Like poetry, meaning in painting occurs somewhere between
what is invented and what is invited. This is the point where
the mind can be still.
These paintings were created through contemplation and play.
These paintings are evocative places I have experienced in
the past. They inhabit my dreams. They infiltrate my imagination.
In nature, monumental landscapes are capable of healing —
of balancing our minds. This body of work honours the pleasure
of seeing and the sacredness of place.
My understanding of space has been greatly influenced by the
serene prairie landscape — my primary visual experience
as a child growing up in rural Saskatchewan.
The content of these paintings is not meant specifically as
landscape. They are not representations or descriptions of
specific places. They are reminiscent of experiences of place.
The imagery is born of a number of influences and cumulative
explorations . The prairie landscape — the way the big
sky touches the endless flats — has become for me a
metaphor for the interplay between our inner being and the
physical, outer world. These paintings suggest place rather
than particular sites or locations.
Nature is referenced in its changeless moods and shifts, its
movement and stillness- the calm and the restless. There is
movement of water, flux of weather and a complex layering
of air, atmosphere and light.
There are positive and negative voids. There are moments of
translucency and solid texturing. Perspective is found above
and below. Layers of colour are hidden, and then made visible.
I struggle to arrive at a sense of place that is evoked through
relationships rather than descriptions.
For me, painting is a process that is both formal and intuitive.
The perspective or viewpoint in the paintings is often from
above. The eye is in a state of endless flight, moving forever
through the space. Sometimes the eye focuses on a magnetic
center or at the interval between two worlds. The dividing
line — which many consider to be the horizon line —
occurs in all the works. It serves to simultaneously unite
and divide the composition. Tension and energy are held along
the dividing line, giving the painting both vitality and stillness.
It has been said that, ‘the more deeply a thing is engaged
in the immeasurable, the more deeply lasting is its value’.
This group of paintings are representations of the immeasurable.
I began painting when I was — years old. Over that time,
my work has been primarily influenced by the work of —
J.M.W. Turner, Mark Rothko, Agnes Martin, Antoni Tapies ,
and Otto Rogers. I have learned about paint, color, light
and composition from these artists. What draws me to these
great artists is their dedication to evocative metaphors,
rather than literal descriptions. They invite rather than
prescribe. The concrete and the ambiguous are allowed to occur
simultaneously in time and space. That moment when intuition
intersects with a lifetime of knowledge — this is what
fuels my painting.