private collection for reference. But I felt for now I had done all that I wanted to do with this subject. I was quite pleased with the sketch and decided it could stand on its own as a finished work.

On Monday morning I posted the quick acrylic sketch on social media for the purchase price of $400 including shipping.

Late Monday evening the painting sketch SOLD!

Peonies and Poppies still life 12 x 16 inch acrylic painting sketch on gessobord by Terrill Welch 2015_06_07 477

Prints of this work are still available and can be purchased by clicking the image or HERE.

On Wednesday morning the e-transfer of funds was deposited and I had finished packaging and shipping the painting sketch to the new collector. I went to the small town of Sidney B.C. and purchased ink for my big printer, canvases and paints. The total was $368 dollars. I heaved a bit of a frustrated sigh as all of my profits from the sale, after supplies, taxes and shipping, were immediately reinvested back into the studio. Then I chided myself with the reminder that at least I had profits to reinvest.

Now it is Thursday morning. The flowers have faded. The peonies remind me of soiled pink toilet paper and poppy petals lay scattered onto the table.

Maybe, I will feel inspired to paint peonies and poppies again next year.

Don’t get me wrong I am THRILLED to have this work with a collector who I KNOW will treasure this painting sketch! I am always thankful and humbly grateful to ALL the art collectors who purchase my work. It is just that, well…. It’s all good right?

So goes the profits and losses of painting a peonies and poppies still life sketch in my art studio.

 

What are you adding up today?

 

© 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

Three Painting Secrets Shared Over Tea

Let’s light the wood cook stove in the outdoor courtyard while a gentle rain wakes nearby tree frogs.

morning with a fire in the wood cookstove by Terrill Welch 2015_02_01 018

While you are listening, I shall split some wood and set out the makings for tea.

Tea by wood stove in the outdoor courtyard by Terrill Welch 2015_02_01 004

There are a couple of cushions on the cob bench that are just right for us. Now, I mentioned a few painting secrets didn’t I? To refine this just a little – these are this particular artist’s painting secrets that I am referencing, not the generic painter from all genres and all times. Lastly, they are painting secrets only in if we haven’t yet taken the time to consider their relevance in relation to our painting language.

The first painting secret is to hold a tension between knowing and the unexpected. To clarify, I don’t really believe in divine intervention or creativity passing through me from some higher power. Admittedly, my conscious mind is seldom in control of my brush except as I begin and at the completion of a work – so possibly “belief” is irrelevant in this situation. However, I start with an intention. I choose a subject, a medium, a surface and an approach or painting problem. I decide which pigments to set out. This is the “knowing” part of the equation which is heavily influenced by frequent practice such as with this first of two acrylic painting sketches from yesterday.

“Arbutus tree  in ray of sun” 8 x 10 inch acrylic painting sketch on gessoboard (update February 6, 2015: this sketch is now sold)

Arbutus tree  in ray of sun 8 x 10 inch acrylic painting sketch on gessoboard by Terrill Welch 2015_02_01 057

This painting sketch didn’t come out of nowhere.  Even though it was painted in the middle of an indoor market day with not a glimpse of the foggy sea visible, the sketch is inspired by an experience from the day before.

Slivers of Moments by Terrill Welch 2015_01_30 022

While walking, a friend asks if I had done a painting of this particular arbutus tree. I reply – not yet – as I frame my composition – maybe tomorrow though – and the shutter releases. It is these slivers of moments overlapping one-over-another that find their way onto my canvases. How do I capture our relaxed ease which followed from lunch together and now an afternoon January stroll around a small piece of our island? What colours and brushstrokes will translate these feelings, this remembering? It is so much more than this arbutus tree hunch over the sandstone shore, where the sun catches and the fog shifts upon the sea.

This painting sketch is a first attempt to answer these questions. I really haven’t a clue what the answer is but I find I must set myself to the problem just the same. This is the “unexpected” half of the equation. I must move forward without knowing. I believe this is where some painters and creative beings feel they are merely a vessel for the work to come through. I am not convinced. The focus and full-body experience as the brushes move paint onto canvas is undeniable and yes possibly spiritual in approach. But I still claim awareness of my physical presence and leaning heavily on a large basket of experience both from painting and from life. The unpredictable combination of these elements is what is leads us to the unexpected. It is the tension between this knowing and embracing unknown possibilities that is important. To achieve results I must show up and practice my craft frequently. Relying on divine intervention will only get us so far. Then there is work to be done.

