I hadn't painting any still life paintings in 2018 through now. This was disappointing, but it has been a plenty busy year and it is really difficult to divide up my time among my different genres. But, as soon as I found an opportunity, I jumped in.
One thing I love about still life painting (and this applies to my Hearts for Hardware series, as well), is the way that beholding an object in paint causes you to look at it formally, detached from your usual context of seeing the thing. A donut appeals the eye only insofar as it excites the appetite. A red onion appeals to the eye for the way it signals that it is in good shape, fit for cutting up and cooking or adding to a meal. But the objects themselves aren't usually behold for their own visual properties: their colors, textures, contours and so on. It takes removing the item from its original context, and placing it in another.
Painting is great for this because even apart from photography, paintings are meant to be beheld. The strokes and texture of paint overlay and cue to the mind that this is something that is supposed to be looked at for itself.
And since these particular visuals of a donut and a red onion cannot be consumed or chopped up for stew or whatever, you can behold them without temptation.