A while back, I posted about how I had stopped enjoying doing the dishes. Since that post, things got worse for a while — I would sometimes blow them off completely and let them pile before I could make myself do them.

Recently, though, I have done a mysterious about-face. I am now doing them several times a day. Not only that, but I don't even leave them in the drying rack like I always used to — now I hand-dry them and put them away immediately.

The weird part is realizing why I am doing this.

Previously, I had simply got to the point where I hated doing the dishes. But now, a mysterious change of heart has me hating to see the dishes laying around. I'd rather get 'em done and out of my sight.

There's more:

After Christmas, I went through a stretch when I wasn't doing any art. Because I resented feeling obligated to do it. I was always reading about how you should paint every day or draw every day or write every day. If you're Serious about it. And I was like, “Well, maybe I'm not!” I just hated having it feel like a duty or a chore.

But recently I have started painting and drawing pretty much every day. Because I suddenly began hating how it feels like I have wasted a day by not creating anything.

My point — the weirdness of it all — is realizing to what extent my choices and decisions and actions are being guided by hate. I dunno where this is coming from.

I am a fan of numerous movements and eras in rock music, but I recently noticed an oddity about my fandom:

Each movement has its major figures, innovators and leaders, and landmark albums. But, very often, my personal fave album in the movement is a more obscure one by a lesser light. Just something about that particular collection of consistently good songs and performances that speaks to me more — it happens more often than I'd expect.

British Invasion
Major figures would include The Beatles, The Rolling Stones, The Kinks, and The Who. But my fave British Invasion album is Shake Some Action by Flamin' Groovies.

punk
Major figures would include The Ramones, The Sex Pistols, and The Clash. But my fave punk album is (I'm) Stranded by The Saints.

Madchester
Major figures would include The Stone Roses, Happy Mondays, Inspiral Carpets, and The Charlatans. But my fave Madchester album is the self-titled debut by Ocean Colour Scene.

shoegaze
Major figures would include My Bloody Valentine, Ride, and Slowdive. But my fave shoegaze album is Against Perfection by Adorable.

Britpop
Major figures would include Suede, Blur, Oasis, and Pulp. But my fave Britpop album is the self-titled debut by Rialto.

Go figure, eh?

I drop in to Puffle Café several times a week and always order two large black americanos for me and the missus. The proprietor is a chipper outgoing guy who loves to gab, which makes it easier for me. He asked me if I had plans for the weekend and I told him I was hoping to paint.

"Canvas or house?"

"Canvas."

And his eyes got big. "You paint?! I never knew!" And before I could even reply, he said, "I've been wanting to get some art up in here. Bring your paintings and I'll put them up. We can try and sell them." And he was convinced that displaying my art, sight unseen, was a good idea. [I think he just really believes in promoting local talent, especially if they are his regulars.]

And so today I got some frames for the pieces that need them, and I am gonna have my paintings displayed. Just like that. Wild or what?

My 25th watercolour is a subject I've been meaning to do for a while now. It was made using the brushes and paints I won as a prize yesterday. Since there was very little paint provided to work with, I decided to work small [4 by 6]. Since I was working small and knew that my subject would include some fine details, I worked on smooth paper [bristol] instead of my regular cold-pressed watercolour paper. I've read that smooth [hot-pressed] paper co-operates better with small details, so here was my chance to try it out.

Turns out, I don't like the way watercolours handle on bristol all that much, and probably won't be going back to that. However, the paints were fine to work with -- a little went a long way. Which means they contain lots of pigment, which is what you expect in top-line paint like Daniel Smith. I wish I could afford to work with that caliber of paint regularly. And the brushes were wonderful, holding their point phenomenally well.

Bottom line: I don't think this painting turned out wonderful, but it's not terrible, either. It reminds me that I'm still learning.

I got my new debit card today, and the number on it is identical to my current card. I was worried they would change the number on me [which has happened in the past!] and then I'd have to fuss with my laptop auto-filling the old number when I do online banking. I mean, I could manage that changeover but it's a pain, and I'm glad to be spared it.

I autographed 115 copies of my new book for people who ordered signed ones.

After I posted yesterday's painting, I also put it up on my social media. Got a fair bit of feedback on Facebook [sorry], all of it kind. But a couple people there suggested that I sell my painting — I guess trying to imply that it's good enough to sell. I said that felt a bit too much like plagiarism, but they said as long as I clearly attribute the source then it would all be above board.

And then, somewhat to my surprise, I received a comment from the original artist Jeremy Ford himself!

Well done John. You can sell it. Just write "after Jeremy Ford" after your signature.

How swell is that, eh?

My 34th acrylic is a study of a piece I found in Jeremy Ford's book Painting Pastel Landscapes [wot I got outen da lie-bury]. He was demonstrating working with pastel on black paper. I got thinking that I had a canvas lying around that I had long ago undercoated with black, and still didn't know what to do with it. I kinda liked Ford's painting and so I gave it a shot.

This is my first time doing a study of someone else's work in a different medium than what they used. The experience was a pleasing eye-opener for me — it seems to suggest larger possibilities. And I think this one turned out okay enough.



Oh, and here's a scan:

While I was out tooling around yesterday, I had what I can only call a premonition -- almost like a little voice in me, saying, “If you go to HomeSense today, you will find gouache”. For those of you who don't know, HomeSense is a discount store that seems to deal in off brands, end of runs, and other odd things. Basically, what they stock is whatever they could find that day. You never know when a new item will show up, or another one will disappear. So you can't go there counting on finding anything.

But I decided to heed my inner voice, went there, and lo and behold but what did I find one lone example of?



Mont Marte is a halfway decent brand, so extra score.

Moreover than that [as one of my art profs used to say], I also found this:



Just the day before, I was reading about mixed bristle brushes. Watercolour brushes [and consequently gouache brushes, which are the same] are usually either natural (animal hairs) or synthetic (nylon fibers). Each has its own subtle strengths and weaknesses, and different people prefer different kinds. But I was reading about mixed brushes, where it said they offer a blend of the advantages of both. I thought that sounded interesting, and I was curious enough to want to try them out and see what I thought. But I didn't recall seeing them anywhere.

Until now. Yet another bonus score!

On my second day of major migraine, I am grateful that I was able to duck out of all my obligations relatively unscathed and just rest without mucking up my life too badly.