For the past several years, I have focused my investigations on the subtleties of the body and human experience. Questions of how we are constructed and how we create ourselves, particularly through the embodiment of our experiences continue to intrigue me. I am interested in how these experiences are digested and how our thoughts, actions and reactions are translated in the biology, physiology and psychology of our being. I draw parallels between the earthy and the visceral, referencing both the external and the internal. A repeated motif in my paintings is the network of branches, suggestive of patterns shared across many domains, from arteries and dendrites to rivers, frost fractals, or corals
I became seduced by the process that begins my paintings, and absorbed in examining the roles of chance, choice and authority in a creative endeavour, artistic or otherwise. Driven as much by the element of surprise as by my desire to create thoughtfully and with direction, the paintings are like conversations that emerged from the interactions between intention and chance.
The process involves a building of layer upon layer, covering and recovering areas of the painting using an approach that allows for limited control. Each action, initiated by an intention, requires a generous amount of letting go, as parts of the painting seem to disappear. Each new layer presents a new composition, a new experience, however the influence of the underlying layers persists, if only subtly. I work intuitively, seek balance between preference and circumstance, and cultivate an appreciation for the fluctuations inherent in the process.
In the works that include a figurative element through precisely painted branches, I continue to explore this dynamic, and further emphasize the relationship between the internal and external. I draw intricate artery systems that slowly reveal faces and figures finely interconnected with the environment or ground. Sometimes these figures partially emerge from the abstract ground and then are completed with carefully traced outlines. Other times I imagine and create ones that respond to the space. The paintings may still appear quite abstract at first glance. But with time, the forms become more recognizable. My intention is to entice the viewer to take time, to become aware of the subtle, and to consider the relevance of what is seen or sensed and what is left hidden or overlooked.