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About

I begin with the idea that art occupies space where something happens. As such, art invites the viewer and the work into a relationship that when explored, forms the basis of an engaging aesthetic experience that the viewer can enjoy and value. Art, when considering its value, resides in its indeterminacy, its capacity for plurality.


I work with a variety of materials both in two and three dimensions. I am drawn most frequently to working metals: bronze, copper, lead, and sheet metal. I paint with patinas and dyes, and sometimes with a blow torch on tar-based substances. When needed, I also apply acrylics and occasionally oil paints. A balance between control of the material and allowing the material to have its say is one of the most engaging challenges in working towards a completed piece. The creative process is a continual conversation between the mental vision, the material, and the artist’s skill in bringing forth a completed work.


I try to leave enough room for the viewer to create their own experience. I want the work to be suggestive and, not declarative. Art is relational, its meaning emerges and develops in an ongoing dialogue with the viewer.

About Me

The Borderlands Series

“To use the world well, to be able to stop wasting it and our time in it, we need to relearn our being in it.”

—Ursula K. Le Guin, “Deep in Admiration,”

Arts of Living in a Damaged Planet.

 

Borderlines and Borderlands cover similar ground, yet carry and convey rather different connotations and set off different paths of signification. Borderlines are markings on a map that become imposed demarcations on the land. The markings of the cartographer made at the behest of the powers that be who conquer and make claims of ownership: territory under a flag. While borderlines may, at times, follow natural features of the land, a river, or mountain range, it is by no means required.

Borderlands can and do apply to the circumscribed boundaries of borderlines; however, there is embedded within the term a reference to the land itself. The term a sense of the actual geography and topology of the land.

The author W.H. New in thinking about these issues writes, “How fragile are the structures on which nationalities depend,” and that “borderlines construct conceptual edges and the borderlands construct territories of translation” that resist the “simplistic rhetoric of either/or”(5).i Borderlines both include and exclude: they demarcate and are more ideological than physical. As such, there is often negotiation, contention, and violence. Tied to “perceptions of power, whether real or imagined.”

My series, with the use of sheet metal and copper—materials drawn from the earth and then fashioned to impose human structures on the land—seeks to highlight these issues of demarcation, abutment, and juxtaposition. I am also drawing on, working in, and interrogating the long tradition of landscape painting.

I am convinced that to survive and relearn our being here, we need to imaginatively re-think the interdependency, necessity, and beauty of our needed entanglement with the world so often connived of being a “map”: now not to navigate or conquer, but to be in and inhabit.

Peninsula Two_edited.jpg

Peninsula Two

Seeking Another Shore
 

poured molten lead, sheet metal, patina, dye, ink, and acrylic,

471/4”x 531/4”

Seeking Another Shore_edited.jpg
Scorched 2.png

Scorched 2
 

charred wood/patina on copper/plastic roofing compound

30 ¾” x 30 ¾”

Seeking Passage
 

sheet metal and aluminum foil with patina and dye

431/8” x 661/8

Seeking Passage.jpg
Run River.jpg

Run River
 

Five panels: weathered plywood, acrylic, poured molten lead, each in a gold-edged welded metal frame.

Total size – 10’ 10” x 1’ 10”

Root Crossing
 

sheet metal/copper/patina/wood/wax/acrylic

49” X 25”

Root Crossing_edited.jpg
Far Field.jpg

Far Field

Waiting
 

lead/patina and plasticized tar on copper/photo transfers

19” x 19”

Waiting.JPG
Peninsula 1.jpg

Peninsula 1
 

patina on copper and sheet metal/dye with mixed media/welded metal frame

30” x 36”

Meditations for a Cartographer
 

patina, dye, acrylic, and bronze powder on copper/welded metal frame

30 ¾” x 30 ¾

Meditations for a Cartographer.jpg
Flow_edited.jpg

Island Flow
 

patina, dye, ink, acrylic on sheet metal and copper/welded metal frame

48” x 24 ¾

Gap
 

Sheet metal/copper/patina/acrylic on wood

49 ¾” x 24 ¾”

