I’m a bit behind schedule owing to a wonderful weekend on Salt Spring where I ate, socialized, danced and led dances at the Salt Spring Island Scottish Country Dance Club‘s 20th annual Robbie Burn‘s evening. Thinking about Robbie Burns got me wondering about Scottish artists. I could only come up with two off the
For the past few days, I’ve had trouble getting down to creating. Why? I could say I haven’t a clue but really I do know at least part of the reason. What I’m talking about is distractions. Like email. Like eating. Like grocery shopping. Like laundry. Like email. Like googling some news I heard
Okay, I can’t stand it any longer, I just have to share Joseph Plaskett’s remarkable floral oil paintings. Luckily there is a continuing theme from previous blogs and that is, as in many of his pastels, Plaskett sometimes leaves part of the support, in this case canvas, bare. You’ll be able to see this
It was Whistler last time and now it’s Plaskett inspiring me to try leaving part of the paper untouched by pastel (see my last blog on Joseph Plaskett’s pastels by clicking here). I’m also influenced by Plaskett to try more colourful paper than I used in Sheep’s Folly (see my Whistler inspired pastel here).
Since my post on Whistler’s pastels, I have become more alert to pastels that really utilize the colour of the paper as part of the overall look of the piece. Yesterday, I was flipping through my catalogues of work by Joseph Plaskett and had to hit my forehead because here, in front of me,
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