The second painting secret is finding precisely the intimate details that are essential. Then I paint these aspect with all of my senses and layers of brushstrokes to expose this specific intimacy.  For a landscape or still life painter there is always movement even when it is not at first noticeable. This is because the earth is moving. This grants us a readily identifiable intimacy in our relationship to a precise aspect of that time of day, a specific season combined with our years of experience with this spiraling cycle. These years of experience I reference are is “noticing years” rather than “birth years” which is significant. Currently, with the amount of time humans spend in artificial environments, a person can go their whole life with little conscious awareness and possibly no interest in our earthly relationship in the universe. We must notice in a conscious way in order to deepen and strengthen our painting vocabulary of movement and the interrelationship of light and our subjects. I sense this to be true even in abstract work. The paintings of Richard Diebenkorn whose work will be shown at the Royal Academy in London England March 14 to June 7 2015.

Yet, though our urban surroundings mask our awareness to nature, it takes very little to awaken these sensory experience. Repeated deliberate observation is all that is really necessary. Take this second painting sketch “Steveston morning fog” an 8 x 10 acrylic painting sketch on gessoboard.

Steveston morning fog 8 x 10 acrylic painting sketch on gessoboard by Terrill Welch 2015_02_01 051

The fishing boats are important but they do not float on their own in the morning fog. They are imbedded in their surroundings and are experienced as small against a grand sky that touches right down to the sea. I made them even smaller in relationship to the sky for this reason than my photography reference information.

Morning Fog Lifting in Steveston B.C.  by Terrill Welch 2015_01_26 231

Maybe even too small perhaps. However, in this translation of my experience it is our human smallness in relationship to the sky and the morning light coming through the fog that was the intimate detail of significance.

The third painting secret I have to share is to release any notion of importance. We must take our work seriously of course but release any investment in a particular outcome of success, recognition or fortune. This doesn’t mean we relinquish these things completely but rather that they remain outside of the painting process and, as much as possible, outside of our lives in general. Yes, well-being is important. Yes, we desire and do much better with safe secure housing and nutritious foods. Yes, we need social appreciation and connection to varying degrees depending on our own temperament. But we need much less of what is defined as success, recognition and fortune than we are led through advertizing and media to believe that we do – particularly in North America. For example, my large old tea kettle has out lasted five electric kettles which I somehow thought were necessary. I gave up on the latter about three years ago. They were costly, environmentally unsustainable due to their continued need for replacement.  But I had decided for some reason that the electric kettle was faster and easier to use. In reality not so. Water boils in about the same amount of time whether in the kettle on the stove or with the plug-in variety. There is nothing helpful about having this extra contraption on the counter. I had unwittingly replaced experience for efficiency which if I unravel brings us back to the notion of my importance. I had important things to do so the most efficient path was the one that was most desirable. Hence, I purchased a series of ill considered electric kettles.

Let’s explore what we notice if we value experience over efficiency as we prepare and drink this cup of tea because this old wood cook stove still makes a fine cup of tea though it will take us about three times as long by the time we get the fire going and the water boiling. When I am sitting here in the outdoor courtyard I have no trouble at all remembering that the earth is on its winter turn and half way to spring. I can almost feel the trees releasing the oxygen I pull deep into the bottom of my lungs. This awareness is far more valuable to my painting than the importance of a huge following on social media, a cover feature in a national paper or financial wealth. The turning of the earth, the trees, the following, the national article and financial wealth are all temporary – just as we are. Therefore, I suggest that our attention is best spent on insuring our minimal needs while affording us as much freedom to be aware of our relationship to our environment as possible. And here is the rub – insuring minimal needs may requiring marketing and selling the paintings that are rendered in these passages of freedom awareness we have created by attending to only our minimal needs. Still I will argue that success, recognition and fortune are not an adequate definition of a painter and are useless and possibly harmful aspect to attend to as an artist. They are distractions that defuse our attention from our own temporariness. Resisting mortality is futile. Success, recognition and fortune are temporary observations that spiral around through time, for only a short while. Then these observations, along with the physical paintings will disappear just a we did maybe a few hundred years before. We can’t cheat mortality and the effort to stall the inevitable interferes with what must be painted today.

