Oh! And Happy Earth Day
I had this idea about how we remember sitting someplace by remembering the chair rather than the view from the chair. Once I sit in this chair the view is very different. And it is the last view just before we think about turning to sit down that sticks. So this is the one I painted - the view from slightly above, one that where our eyes are still cobbling together the pieces of the scene trying to establish position and proportion. It is a brief view. We do not stand there long which leaves little accuracy in our memory. We might say, I remember a small teapot and a yellow cup. There was a book with a story about Paris and some apples I think. But it was spring! That green stays with me and the play of light on the potted hydrangeas. It was warm but with its cool shadows. I had to wrap the throw around my legs while putting a hat on top of my head. This is what I remember.... So I imagined as I painted.
Muir Beach Overlook California 18 x 24 oil on wood with cradle
I was nervous about my intuition for this one. 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 took about twenty photography sketch type images, I still wasn't really sure if I understood, that I knew 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 is warm 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 though. I listen and peer as if learning a foreign language. I am hypertensive with all sensory recorders on high alert. What I can not discern, I must guess. I am doubtful of my ability to read its body language of the landscape when words and understanding fail me. But, I painted the ground a week ago and this morning I started blocking the painting in. Now in the next few days we need a strong finish to complete this work of a landscape experienced with first eyes.
#art #workinprogress #California #landscape
This potted plant from my friend will soon be planted by the front gate fence, in between deep blue-red pavement rose and a strawberry tree.
But really what this image is about is becoming familiar with my new camera. My Canon 40D shutter broke after seven years of almost daily use. I had been saving for a new Mark 5 but need to sell a few more paintings before going there. So I settled for the 70D and out of necessity I purchased it with the EFS18-135mm kit lens (a long story and not very interesting.) But this will be okay in the long run I think, particularly for video. Anyway, a new camera is like becoming familiar with a new car. Of course you already know how to drive but the new vehicle has not become an extension of yourself yet. First you need to find out where the ignition is located. Then you are ready to adjust the seat so you can comfortably reach the gas break pedals. The mirror must be set for your particular needs and so on. Your hand and arm must have a reasonable sense of the shifting mechanism. All this must be accomplished before you can pull out of the parking lot. I am just about ready to take this new beast for a test run. Wish me luck! No you don't have to stay off the road but if I don't wave and say hello you know it is because I am figuring and not simply being rude.
(Hint: this is a good time to go to my online Artsy Home gallery and use the "make an offer button." With five paintings sold in the past two weeks, I am feeling generous on top of being in a cleaning frame of mind. If you need the link, let me know)
- Terrill Welch ArtistArtist, presentAs an artist, photographer and writer, I am a woman living a life of simple abundance.
The more formal blurb:
Born in the village of Vanderhoof in north-central British Columbia, Terrill Welch’s art training came at an early age and continued more in the European style of mentoring and tutoring.
Terrill Welch’s work, in water mixable oil paints and photographic prints, showcases the beautiful, mysterious and rugged southwest coast of Canada. Though locally appreciated, Terrill Welch is internationally recognized.
Since 2010, more than 50 of Terrill Welch’s paintings of various sizes and significantly more of her photography prints have found their way into private collections. Many of these paintings have sold while still work-in-progress or resting wet on the easel.
Her paintings and photographs are sold to art collectors throughout Canada and the United States as well as in Australia, England, Norway and Switzerland.
Terrill Welch is named as one of 21 Artists to watch for 2011 by Skinny Artist in its world-wide review.
Terrill Welch's work is in collections that also include such renowned Canadian landscape painters as Emily Carr, A.Y. Jackson and Lawren Harris.
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