bg_39471398451421.jpgEmbedded Rock, Acrylic on Canvas, 30" X 24"

 

This painting, Embedded Rock, was inspired by a small rock embedded in sandstone at the Provincial Dinosaur Park, Alberta, Canada. When I paint images from this incredible landscape, its not only the amazing formations and exposed layers of history that inspire me but the personal connection that I have to this particular part of the world.  My grandfather was the first park ranger when it was officially designated a provincial park. I spent I lot of time there as a child wandering around the surreal landscape. Now when I return I have the memories both visual, in my minds eye, and visceral, a body memory. My grandparent ashes are scattered there and this makes for yet another layer that merge and informs my approach to the badland paintings. I don’t always need to have such a personal connection for my inspirations, but I do need a connection. This convergence, for me, is a combination of the magic and wild part of life, a feel of a place, person or object and spirit. Much of the impetus behind my abstract paintings comes from this converging of energies.

 

This is an image from the Dinosour Park
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As an abstract painter I draw from at least two forms of inspiration, one being my environment, from my studio to the city to the landscape of ocean and mountains. In the landscape I see different layers of colours, shapes, lines and textures. When I work this way I feel myself connected to the scene I am painting. I feel the roots of the tree growing, the steadfastness of the rock, and the energy of a building. And it is this connection that I translate to the canvas expressing another layer of our multifaceted existence.

Another form of inspiration comes from an internal source, but more about this at another time.

 

 

 






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We had a small show at the Banff Centre, here's the work I put up in the show.



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working in the vertical.


Here I am working on large canvases, 12' long, at the Glyde Hall studio. I have northern light,which is fairly consistant through out the day and a real pleasure to work with. 


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Valley of the Moons, 18" X 72" from the badlands in southern Alberta.

 

Janurary 2013

 

The way I work

I often start with sketches some from nature some from my urban environment. The sketch inspires the composition. I will then gernerally work on several paintings at once, usually three or four.  I apply washes for backgrounds and continue layering washes and glazes until the spaces and colour saturations reach a certain point.  Then I focus on one canvas at a time and start painting the details.  I will then start the same steps with the next set of canvases. 

 

Later I step back and look at the series as a whole, seeing how they relate to one another. Some usually need changes or additions; others are complete, while one or two may need to take a different direction all together. The process is a continuous translation of emotion and psyche into composition, colour and line. The intended outcome of the series is to reveal different aspects of my connection with the Badlands. 

 

As a scenic painter for theatre ( I work at the GNW scene shop in Vancovuer, BC) I work in a large scale 50' by 30’ drops, using acrylic scenic paints and paint elevation plans from the designer. As a fine arts abstract painter I draw on my traditional training, working from sketches that translate to canvas, creating a composition, incorporating colour and line. These two ways of working inform one another in creating various sized works with their different execution techniques.