Terrill Welch by herself - issue #24 Frame, Form and Fracture
Welcome everyone! It is such a pleasure to be writing this more in-depth “Terrill Welch by herself” issue for all of you each month. I am deeply honour that you take some of your valuable time to connect with me and follow the progress of my art Journey. This issue will be our first issue with snippets from my MA in Fine Art project and learning. I hope you find it as intriguing and inspiring as I do. I will also share three new releases and links to the collections where these paintings can be found. Unfortunately, I snapped my glasses in half last Saturday. I wear trifocals and I do not see very well without them. I manage to find a pair of my old glasses that work for driving and anything more than three feet away. Then, I became extremely creative in taping together the ones that broke so that I can sort of read and write. These are what I am wearing to write and publish the newsletter at the moment.
It is a frustrating and awkward situation but I should have new glasses in a couple of weeks. I will manage, even if it looks ridiculous!
Update: Tuesday, November 12, 2024, issue resolved thanks to a very determined and skilled optician who found an available frame that she could fit my lenses into while I wait for the new glasses to arrive.
I am extremely relieved. I can see again with ease and I will now have a spare pair of glasses.
UPDATE ON MADE ON MAYNE FALL TOUR
The Mayne Island Fall Tour 2024 went amazingly well with well over 50 serious fans and art collectors coming by to browse and chat about art. I love how visitors self-selected knowing that there would only be paintings available and no jams, jellies or greeting cards. Even the children came to view and talk about art… while eating chocolate chip cookies of course.
There were no immediate sales however, several paintings are being considered and a large commission is under discussion. Overall, a great and energizing three days and so lovely to connect with everyone. It was well worth the effort and time commitment and excellent to see everyone!
FRAME, FORM AND FRACTURE AND BENNETT BAY MIDDENS
For my school assignment, the instructions were to place these three words (frame, form and fracture) in any order and define them anyway we liked for a new painting. So I did.
Beginning of “Midden in Bennet Bay” and applying my definitions of frame, form and fracture:
Subjective Frame in relation to first impressions of the subject – What do I see? What do I feel? What is my intention?
Structural Frame in relation to significant signs and symbols – use of red line to represent climate impacts. Broken china to symbolize colonialism. Colour of sky to represent space and mood.
Culture Frame in relation to social and cultural identity – what does it mean as a white woman of European settler culture to in 2024 paint the eroding Indigenous middens in from 4,000 or more years ago on the unceded lands of the Coast Salish People? Who is my intended audience.
Postmodern Frame in relation to how my idea compares to other artworks in history – work of Canadian artist Paterson Ewen (1925–2002) and his rugged use of materials that I have in mind when considering this idea. https://www.aci-iac.ca/art-books/paterson-ewen/biography/
This use of these four frames in art theory and criticism you might find interesting and comes from the New South Wales Department of Education “Introduction to the Frames”https://sites.google.com/education.nsw.gov.au/introduction-to-the-frames/introduction-to-the-frames?authuser=0
Form is as important to this idea as texture. The composition is a slice of earth revealed through erosion in such a way that the most of the surface has a narrow depth of field, holding space in the shapes of the shells and then releasing the viewer into an empty sky.
Fracture is used in this idea as flat colour for above ground combined with a more representational illusion of a three dimensional view below ground that is broken by the symbolic red line and broken china. This is then contained within the notion of a slice of earth exposing the passage of time.
These are my photographic sketches or field notes that, along with my first study, will be my reference materials.
This is my second attempt at tackling this subject and I find these definitions of frame, form and fracture a useful way of opening up my idea and unpacking it even further than I did in my first study below that is 16 x 12 inch (40.64 x 30.48 cm) on white primed wood with a 1.5 inch (3.81 cm) cradle, using acrylic paint and walnut oil paint and Royal Albert broken china.
My next surface will be a 40 x 30 inch (76.2 x 101.6 cm) white primed wood with a 1.5 inch (3.81 cm) cradle, also using acrylic paint and walnut oil paint and Royal Albert broken china.
Below, is my rough preparation sketch on the wood surface for the larger painting with the red line in acrylic already added. Next, I will attach the broken china and the darkest darks with acrylic so as not to have to wait for it to dry before starting the shells and the rest of the painting with oils.
Now isn’t this interesting!? I know it is not totally new for those of you who have witnessed the thought that goes into my paintings in general. Still, I hope you enjoyed sharing in this adventure with me.
NEW RELEASES AND THOUGHTS ON EACH SERIES TO WHICH THEY RELATE
There are the final three new releases for the “Summer of Flowers” series…
Artist notes: The inspiration for "First Day of Autumn" emerged mysteriously, as my imagination took over and sent this bouquet swirling into an autumn breeze. In the motion, one small blossom was broken—a moment I captured with my brushes, hoping to preserve the transient grace of the scene. Embarking on this journey, my aim was to reflect the warm, muted tones of autumn, like the peaceful comfort of sitting beside the fire on a gloomy, rainy Sunday. With low contrast and subtle highlights, this piece feels like wrapping up in a cozy wool throw with a cup of tea, watching the world drift by through misty windows.