With these three secrets, the waves can then roll as if moved by our breath.

detail Sea and Stones French Beach 12 x 16 inch walnut oil on wood with 1.5 inch cradle by Terrill Welch 2015_02_01 067

(detail Sea and Stones French Beach 12 x 16 inch walnut oil on wood with 1.5 inch cradle)

The sky can open up as never before remembered.

detail Sea and Sky French Beach 12 x 16 inch walnut oil on wood with 1.5 inch cradle by Terrill Welch 2015_02_01 060

(detail Sea and Sky French Beach 12 x 16 inch walnut oil on wood with 1.5 inch cradle)

Well, the last of my tea is cold and it getting dark. Time to call it a day. Before I go, I want to introduce a new blog by a fellow artist and colleague Lena Levin. Some of the ideas I have shared here Lena explores from a historical, academic as well as personal perspective at “Sonnet in Colour.” She recently introduced this new blog in her newsletter as follows:

There is this almost inevitable flavour of self-display in writing (and showing paintings) publicly, and I am extremely introverted — I really don’t want any self-display. Even now, a huge part of me would prefer to just shut up and go paint in solitude and silence. Or read something, or listen, or see. But there is also this feeling that Shakespeare, and sonnets, and paintings, and art in general — all these things often thought of as high-brow, inessential luxuries — are in fact urgently relevant to our day-to-day lives, even desperately needed. And maybe — just maybe — I might be able to share something which someone else needs; open some doors, show some pathways to what fills my own life with so much joy and happiness.

This is why I’ve decided to structure the site not just around the sonnets, or paintings, but around three themes, which — in one or another way — play a crucial role in everyone’s life: “Self and Consciousness”, “Love”, and “Time and Mortality” (with sub-headings to be added as the site grows).

I hope you enjoy reading her writing and viewing her paintings as much as I do.

Now, while I gather the tea items and carry them back to the inside kitchen…

What is one of your creative secrets?

 

© 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

Painting from the White Room in Aix en Provence

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

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

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

window to Le Forbin by Terrill Welch 2014_05_18 012

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

window of possibility by Terrill Welch 2014_05_18 029

pulled out some paint

daubs of paint by Terrill Welch 2014_05_18 046

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

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

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

FROM THE WHITE ROOM IN AIX EN PROVENCE

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

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

(Art Prints are available in my Redbubble Storefront HERE)

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

© 2014 Terrill Welch, All rights reserved.

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

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

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

 

I Hung My Nightgown to Dry in the Tuscan Sun More Than Twice

Today the sun shines but we have had some great thunderstorms  and we were glad we could borrow umbrellas during this past week.  On a particularly miserable day, while we were tucked into our apartment that is part of an old Farmhouse on the outskirts of Florence Italy, I read advice in a travel guide on how to see four towns in a day while traveling by train in Europe.

Farmhouse courtyard Florence Italy 18 x 24 cm acrylic painting sketch on linen finished panting block by Terrill Welch 2014_04_27 004

(Farmhouse courtyard Florence Italy – acrylic plein air painting sketch.  Art Prints available HERE)

Let’s just say we are slow travelers in Europe. Our minimum stay is three nights. Our more lengthy settling-in-visits are up to fourteen days. We have done some long days on the train a couple of times but mostly a five-hour trip is enough.

What does this really mean as far as being able to say we have been someplace?

Well, it means that we actually live like we would at home in the communities we are staying. We buy  groceries, mail letters, go to the pharmacy and run out of toilet paper, garbage bags and coffee. We need to do our laundry and hang it out in the sun to dry. That is the best part. Clothes that flap in a hot breeze under the Tuscan sun can never be taken for granted again. That white cotton nightgown of mine with the tiny bit of embroidery around the neckline knows that it will be worn until there are only tatters left for painting rags.

It means we don’t make it to all of the highlights and sometimes we hardly make it to even a few. Instead, I can be found painting on a hillside.

plein air painting southern Florence Italy by Terrill Welch 2014_04_25 136

The painting sketches are a quick way to deepen my understanding of the light, the land and a place.

Galluzzo Valley in southern part of Florence Italy 18 x 24 cm acrylic sketch on linen finished paint block by Terrill Welch 2014_04_25 145

(Valley in Galluzzo southern part of Florence Italy – acrylic plein air painting sketch. Art Prints available HERE)

It means there is time to be given not only to a lemon but a cedro which is not a lemon and about the size of a grapefruit.

cedro cut in half by Terrill Welch 2014_05_01 006

There is time to find a recipe by Elizabeth in Rome on how to make a salad using the sweet pulp of this fruit while the rind and dry center are composted.

Cedro insalata Florence Italy by Terrill Welch 2014_05_01 015

There is time to do a composite painting sketch in a makeshift studio that combines five different experiences that happened over about as many days.

