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Although
wildlife is my primary inspiration, I believe an artist should be
able to paint anything. Whether one actually wants to though is
an entirely different issue! I'd left school art lessons vowing
never to paint another still life and managed to keep to that intention
for sixteen years. Then came the Chardin exhibition at the Royal
Academy of Arts in London. Mind-blowing! I came straight back to
my studio and started "Study in Russet & Gold" in oils. "The Amber
Bottle" and "Champagne Celebration" followed, also in oils as the
richness of the paint made it the ideal medium.
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The
great advantage of still life is that an artist can choose exactly
what to explore: varying textures, subject, spatial relationships…
The lessons transfer to any other creative endeavour: after all,
composition is common to any painting, and painting the sheen on
silk isn't so different from painting the shine on a bird's wing.
Another advantage is that, unlike a bird, it does stay still!
These
days I don't have much time for painting still life as I always
seem to be working towards a wildlife exhibition, but there's a
half-finished still life in my studio, so maybe one day soon….
Key
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