In "First Day of Autumn," I wanted to capture that delicate transition from summer to fall, where everything feels slightly softer, inviting us to pause and appreciate nature's intricate details and vibrant colors. I hope when you look at the painting, you feel the gentle embrace of a new season just beginning to unfurl its magic.
Artist notes: Coneflowers hover like bumblebees over the soft textured dahlias and flouncing snapdragons. The excitement is palpable. I lay out the pigments and disappear into the shapes and colours of an early October still life.
Artist notes: The light has been as heavy as the west coast rains these past few days. I finally was able to lift my brushes and drape pigments onto the linen surface painting alla prima in the studio. There is a sense of impermanence softening the edges in the room. The colours break a part and drift as if the petals have already been released from their stems, hovering in place for a few more brief moments. This is the tenth and last bouquet delivered by the farmer for my series of “Summer of Flowers.”
If you wish, you can now view the full series of these ten paintings in this collection together below.
This has been a fascinating project because many viewers love these paintings and tell me that they remind them of their mothers or grandmothers. I have concluded that rather than instilling peace in the viewer, they bring up feelings of warmth, love and nostalgia for something lost. This is not quite the same as a sense of inner peace and yet a valuable reflection just the same.
In addition, during the studio tour, visitors would take a quick look in the studio where all the still life paintings were showing and then come racing for the house and studio to view my landscape and seascape paintings. Therefore, I can also confirm that these still life paintings are truly just for me and I will pack them away or place them in the more private areas of our home for my own pleasure. I do think of them as being like a sorbet served between rich courses in my body of work and yet, a most delicious and necessary break in colour palette, composition and texture!
This new “Summer of Flowers” series and my other still life paintings will still be available for purchase but will possibly be hidden in the inventory list after a while. I am trying hard to not be disappointed that others do not love these still life paintings enough to take one home with them. I suppose they just don’t feel as important as my landscape paintings. Funny how this is. Still, I am glad that I painted them for all the reasons mentioned. There is no doubt that this series has been just for me and I trust that their interest with art collectors will come about eventually. Either way, I will treasure them.
This next and latest painting is part of my “Sea Floor and Seashell” series. This series now has six paintings and two have sold already. I am holding a lot of promise for this latest body of work and it is currently the focus of my master’s project, though this could still change over time. In this latest painting I worked to more thoroughly unpack shapes and colours in a clustering of shells.
Artist notes: After the storm, interesting broken and worn bits on the sea floor at Reef Bay were arranged by the Salish Sea. I accepted nature’s invitation to explore and discover their shapes and patterns in a delicate collage of reference materials that only become integrated under my brush.
Viewing of all six in the “Sea Floor and Seashell” series is available below.
WHAT I AM LISTENING TO
With my glasses broken, I was quite pleased to find on YouTube a reading of the first of Robert Henri’s art book “The Art Spirit” performed/read by artist Carl Olson. There are seventeen chapters in total available and I am slowly working my way through them. I will provide the link to the first 30 minute chapter and if you enjoy it, you can find the second and so on… or look up the whole playlist.
Robert Henri was born in June 1865 in Cincinnati, Ohio and died in New York City in 1929. He was known to have said “I am interested in art as a means of living a life; not as a means of making a living.” He was the leader of the Ashcan School or The Eight. The group of painters was known for the gritty, subject matter dark pallet, and gestural brushwork. Their subject matter was immigrants and working-class life. The paintings depicted, the real rather than the elitist ideal.
Robert Henri was more than just a painter. He organized two independent exhibitions that challenged the hierarchical norms of the American art establishment at the time by dispensing with jury selection, and the awarding of prizes. Henri was equally respected as an art educator, and encouraged the process of self discovery among his students. His philosophies on art were published in the book The Art Spirit in 1923, a text that may still exerts influence on artist today. I have ordered an annotated with illustrations Margery Ryerson and introduction by RL Foster republished in paperback in 2020.
The Canadian artist, Mabel Killam Day, was one of his students. While I was researching her work last year was when I first became acquainted with Robert Henri. George Bellows and Edward Hopper were also his students. Anyway, I am enjoying listening to the 30 minute readings of these chapters by Carl Olson.
TRAVELING NORTH TO VISIT MY PARENTS
In October, you might remember that I went visit my parents in Vanderhoof, British Columbia which is 11.5 hours driving time from Mayne Island to the northern interior.
Here are the star reasons for my travels. These two are now in their late 80’s. It was the one year anniversary of dad’s open heart surgery while I was visiting. As you can see, they are both doing amazing.