Spring in Tuscany 20 x 30 cm acrylic sketch on canvas board by Terrill Welch 2014_05_03 030

(Spring in Tuscany – acrylic painting sketch. Art prints available HERE)

I begin to become familiar with the changing light in the narrow stonewall-lined lanes where the walls of homes sometimes converge with the pathways.

country lane in Florence Italy by Terrill Welch 2014_04_29 056

The fields and the hills start to speak in clear notes of recognition.

rolling thunder on the Tuscan Hills by Terrill Welch 2014_05_03 001

The courtyard becomes well worn with memories of breakfast, lunch and afternoon painting.

garden pots 18 x 24 cm plein air acrylic painting sketch on linen finished painting block by Terrill Welch 2014_04_29 030

(Garden Pots – acrylic plein air painting sketch. Art Prints available HERE)

There is time to use different photography editing tools to express the light’s dramatic effect on the courtyard

storm breaks  poster edges by Terrill Welch 2014_04_30 005

or a curved building at the top of the hill on the road out of town.

ink outline on the old road to Rome by Terrill Welch 2014_05_03 042

Whether it is a villa

villa across a Tuscan Field by Terrill Welch 2014_05_03 035

or a more humble dwelling

Via Dell' Amore Italy by Terrill Welch 2014_04_29 053

Florence or Firenze is so much more than crowded streets in the old town or the lookout over the city. The Village Road painted by Italian Macchiaioli leader  Giovanni Fattori in 1904 is very little different from the village roads here today.

(Village Road by Giovanni Fattori)

We have only today and tomorrow left in our two-week visit to Florence. David has headed off on his own to do a bit of shopping. I am considering if I have time for one more painting sketch. But mostly, it is time to start packing up our belongings and our hearts. It is time to say good-bye to the Tuscan hills, the fields and the narrow village roads. We promise, as good visitors sometimes do, to return. It is a sign of our love and appreciation rather than a true commitment. That is okay too, for such a possibility will be a welcomed gift during the short daylight hours of heavy rain back at home on the west coast of Canada.

We leave for Rapallo Italy on Wednesday from which we will then do a day trip into the Cinque Terre. From May 13th – 16th we will be in Nice France. The primary intent of our stay there is to see the museums of Matisse and that of Chagall. On May 16th we will travel to Aix en Provence where we will wander (and I shall paint) in the footsteps of Paul Cezanne until May 20th. We follow this up with three days in Narbonne France which will be our last stop before Barcelona Spain and our next longer stay of ten days where we will spend time with the work of Spanish architect Antoni Gaudi who we have both long admired. This will take us to June 3rd with slightly more that three weeks left until we return home. As you can see, we have some shorter visits in this next stretch as we travel towards one of our major goals to visit Barcelona Spain. We will not know these places in between nearly as well but we can say that we gave them more than one-quarter of a day on high-speed town hopping European excursion. Yes, it is work to book trips independently, to plan each stay and each train trip and each meal that must be made. But I wouldn’t trade it for a fast trip. No that would never do. For it is not what we see with our eyes that sustains us but what we visit with our hearts. This is what drives my creative will, my desire to interpret and translate and this is what leaves me just a little sad with each good-bye.

 

Where have you most not wanted to say good-bye but instead promised – until we meet again?

 

© 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

April morning in Dijon France

We made it from London England to Dijon France yesterday but arrived a little later than planned after missing our first connection in Paris and ended up on a later train. What an adventure! I don’t think I have been so confused in a very long time. Lesson number one – Ask. Lesson number two -Ask again. Lesson number three – keep asking.

Good people to ask in the Paris metro and train stations are the people at the small snack shops. They were the most skilled at giving clear directions. Better than the information centre. Who would have thought it? My assessment of RER Transit across Paris is mixed. I believe it  is only for the brave foreign traveler or those that play video games and who are willing to keep trying to get through the doors and passages which appear to be hidden. I took us on a wrong turn someplace getting off the RER and after about half an hour of asking and searching I popped up like a gopher halfway down the loading area for the trains. This would have been fine if our two month continuous train pass had been activated but wasn’t and this is where we lost any hope of catching our first possible connection to Dijon. Since we didn’t come in the main entrance and we didn’t know the layout of the Gare de Lyon train station, we had no idea where the ticket office was located. I tried information and received some rough idea which didn’t seem to lead to anything resembling a ticket office. Then I asked someone else who worked in another part of the building but she didn’t know either.