Gap.jpg
Crossings (Fire and Water).jpg

Crossings
481/5” x 161/2”

Amazonia
 

patina, dye, and acrylic (gold) on copper and sheet metal, welded steel frame

36 ½ x 241/2

Amazonia_edited.jpg
Crossing.jpg

Crossing
 

patina, dye, and acrylic (gold) on sheet metal and copper, welded steel frame

171/8” x 243/4”

Beyond

Beyond_edited.jpg
Crossing (2).jpg

Crossing (2)
 

patina on copper and sheet metal/dye/acrylic/welded metal frame

44 7/8th” x 24 5/8th ”

Scorched 1
 

charred wood/lead/plastic roofing compound

30 ¾” x 30 ¾”

Scorched 1_edited.jpg
Riverrun (Bow section).jpg

Riverrun (Bow section)
 

patina, dye, ink, acrylic on copper, black acrylic, poured molten lead

321/2 x 48”

BorderLands

The Uprooted Series
 

Loss is not absence but a marked presence, or rather a marking

that troubles the divide between absence and presence.

– Karen Bard.1

 

I developed this series of work thinking about the consequences of living in the Anthropocene; our living on a damaged planet. Being uprooted used to have as its primary reference the act of being removed, often forcefully, from one’s physical environment—the waves of refugees being a continuing and ubiquitous manifestation. Up-rootedness also has multiple, intersectional, emotional, psychological, and ecological, meanings that also call for comprehension.

The profound root-level interconnectedness of all life, now that it is under threat, is deeply astonishing, remarkable, and unsettling in its implications for how we are to live.

My method involves collecting tree roots, mostly salvaged from the burn pile of the town’s dump. Discarded as useless, the roots are cleaned, trimmed, and then painted gold. Gold has a long symbolic heritage that connotes more than just wealth. In Christian art, it represents light as well as purity and perfection. Across cultures, the metal is highly valued by the ancient Egyptians, and on across Africa, Asia, Europe, Oceania, and the Americas. Gold is thought to aid in healing, protection, growth, and knowledge. Covered then by whitish-grey wax the gold is “erased” with only traces remaining visible. Tips of the cut root ends are touched with red and bound with lead. Symbolically associated with death, lead is toxic. Mythologically it is also associated, however, with transformation and divination spells. The resulting pieces with the root ends inverted so that they now look like branches have multiple references and recognitions. They are ghost-like and may even recall a kind of chaos and vengeance in their Medusa-like allusions.

Some are mounted on chemistry stands, bringing the added dimension of “objective” clinical observation, experimentation, and dissection that has tended to dominate a good deal of the human approach to nature: being cold and dispassionate can no longer be considered virtues. This sense is emphasized by using the “scientific” language of Latin. Volsus (verb) has extracted, eradicated, rooted out, plucked, demolished, and uprooted among its meanings. The “Rx” used in medicine is also from Latin and means “recipe” and “to take.” The titles are thus a literal recognition of the reality of the roots “taken” from the ground and rendered as waste as part of the prevailing, capitalistic ideology of control and domination of nature. Yet, in this manifestation they haunt the viewer, troubling the divide between absence and presence. A prick to the conscience.

Uprooted Rorschach.jpg

Uprooted Rosrchach

tree root/lead/acrylic/

wax/diamond head steel nails 

48 ¾” x 30” x 14” 

Sunflower Works.jpg

Sunflower Works
sunflowers with mix-media 

12” (round) x 47.5” 

Specimen G (Split).jpg

Specimen G
Tree root (pine)/acrylic/wax/lead/
welded metal stand 

26.5” x 70” x 10”  

Uprooted Horizon Line.jpg

Horizon Line
patina on copper/acrylic/lead/burnt wood 

10.75” x 12.25” 

Sunflower Works (bottom detail).jpg

Sunflower Works (Bottom Detail)
sunflowers with mix-media 

12” (round) x 47.5” 

