If one OPENS the aperture wide enough, a whitening occurs (an interesting metaphor for the heart), but even with a bleached-out composition, I find: blush, spring green, evergreen, gun metal grey, rose, silver, charcoal, brown, taupe, pale magenta, and blue.
So, I came home and placed an ewer on the snow (‘an ewer’?!!)
Even having cropped out the purple shadow that extended off its lower right edge, look at how many shades of white and grey there are to appreciate!
White on white can mean that an object blends with its surround seamlessly. A joining of thing to ground.
White in all of its worn and buttery variations, above, can serve as a mat for a quilt-in-progress, where an ivory moon stakes a particular claim to purity.
And lastly, just in case you think I am taking myself too seriously, the Injuns that I periodically feature on this blog (and yes, when these plaster fellas were made, I’m sure they were ‘Injuns’) are a study in white, all in themselves, as they weather on the deck. Here they are, not in the most recent storm, but in the one before last.
I can’t help but think they are mocking me. In the nicest possible way, of course.
* This post responds to a query asked by Jude Hill in a class that I am taking online.