Zeppelin and waterdroplet shapes float over the surface. Geometry elements are barely visible etched into the background substrate. The painting presents itself as a flying circus. We see a circus, but with the workings of science and knowledge are working quietly in the background.

Seemingly flying above the surface is an assorted array of brightly coloured circus elements of fun and frivolity. Barely seen and buried within the wax layers are geometrical linear elements etched into the background.

A texture field that suggests our worldly elements. Imbued in the surface is a seemingly ancient pattern partially revealed through excavation. We live among giants in a delicate balance gently embracing us and giving life.

No. 4067 Wonderola is a visual field of texture and patina. Horizontally the piece resembles increments of an ancient measuring device. Perhaps increments of time is represented by strands of colour that have a heartbeat-like cadence across the surface. Vertically, the wooden strips seem to have been worn away by time. The vertical orientation strongly suggests layers of sediment. In either orientation, this artwork has an imbued feeling of the passage or measuring of time.

Rampallion - A ruffian or scoundrel! This painting recalls obscured layers of wallpaper, repair, and partially revealed discovery. A passive scrolling floral pattern is quietly revealed through incidental lighting.

Revealing a past by excavation of the current surface suggests that there is much more depth and history than what meets the eye. In some ways this artwork shows the artist planning their initial strokes and working through the movement of the pattern. The artist’s contemplation of pattern reveals the initial preliminary sketchy stages.

There is much more depth and history than what meets the eye. This piece suggests an observance of accounting, tallying or time passed. The artwork walks a balance contrasting bold exuberant mark making vs. quiet moments. Old vs. new. Big decisions with in-your-face changes vs. small intimate considerations.

This artwork is probably my most experimental piece to date. It is loosely related to the sky, the earth, and everything in between. Flight Instructions - the top panel, has hammered inscriptions in the metal. These are aspirational rules for living life. The bottom panel - Nobility - displays bark from a tree. This symbolizes our feet firmly planted in the real - and on the ground. The middle panel - Life And Death Are A Lot Of Work - became symbolic of birth and death and everything in between. The hot colour represents blood and fire. An EKG heartbeat. A warning sign. A symbol of the joyful work of living a life. Not - I chose this particular title because it purposely provides a sense of levity. And living and laughing is important.

There is much more depth and history than what meets the eye. This artwork presents as a banner of colours overtop a raggedy-anne patchwork of similar colours. I feel this artwork suggests a deep attitude of happy planning. The rainbow bolt of colour is like a happy moment of laughter amidst the often overwhelming everydayness of living a life.

Imagine a circus. Laughter all around. A kaleidocope of colours. The texture of this painting fills a whole wall. The artwork was created in my own form of synesthesia - I express music through the cadence, spacing, and timing of light and dark colours, shapes and lines.

Yes, some things can fall through the cracks, but more importantly, cracks let the light and truth shine through. This painting shows off a rainbow riot of bright ragged colour being partially exposed through breaks in the off white surface. Upon closer inspection, the painting invites you to examine multiple repainting, the patina of wear, and incised marks. In the quieter moments, the painting has a subtle sculptural quality that is not evident during daylight conditions. These scribed marks expose themselves when shown off through incidental side lighting.

In reference to the school room where the students would become educated. The painting suggests a school room blackboard and elements of writing on the board. It also suggests schoolroom antics of drawing on the chalkboard and being erased.

Note: ”Send in the Clowns” is a song written by Stephen Sondheim for the 1973 musical A Little Night Music. It had a nicer ring than ’send in the fools’.

Inspired by the forgotten classroom walls and blackboards… and the desire to create ‘a big blue painting’. The writing is partially student graffiti and over remnants of teacher’s daily instruction. In the end the artwork became a personal piece with observations and revelations. In fine detail there is a quiet confessions scribed into the surface.

A wall of texture as if from an ancient cantina.

This piece was built on promises. Everything was once shiny and new and full of expectations. Now, used, old and beaten up. Repaired. Obscured. And then lost. Were the promises true?

One child in every class stands out for one reason or another. Sometimes the whiz kid will rise to the occasion and shine through and champion thinking and thought. Or sometimes they will falter and fail. A tribute to trying.

Bold and in your face - but restrained and hidden with something covered over, eradicated and partially seen.

The painting expresses the cadence of music through the spacing - the timing - of colour and lines

The cadence of music is visually represented through the multiple staged bands of colour and line that orchestrate across the surface. An ancient feeling is evident through the patina of textural markings throughout the layered surface.

The overwriting. The obliterating of communication. The mindless utilitarian obfuscation. The past is history. The future is for deciphering.

All my work deals with the passing of time and communication lost and forgotten. I am sugesting the element of time by the wear and patina of a wall that has seen life pass before it… as if recording history. If walls could speak!

The triptych displays a wall of textures. The fragments suggest the wear and tear of life juxtaposed with the ability to last and persevere. The translucent depths of layers of the encaustic medium bury past iterations of information. Signs of distress, possible repair and irreverant overpainting relay a timeline of use.

This piece fills the space like a chunk of wall.

What advice and philosophy was shared in the presence of the wall?

If the walls were a recording device - it would have witnessed the conversations, hopes, desires and lives that came and went.

In a home renovation when you remove a wall, a trim board or a shelf - old colours are revealed speaking of a past histories. The layers of colours describes the occupants. This painting is a measurement of time, a time capsule and an evidence of hopes and dreams.

Perhaps it looks like old wallpaper, but upon closer observation this piece is very abacus-like in it’s feeling of scorekeeping and tallying. It is a little bit like life with layers of information, science and calculations. It has a discovered past with an obscuring of present facts.

The loss of science and technology are represented by obscured wireframe symbols. Lettering and typography give a partial clue of some type of lost communication. Throughout history, there has been an ongoing loss of information and knowledge. Using more modern day symbols I want to suggest that obfuscation of information is still happening.

In this panel I was experimenting with a scroll-like floral pattern, which has intrigued me lately. I establish a given pattern - and then disrupt it throughout by using different values within the pattern. Subtle colour shifts exist within the dark value colours.

Lately, I have been intrigued with a scroll-like floral pattern. The pattern is real yet abstract. I establish a pattern and then disrupt it through different exposed values within the pattern. In other floral-scroll-like-patterns I have used a dark value background. In this one I used a medium-dark value orange. To make the composition work, I had to organize the dark values/ light values within different parts of the pattern to bring the viewer’s eye around.