It is my hope that each of these paintings become an evocative place that explores the sacredness of place. This grouping of paintings are explorations in the immeasurable world between matter, and spirit. As such they mirror or reflect how two worlds interface and express a myriad of the vibrations between.
The continuous and infinite exchanges between matter and spirit are an extraordinary experience of living. It is this exchange in all its complexities that I have strived to reflect in these paintings. I struggle to arrive at a sense of place that is evoked through relationships rather than descriptions. In painting, like all poetic expressions, meaning occurs somewhere between what is invented and what is invited. This is the point where the mind can be still. This sense of stillness elicits a sense of an Absent presence which is curious to me.
The point of stillness in each of these paintings is often the middle or horizon area. This area is given a great deal of reflection and consideration as it is the area that reflects back both the top and bottom. These often delicate soft exchanges are where one feels an absent presence, that feeling of stillness. In that interval between two worlds is where energy is balanced in the composition.
These paintings suggest place and explore the abstract ideas of; absence and presence, stillness and movement, above and below, dark and light. Nature is referenced in how sky meets the land or water, the changeless moods and shifts of atmosphere and light Natures’ movement and stillness- the calm and the restless.
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. Although these paintings are not representations or descriptions of specific places, they are reminiscent of experiences of place. The imagery is born of the interplay between our inner being and the physical, outer world. This approach to painting has been a theme I have worked with now for 7 years. My earlier work was much more figuratve and I never set out to use nature, landscape or the horizon as a long term theme or metaphor. However I have discovered that it takes many years to refine an idea and explore it fully, just as it takes many years of working in acrylic paint to develop an appropriate language to express these ideas.
For me, painting is a process that is both formal and intuitive. I have always been interested in evocative metaphors and struggling to engage in some way the immeasurable. I want to invite rather than describe and play between the concrete and the ambiguous. This grouping of paintings are representations in some way of the immeasurable. It has been said that, ‘the more deeply a thing is engaged in the immeasurable, the more deeply lasting is its value’.