Have you tried using your “wrong” hand to draw and paint? I’ve been carefully weaning myself off of the habit of calling it “wrong”. There’s nothing wrong about it. For me it’s now the “other” hand.
Many find drawing with the other hand an invaluable exercise. When starting out, folks are often quite resistant to the idea. It feels strange and uncomfortable. Herein lies it’s value and the results are usually great. I won’t go into all that right-brain, left-brain theory (which keeps changing anyway) but one thing is clear to me: using the other hand breaks the learned routines between eye, brain and hand and forces a slower, more observed approach. That’s why it works: drawing is fundamentally about observation.
I can think of many drawing students where this approach has had little short of spectacular results. An interesting example comes from one of my portrait painting classes, when Astrid broke her collar bone. (Well, she did not actually break it during the class you understand, as “Expressive Portraits” is not really up there on the list of extreme sports.) She was naturally quite disappointed, so I suggested she might come to class and use her other hand. After the go-ahead from her doctor, back she came and created a wonderful pièce de résistance.
I use the technique on occasion: when something might not be working out. I’ll pick up a brush and daub away with my other hand. I invariably get something good out of it. So next time someone says “on the other hand”, take them up on it!