Specimen F.png

Specimen F
Tree root/acrylic/wax/lead/
metal stand 

25” x 37” x 22”  

Specimen E (Wounded).png

Specimen E
tree root/acrylic/wax/
gauze/
lead/metal stand 

26” x 28” x 27” 

Situated for Examination.jpg

Situated for Examination
encaustic, tree root, lead, acrylic, stand 27” x 18” x 25” 

Specimen C.png

Specimen C
tree root/acrylic/wax/lead/
welded steel 

12” x 30” x 6” 

Specimen D.jpg

Specimen D
tree root/acrylic/wax/lead/
welded steel 

26” x 38” x 23” 

Specimen B.png

Specimen B
tree root/acrylic/wax/lead/
welded steel 

19” x 32” x 18” 

Specimen A.jpg

Specimen A
tree root/acrylic/wax/
lead/welded steel 

13” x 37.5” x 16” 

Root Reach.jpg

Root Reach
lead/acrylic/tree root/encaustic  

31” x 45” 

Root Wound 2.jpg

Root Wound 2
lead/acrylic/tree root/gauze/encaustic 

welded metal frame 

18” x 20” 

Root Wound 1.png

Root Wound 1
lead/acrylic/tree rood/gauze/encaustic 

welded metal frame 

18” x 20” 

Root Grasp.jpg

Root Wound 1
lead/acrylic/tree rood/gauze/encaustic 

welded metal frame 

18” x 20” 

(Head and Heart) Experiment.jpg

(Head and Heart) Experiment 
encaustic, tree root, plant material, lead, tubing, acrylic, measuring stand 

16” x 42” x 13” 

2023 

Divided (A River Once Ran Through It).png

Divided (A River Once Ran Through It)
Lead, tree root, acrylic, encaustic, patina and dye on copper, nails 

48” x 28 ¼” 

Broken.jpg

Broken

lead/acrylic/tree root/gauze/encaustic 

welded metal frame 

18” x 20” 

Leaf & Root.jpg

Leaf & Root

Uprooted

Small Ruins

Door 1.png

Door 1
steel plate, bronze, patina, dye, acrylic
12” x 12

Door 2
steel plate, bronze, patina, dye, acrylic
12” x 12

Door 2.png
Door 3.png

Door 3
steel plate, bronze, patina, dye, acrylic
12” x 12

Door 4
steel plate, bronze, patina, dye, acrylic
12” x 12

Door 4.png
Door 5.png

Door 5
steel plate, bronze, patina, dye, acrylic
12” x 12

Door 6
steel plate, bronze, patina, dye, acrylic
12” x 12

Door 6.png
Door 7.png

Door 7
steel plate, bronze, patina, dye, acrylic
12” x 12

Small Ruins

The Loneliness Series

In this series I wanted to explore loneliness based on photographs I have taken—mainly in rural Alberta, Canada. Each photograph, somewhat indistinct on the grey lead is replicated in the top part of the painting, but here, although the same size, the “photograph” or memory has been overtaken by a textured darkness even though it is surrounded by beauty

Winter.JPG

Landscapes of Loneliness: Winter
copper, Lead, mixed media on wood panel.
18.5” X 24.5“

Landscapes of Loneliness: Hospital
copper, Lead, mixed media on wood panel.
18.5” X 24.5“

Hospital.JPG
Car.JPG

Landscapes of Loneliness: Car
copper, Lead, mixed media on wood panel.
18.5” X 24.5“

Landscapes of Loneliness: Coat Hangers
copper, Lead, mixed media on wood panel.
18.5” X 24.5“

Coathanngers.JPG
Funeral.JPG

Landscapes of Loneliness: Funeral
copper, Lead, mixed media on wood panel.
18.5” X 24.5“

Landscapes of Loneliness: Intersection
18.5” X 24.5“
copper, Lead, mixed media on wood panel.

Intersection.JPG
Loneliness
Specimen A.jpg

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Contact

4914 College Ave
Lacombe, AB  T4L 1Z2
Canada

(403) 848-3416

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