Patricia Wellington

Visual Artist & Illustrator

I love what I do.  I make art hoping to inspire my audience to see beauty in the simple and the ordinary.  I like to call attention to fleeting facial expressions or changing light, hoping to bring understanding and draw attention to that which is easily overlooked or in danger of being under-appreciated.  My goal is to engage my viewers and develop the eye of the imagination, prompting the viewer to imagine intangible aspects of my subject, and fill in the proverbial blanks.

In the past my paintings were gifts for friends, rainy-day amusement for me, and filler for my closets.  When my daughter reached her teen years, I began composing simple watercolor portraits of her (Girl with Bun, 2013 and Sunny, 2014), managed a portrait of my late mother shortly after her death (Portrait of Mom, 2015), and revisited Mom’s portrait with acrylic (Mom, 2022).  Subsequently, I started experimenting with studies of the strong, soulful expressions of our dogs (as seen in Remy 2015, and Sullivan, 2018).

I’ve always had a fascination for reflectivity and transparency.  My sources of inspiration for exploring these themes are the amazing bright light that occurs just north of the equator, and the intense colors of the  Eastern Caribbean, where I lived as a child.  In recent years, I have come to favor still life, as shown in Antique Spritzer (2021), Last Thanksgiving (2019), and Pitcher with Fruit (2020).  The pears and nectarine in Antique Spritzer are meant to look as though they can be lifted right off the canvas and held in hand—a successful attempt, and improving on the skill daily.  The scene is a darkened tabletop with a stream of light entering from the upper left corner of the piece and reflecting off of an old-fashioned glass spray-bottle and a graceful porcelain vase.   The miniature pumpkin peeking through the antique jar serves as my nod to transparency.  My chosen media tend to be acrylic by itself, oil pastel by itself or a combination of the two for a nice mixed media finish.

From a perspective brought on in equal parts by age and the pandemic, my work has begun to reflect on artwork as anthropological artifacts, in that the stories of our lives and how we conduct them make up a record of our having been here.  My paintings have come to feature everyday objects, and to draw attention to the role they play in our existence – for example, the large blue eggs and heritage fruit and vegetables that show up continually in my recent still life arrangements are a nod to my growing interest in food that truly nourishes; my Endangered Animals series (Bluefin Tuna, 2017; Tiger, 2016; and Waterfowl, 2019) expresses my concern for the disturbing plight of far too many animal species.  The Lockdown Series (Colorblock Remy, 2019; Without a Paddle, 2020; Jealous Sky, 2020; Blue jay on my Balcony, 2021; and Squash, 2021) was begun during the early days of the COVID pandemic, when we took to their homes and stayed there – it expresses a sense of helplessness in the face of  abrupt and indefinite confinement.  I have also ventured in recent years toward illustration through works like PFR&S (2019) which is a series of the first initials of my family members, cut out of wood and painted in acrylic with a graphic about running horses.  Colorblock Remy (2019) is a foray into cubism – my cattle dog against a color block background on canvas, looking more like an illustration than my usual style.  Last year proved to be an unexpectedly productive one at the easel.  I tried combinations of media and subjects that I had not previously attempted, developed better hand and eye coordination, better use of workspace, and better work habits – such as my insistence on laying out studies before attempting to put paint to canvas.  I find it helps to sketch out the placement of the featured objects, try out ideas, erase and re-pose them a few times, determine the effect of the light on those objects and work on depicting them at the right time of day for the desired effect.  Isn’t light everything? I’ve learned to be more methodical.  I’ve tried out various styles of painting; created a few pieces on black canvas (Vase and Dove, 2021;  Hamster and Sugar Bowl 2022) and have plans for a few more before I start seriously experimenting with skyscapes (Sunset Over Tyler, 2022).  I need more black and white works in my portfolio, and would like to revisit my original forays by adding a few pieces in graphite.

Future plans include the exploration of themes featuring deliberately incongruent subjects – things that rarely occur together in a single glance.   By doing this, I hope to prompt a sort of decompartmentalization in the mind of the viewer.  In the works are Another East Texas Sunset; Overcast; Ancient Roman Helmet; Horns; and Treefrog With Nectarine.

Patricia Wellington | 2022

Patricia Wellington

Patricia L. Wellington

Six Roads Visual
Tel: (713) 548-4591

Patricia Wellington is a visual artist, illustrator and the owner of Six Roads Visual Communication.  Her still-life renderings tell stories about the humble, easily-unnoticed items that make up our lives.  Pat has a background in Anthropology, and is continually exploring visual art as a body of artifacts.


Pitcher With Dove by Patricia Wellington

Pitcher with Dove

Acrylic on Canvas 20″(w) x 16″(h) 

Mango Tree by Patricia Wellington

Mango Tree

Acrylic & Oil Pastel on Canvas 24″(w) x 18″(h) 

Hamster with Sugarbowl by Patricia Wellington

Hamster with Sugarbowl

Acrylic & Oil Pastel on Canvas 20″(w) x 16″(h)

Antique Spritzer by Patricia Wellington

Antique Spritzer

Acrylic & Oil Pastel Canvas 20″(w) x 16″(h) 

Tulips and Thyme by Patricia Wellington

Tulips and Thyme

Acrylic & Oil Pastel on Canvas 20″(w) x 16″(h) 

Bluefin Tuna by Patricia Wellington

Bluefin Tuna

Acrylic on Canvas 18″(w) x 24″(h)

Remy by Patricia Wellington


Watercolor on Paper 19″(w) x 24″(h) 

Last Thanksgiving by Patricia Wellington

Last Thanksgiving

Acrylic on Canvas 18″(w) x 24″(h) 

Sunset Over Tyler by Patricia Wellington

Sunset Over Tyler

Acrylic on Canvas 20″(w) x 10″(h)

Shepherd's Torch by Patricia Wellington

Shepherd’s Torch

Acrylic, Oil Pastel and Colored Pencil on Canvas 20″(w) x 16″(h)