There is nothing quite like soft pastels in muted shades on grey Canson paper. I find a quiet peace, badly needed lately. This jug in particular has wonderful proportions and I have used it in three other works. I think I spoke in an earlier blog about how I almost didn't buy this jug. It was a bit more money than I wanted to pay but I've been really glad I overcame my reluctance.
Meanwhile I am struggling with the idea of coming up with a single focus, subject and medium, for what I do. I am so easily side tracked though. Yet I do return to subjects and styles eventually - I've noticed this is the case with many artists. It isn't easy finding a niche where one can maintain enthusiasm and creative ideas for it. Becoming known for painting, say, oversized dancing fruit in a limited palate of green, red, yellow, & black, or purple Rhinos in tutus with really big eyes, or heroic Greek myth characters in contemporary scenarios could get boring really fast. Some artists do pull off the one subject method really well, though. Sam Dolman for one, who specializes in head and shoulders portraits of farm animals, particularly cows - and they are incredible! My mind drifts off into hinterlands far too easily. Even while I am working on a painting that is fascinating for me I find myself thinking sometimes about other subjects to explore. And then I do, sometimes, return to a favorite, like this white jug. It has that timeless serenity of shape, and properties of light reflection which mean endless, subtle changing tones of colour and value, and pulls me back where I see something new in it. And the fresh faces of young women, especially with flowers, or beautiful birds which can seem to speak of longing and the unknown future they face.
The jug calls.