These pieces, from the Bog series and the Colony Farms work, use mark to explore the relationship between the deliberate and the surrendered; Pollock-like scribbles naturally reveal the energy behind their origin, whereas negative spaces are rendered with deliberation and photo-transferred imagery sits still like a caught moment. I am asking, “when might I be completely surrendered to the movement of life through me and when more intentional, willful? What does each look like and are the differences real or perceived?”
Here is what I was thinking making the Bog pieces…
Bog. I love the word, like God, only earthy. It’s the perfect word for this place that feels so magical and at the same time so detached. The bog doesn’t have a Niagara Falls, Grand Canyon kind of impact, its style is more of an unfolding, a presence that rewards attention. The bog is a metaphor for itself, pointing beyond itself, beneath itself to dark layers of process, one thing becoming another.
The most recent pieces here use the figure at life scale to explore questions of figure/ground relationship. My statement relating to this work is on my blog. My stints at El Bosque Nuevo butterfly farm in Costa Rica inspired an earlier group of pieces around transformation.
Click on any thumbnail to view the larger image. To view my current series of works click on current paintings.
The first body of work in this period relates to my exhibit at the Surrey Art Gallery, “Crossing Boundary”, exploring the daily migration of Vancouver’s crow population to their communal roost. Also here are works from my ongoing collaborative history with poet Rishma Dunlop as well as series called “Evening Fields”, inspired in part by an encounter with Barnett Newman’s painting, “The Voice” at MOMA, NY.