This is a visual conversation with the great Wassily Kandinsky and his colour studies from the early 1900s. The circular and elliptical rings offer many interpretations: topographical, neurological, even galactic. The paintings are constructed in layers, using Plexiglas and spacers, giving them a 3D quality. They trick the eye, and through subtle reflections, the viewer becomes part of the art.
Trees are a natural subject for visual meditation. Cottaging among pines, birch, cedars, hemlocks, oaks - it is impossible to ignore their beauty, majesty, and mystery. Forests brim with life, death, and rebirth. Trees are the legacy we leave our children. They are our oxygen. We are symbiotic kin. Painting forests keeps me mindful of their life-giving gift - my deeply appreciated breath.
Inspired by time spent in cottage country, these paintings take an ant’s eye view of swamps and meadows. Something that can seem small and insignificant takes on a different beauty when enlarged to extreme proportions.
These glass sculptures pay homage to the fertile, female form and are an invitation to both look and touch. They were sculpted to intrigue the hand and the eye. Relying on touch alone, the pieces read ambiguously. Front and back are indistinct. Glass is familiar to the hand. Its dual nature is both sturdy and delicate, in the same way, life is both enduring and fragile.
These paintings focus on a childlike flower as a metaphor for thriving, despite circumstance. Out of manure grows flowers. The paintings are experiments in colour harmony, surface texture, and extraneous mark making. They are my homage to Twombly, Basquiat, Dubuffet, Baechler, Klee, and Haring. Through a degree of appropriation and divergence, I get to have my own unique visual dialogue with viewers.
What Canadian can escape painting landscapes? They might be genetically hot-wired into our psyche. We have so much diverse natural beauty, coast to coast. It’s impossible to avoid inspiration.