When considering a still life painting, I have to be moved by the object's shape and the way light and shadow play within the setup. I set up my still lifes in my studio or outside with strong light. I use many colors in the shadows to illuminate the dark values of the painting. I also use a palette knife when the object's texture calls for it, such as the pumpkins in Gooseneck Gourd and Pumpkins. My goal is to have the painting represent the object from afar, then capture the viewer with technique, brushwork, and vivid color choices when viewed up close.