After waving us off the same direction as the information counter David said  “You poor darling. You have no idea where to go and I can’t keep following you.”

This experience and the five minutes to catch our train later when transferring in Sens almost finished him. When I didn’t see Dijon Ville on the list of destinations after we disembarked, I went and checked with the ticket counter. The service person had little English and of course I had about the same amount of French. But I had written out the train number, time and our destination in a little black pocket note book. This enabled her read my notes and not be distracted with my feeble attempts at speaking her beautiful language. She checked the schedule and let me know that we had five minutest to get to Platform one (voice raised hands making appropriate references to be sure I understood as she spoke her English words perfectly). This required quickly zipping across to a middle platform in the underground stairs with our luggage. I gathered David up and pointed him down a steep set of stairs and grabbed the end of our bag so we could  go quickly. We then went about 20 feet and I pointed for him to go up an equally steep set of stairs.

“What!”

Yes, I do believe he shouted in dismay. But we made our way up the stairs with a whole two minutes to spare.
As we whisk across the French countryside he is deciding what in the suitcase he is going to send home. But the yellow rapeseed fields are stunning and the regional train is quiet like the ferry home from Victoria. He is recovering. I hope anyway. Looking out the window I see trees with doctor Zeus like balls on them that must be a vine growing up the tree and forming these shapes. Dusk is falling and, even if I have almost no idea what the conductor is saying, the stillness of the end of the day is comforting.

But that was yesterday. This morning we woke early in our old walk up apartment with its French balcony and many tastefully added modern touches. The task was to find the Les Halles market.

early morning Les Halles Market by Terrill Welch 2014_04_08 Dijon France 003

Many streets in Dijon are pedestrian and bicycle only making it a pleasant city to walk both day and night. The market starts early and Tuesday is the local shopping day. As we slipped along the quiet streets with locals going to work it was easy to think we are just part of another ordinary day in Dijon.

morning in Dijon by Terrill Welch 2014_04_08 Dijon France 013

The salt cod or morue caught my eye but only for its natural display beauty.

salt cod or morue in Les Halles market Dijon France by Terrill Welch 2014_04_08 Dijon France 007

I would have taken more photographs to show you but I found an amazing food blog post by the Food Gypsy last evening when I was searching for where we could get groceries nearby. It is worth the read and the food photographs are stunning.

Instead, we went for coffee and croissants at the small cafe next to the market. We had taken a browse and wanted to carefully consider what we would purchase. This task needed a wee bit of fortification so as not to get more than we could eat in a couple days. After, we picked up a few items and started back to our apartment. The day was starting to pick up and the local shops were getting prepared for business.

April morning in Dijon France by Terrill Welch 2014_04_08 Dijon France 019

The day tours were just arriving from Paris as strolled home and unpacked our provisions.

a few Les Halles market provision by Terrill Welch 2014_04_08 Dijon France 042

David turned on the French radio and we served up a late breakfast of strawberries drizzled with creme fraiche, parsley ham, sweet pears, ripened goat cheese and a chunk off a wood oven baked baguette.

I then went off to paint a block away in Park Darcy while David took a nap.

plein air sketching Park Darcy in April Dijon France by Terrill Welch 2014_04_08 Dijon France 058

I chose the park because I wasn’t sure how people would react to my painting on the streets. However, I quickly discovered that painting is considered serious work in Dijon and many people stopped to comment, visit, ask questions and give their thumbs up of approval. My French is improving by the hour out of the pure delight and pleasure of warm conversation. The only slightly awkward moment was when a couple of oriental tourists stage-set a photograph with me. I should have seen it coming but only had enough time to look up and smile as the woman laughed and put her arm around my shoulders and her husband’s face disappeared behind his iPad to frame the shot. I am not sure if one short night’s sleep can even remotely qualify me as the local Dijon artist painting in Park Darcy.

But here we have it – APRIL MORNING PARK DARCY 8 x 10 inch acrylic sketch on tempered hardboard.

Park Darcy in April Dijon France 8 x 10 acrylic plein air sketch gessobord  by Terrill Welch 2014_04_08 Dijon France 063

Getting tangled in the unknown and unfamiliar yesterday was worth it for the sweet welcome of the April streets of Dijon this morning. There is something extremely humbling about being at the mercy of others to find our way. It is only equaled by the release of finding we have succeeded and all do to the kind and open hearts and minds of others.

 

As an adult, what is a time you most needed to rely on the help of others to find your way?

 

© 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