Current Paintings: 2013-now
Current Paintings: 2012-14
Painting is a constant source of interest within my larger art practice. This past year I became interested in scaling back the architectural references in my work in exchange for abstraction. The specific references to a place or setting have become less visible within the work, and the idea of memory and feeling about place are mapped out in painting. Shifting space, light, and colour blend on top of geometric shapes illuminating colours and at the same time revealing the shapes that are in the background. An interest in foreground, background, composition and colour are truly at the core of this series.
Architectural Paintings: 2007-2011
The urban landscape and how it can relate to meaningful encounters forms the backdrop of my paintings. In a minimal approach to the urban landscape, abstracted lines and paths navigate one towards
a destination. Sight-lines are the focal point of navigating one's route, and although we all plan paths through the urban landscape, divergence often leads to new discoveries, takes us askew, or causes us to collide. It is often in these collisions that meaningful and real experiences occur.
Abstract Paintings: 1998-2005
Rooted in elements of abstraction, my painting practice in my final years at the Emily Carr Institute of Art and Design into the years following explored the concept of memory and connection. Over a series of paintings that spanned numerous years, I replayed from memory unintentional encounters with people I knew as I navigated through the streets on my way to and from places. Taking the inspiration from the novel, Dr. Zhivago, the concept of fate, six degrees of separation, happenstance, and serendipity were explored within the language of abstract painting. Gestures, lines and shapes began to stand in for the connecting points that were happening in within the work, but also in my reality. The concept of intention verses the random played a large part in the composition of the work I was developing, which really was asking the question of whether abstract painting can have meaning, and how one forms meaning within abstraction.