On the way up, I did take a few images of Cariboo country which is one of my favourite areas in the province. The fall colours ran the whole way up from the coast to Vanderhoof and all the way back down again. My timing was perfect. It was stunning! But it is not always safe to stop and take photos so I only have a few.
There are a couple of deer on the right by the power line here at Knife Creek but I just wanted to share some of the landscape with you. I saw a coyote cross the highway not too far back from here as well.
Mom and dad walk about 1.8 km most days from their bungalow which is still a 10 minute drive from town. They have lived here a year now. They tell me, if they can’t live full time on the farm anymore, this is the best place to be.
I love the view looking back down the hill from where we are walking.
The second day of my visit, we headed out to their farm which now has a gate and camera surveillance as well as mom and dad popping in serval times a week at different times that suite them.
The place is well cared for as dad mows the lawn and mom whipper snips and gardens in and around the greenhouse along with the potato patch. The house is set up as a barebones cabin and is all scrubbed and clean and ready to welcome them when they come.
There is always lots to do when they are out here which makes them both happy.
We picked the last of the lettuce which was still delicious and not bitter yet. I picked some chives and pansy flowers to add in while mom pulled the rest of the lettuce up for the compost.
She had a few carrots left growing in the greenhouse and the planters behind it. We picked those as well.
Then dad cut off the dried flowers with the whipper snipper and mom and I loaded them up and I took the full load to the compost pile.
Dad had lit a fire to warm up the house and I briefly wandered the mostly empty rooms and looked out the big window to the familiar view of the river.
Dad and mom took a few minutes to soak up the sun in their chairs in the front yard.
Then we decided to stroll out onto the point and have a look around before heading back to the bungalow.
Before I knew it, my five visiting days were up and I was on the highway heading south. Goodbye gets much harder now as we are all painfully aware that the our number of visits are likely limited with me living so far away. Still, I phone usually every Saturday morning and occasionally we do a FaceTime visit. We make it work.
I made a second stop at my aunt’s place who is in her mid nineties and still living in her own home. We had an amazing catch up both times. I had stayed with her when I was pregnant with my first child and we have remained close ever since, even though we tend not to stay in touch between my visits. It is just our way.
This is the Fraser River near Soda Creek.
Farther south between Williams Lake and 100 Mile House, I ran into a thunder and hail storm. The light was dramatic so I of course stopped and took a few photos.
Eventually by the time I took this one, I was pretty much soaking wet but happy!
The next day, just a ways south of 100 Mile House, I stopped in a safe spot and walked back along the highway to catch the early morning light on the still water.
Hours later in the Fraser Canyon, the clouds curled up around the tops of the rocky hills. I love this drive, even if it takes me two days each way from Mayne Island. Totally worth it! And more painting reference images for the future.
So nine days later, I have David’s son to thank for keeping David company and a full heart from having seen my parents, aunts and uncles and a few friends along the way. Lucky me!
TUCKED IN FOR THE WINTER
Next week, if the weather holds, I will go to Vancouver for my son’s wedding celebration following a private ceremony that he and his new wife will have had earlier in the week. David’s eldest daughter is coming to stay overnight so I am able to make the trip. This will likely be the last major adventure until I finish my first unit of schooling in early April. We already have our extra winter supplies of canned and dry goods in the pantry. The propane tank has been filled so we have our emergency gas fireplace to use. Batteries for flashlights and the little lamps have been checked. We are as prepared as we can be for longer power outages during winter storms and also to be snowed in due to the fact that the plow truck has been reluctant to clear the public portion of our road these past few years. I have extra canvases stocked up in the studio and enough paints for the next few months. It feels like we are ready for the quietest part of our year.
There will still be daily walks around our block in a succession of loops that include hills on each end of the crescent and many car picnics and walks on the beach…
I will still enjoy catching the sun just as it is up…
I will still spend hours investigating the sea floor at the tide line.
I will still look up and out across the waters.
I will still spend part of most days in the studio.
The days are just shorter and I must be more thoughtful in my time of it all.
UNTIL NEXT TIME
Our next issue of “Terrill Welch by herself” will be Friday, December 20th and the last publication for 2024. I am aware that these past few months have been challenging for many for both personal, national and global reasons. With this in mind, I will share a link to a new post on my Creative Potager blog that was first posted on my Facebook profile where hundreds of people have found it helpful in recent weeks.
Terrill Welch
I trust that as global citizens, even though it is difficult for many, we will eventually find our way through these most challenging times. I believe in looking for the things we can do in the face of what is beyond our control or influence. There is always something immediately worthy right in front of us. It could be as simple as inviting friends for coffee, bringing homemade soup to a neighbour, going for a walk in nature, cuddling someone special or your pet or planting garlic or, in my case, painting. I am alive. I choose kindness. I have work to do… and such is the case for each of us.
May you find what you need to feed your soul during the weeks ahead and I shall catch up with you again in a month!
Warm regards as always,
Terrill 👩🎨❤️🎨
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