gmhTODAY 16 gmhToday Sept Oct 2017 - Page 78

BY DAN CRAIG F Tim Filice The Unexpected Journey Though he may have gotten a late start, he’s covered a lot of ground in a journey with many creative paths to explore. To art lovers, it is a sojourn well worth tracking. 78 GILROY • MORGAN HILL • SAN MARTIN ive years ago, Tim Filice took up painting. He was semi-retired and the wood carving he was so fond of as a creative pastime was becoming physically demanding. So he dug his father’s art supplies out of storage and off he went. He certainly has made up for lost time. Working in a studio off his garage, Filice is primarily a landscape painter who especially enjoys painting “plein air.” Starting with acrylics, in several months he switched to oils for the slower drying times which allowed him to paint “wet on wet” and blend his colors on the canvas. Born and raised in Gilroy, Filice was the third of four children born to Michael and Marian Filice. The family acquired and operated the since-closed San Martin Winery following Prohibition. Recalling that his father spent time as a painter, sculptor and musician, Filice says he “never picks up one of his father’s brushes without thinking about him.” Helping with the vineyard growing up, he attended Bellarmine College Preparatory and in 1968 obtained a degree in business from Santa Clara University. Approximately five years later, his family sold the winery and shifted its interest into the real estate business, forming Glen Loma Properties where Filice is still active on a limited basis. He is married to Janice, his wife of 49 years and mother to their three daughters. Though he didn’t start painting until recently, he learned wood carving from Bavarian artist Alex Zeller, who worked at the family winery and carved wine barrels. He went into a three-decade hiatus from carving when he was thirty to focus on his business and family responsibilities. He started up again fifteen years ago before taking up painting. Stirred by Impressionism, Filice found himself drawn to tonalism over the bright colors characteristic of the period, saying he was attracted to the “more subdued and restrained style.” Emerging in America in the 1880s, tonalists use passive tones to create a misty atmosphere. Filice’s landscape treatments are captivating. Delicate, muted tones of contrasting shadows and lights create a dreamy gauze invoking one’s imagination in the simplest of subjects. “I think I was drawn to it (tonalism) subconsciously.” Filice stated. “It seems to be more conducive to portraying a mood and conveying a feeling.” Primarily self-taught, he has taken some community college art courses and attended artist’s SEPTEMBER/OCTOBER 2017 ARTFULLY yours