Inspired by a parkade post in old Quebec City. Signage has come and gone. The overwriting. The obliterating of communication. The mindless utilitarian obfuscation. The past is history. The future is for deciphering.
Inspired by industrial technology, this piece suggests a rhythm of velocity industrial rough edged music/ sound… perhaps from a tanker, a ship or jet of some kind.The rhythm of multiple staged bands of colours are orchestrated across the surface create a sinusoidal wave feeling.
This piece was inspired by a broken interior wall in an abandoned school house on the Expanse townsite in Saskatchewan. If walls could talk… would this wall speak of world knowledge or classroom antics?
“Make Me Proud”. Possibly the last words of encouragement the wall communicated to its students as it sent them out into the world.
Loosely inspired by industrial elements lost to time. An excavated surface to reveal evidences beneath the surface. The elements on the surface are partially rivet like with all its appropriate hatches and access panels. This piece is partially inspired by the lost Canadian Avro Arrow interceptor. A little bit of rivets from a jet fuselage. Overpainting and repair. A bit of perfection damaged over time.
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.
Everything was once shiny and new - full of promise and expectations. Old and beaten up. Repaired. Obscured. And then lost. Does the promise still hold true?
The name ‘Whiz Kid’ comes from the one child in every class who shines. Sometimes the anointed child will falter and fail. Sometimes the whiz kid will shine through and champion thinking and thought.
Inspired by industrial technology, this piece suggests a rhythm of velocity and industrial rough edged music and sound. The cadence of music is achieved through the spacing of colour and lines. The passing of time is expressed by a textural surface and lost typography.
The title is from Emerson’s “Go, speed the stars of thought…”
Once upon a time shiny and new - full of promise and expectations. Bumps, scratches, dents and then twrinkles. Painted. Overpainted. Adjusted. Repaired. And lost. Inspired by an old quonset shed with repurposed signage or its end walls. Also inspired by the old petroleum signage from when I was a kid. The result is a happenstance graffiti effect. “Hooptedoodle”- a fun sense of bounciness, whimsy and nonsense due to accident and chance.
Muse Gallery - Toronto
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.
A balance of distances. A feeling of up close and a feeling of far away in both texture and sound.
These two panels suggest a doggedness to achieve an end goal. Change is always present when one attacks something with a determination. These panels suggest a vision that changes over time. This is a timeline of change. Buried with the multitude of changes and additions are dreams, changing directions and life.
The title is a derivative from Claude Debussy - “Music is the silence between the notes”. This painting has a suggestion of heraldry, illuminated lettering and manuscripts. It resides in a medieaval fort in a small village in France. The foundation of the fort has evidences of Roman roadhouse origins.
Loss is all around us. An elegant decoration was initially a show of wealth and power that was celebrated.
Then time had its way. Everything fell out of favour. Forgotten. Dismissed. Buried. Put to a utilitarian use. Overpainted. Partially excavated as from some archaeological dig.
We look at what went before us and we are forced to consider if we have learned from the past. Or not.
The leftover and forgotten. A decorative flourish - as can be found on illuminated texts, embroidery, carpets and tapestries - is buried into the panel. The overpainting of this decoration disregards the past. Perhaps the obliteration was symbolic as if to physically remove or hide the past.
Gibson Fine Art - Calgary
This piece suggests past hopes, dreams and prophecies. Were they failed, met or exceeded? Elements of communication have been established, lived, forgotten and obliterated - and then partially revealed. And before us is a glimpse at past moments and for us to decipher what it may have promised.
The word “Aeolian” is reference to ancient music chords. The beeswax medium produces vibrant lustrous colours, translucent layers, and deep textural carving. The underlying markings and scraping reveals the passing of time. The artwork suggests music, but the actual ‘art object’ exhibits a patina and marks of wear and use. The artwork is presented as a fragment of a greater whole - as if it was a precious object from the past.
A new approach to painting with mixed media