This artwork is about living. the top panel — Stand Tall. — has hammered inscriptions in pieces of metal. These are aspirational rules for living a life. The largest panel — Live Life. — displays circuitous pathways that symbolize pathways of living. The mid-sized panel — Learn Always. — has became the mantra for everyone in our rapidly changing world

The painting expresses the cadence of musical flow through the spacing, timing, colour and lines. The rhythm of this piece has a sinusoidal wave feeling. Each colour bar represents a corresponding sound. The complicated areas are offset by the subtle quiet spaces. The sharp colours and contrasting fine lines evoke quick plucks of sound. The artwork is presented as a snapshot or remnant of a larger whole of a graphic music score. An ancient feeling is evident through the patina of layers and textural markings throughout the surface. The art panel is presented as if it was a precious object from the past.

Both Flow Adagio and Flow Andante were created to be subtle and restrained. The narrow panel was intended to live within the space rather than shout its presence. I didn’t want to pile too much in too small of a space. Both panels are musical inspired. Both communicate like background mood music. They could exist by themselves horizontally or vertically, or they could be combined to be accompany one on a stroll down the hallway.

This is inspired by the idea of an important monument. Words are hammered into metal. Ancient markings are carved into a worn surface. The surface had markings created by a craftsman’s tools and workings. The worked surface is like a recording device, recording the marks of the artist’s presence. The simply noted quotes are thoughts for living a life. All together, the thoughtful and legitimate quotes can be overbearing and preachy. However the title, seemingly silly, offsets the assembled and embedded quotes in the painting.

This artwork presents a banner of colour overtop a raggedy-anne quilt like patchwork of soft colours. The top band seems to have been exposed and coming through the background.

I am constantly amazed how a simple message of information can get so confused when it is transported through different people, contexts, languages, cultures - and time. This painting exhibits glimpses of communication. From a distance this painting is a chunk of colour. Upon closer examination we discover slight workings buried under the surface and subtle colour revealing itself. A viewer with their nose close to the surface can identify glimpses of written information. Someone was present here.

Zeppelin and waterdroplet shapes float over the surface. Geometry elements are subtly visible etched into the background substrate. The painting presents itself as a flying circus. Perhaps a Zeppelin parade or a circus, but with the workings of science and knowledge are working quietly in the background.

A texture field that suggests our worldly elements. Imbued in the surface is a seemingly ancient pattern partially revealed through excavation. We live among giants in a delicate balance gently embracing us and giving life.

Rampallion - A ruffian or scoundrel! This painting recalls obscured layers of wallpaper, repair, and partially revealed discovery. A passive scrolling floral pattern is quietly revealed through incidental lighting.

Revealing a past by excavation of the current surface suggests that there is much more depth and history than what meets the eye. In some ways this artwork shows the artist planning their initial strokes and working through the movement of the pattern. The artist’s contemplation of pattern reveals the initial preliminary sketchy stages.

The surface has been embedded with a Haedy Boys type of story. The story is told with each letter stamped into the wood surface.

I am always interested in the communication of a message and how the passage of time can obscure or change the message. I am continually inspired by the Rosetta Stone — lost languages! The Rosetta Stone stele is confusing being undeciphered and with parts lost.

This piece displays permanence with text stamped into metal and fastened with nails. Yet the pieces are disjointed and fractured like a broken pane of glass frozen in time. A fragile permanence with information missing and fractured.

This is a story. It is probably true.

In this panel I was experimenting with a scroll-like floral pattern, which has intrigued me lately. I establish a given pattern - and then disrupt it throughout by using different values within the pattern. Subtle colour shifts exist within the dark value colours.

Lately, I have been intrigued with a scroll-like floral pattern. The pattern is real yet abstract. I establish a pattern and then disrupt it through different exposed values within the pattern. In other floral-scroll-like-patterns I have used a dark value background. In this one I used a medium-dark value orange. To make the composition work, I had to organize the dark values/ light values within different parts of the pattern to bring the viewer’s eye around.

Created to be a chunk of blue. A punch of colour in a space. Composed structurally with lights and darks. minuscule texture upon intimate observation. Everything I look for in a painting!

The big red scribble composes the surface to a bold effect. Resembling a flame, a scribble or destruction. The format is largely a large grey format. Etched in the surface are elements of technology, science and geometry. Today’s times, there seems to be anguish at knowledge. The flame is destructive and yet the technology survives quietly in the surface.

I wanted to create a large monochromatic green painting that is composed of many versions of greens. As well, I wanted to create a surface that seemed to have had communication at one time. Glimpses of typography and other information are on the surface. The surface seems to have been neglected and repaired.

Inspired by traces of ancient foundations.

Inspired by all plans that are then obliterated by large sweeping carelessness

A cadence of lines march across the surface. Timing is everything.

The cadence of lines represents the staging of music.

Planning. Travel. Seek adventure.

Much has been obscured. And hidden. Now everything is confused and mysterious. It is now a game of hide and seek. Or Peek-a-boo.

Elements of an airship. And a glimpse of a vapour trail. A message is hidden in the skies.

War Paint Series—Excerpts from Churchill’s wartime speech”..we will fight on the beaches…” are hard stamped into metal. The industrial metal surface is fashioned like a monument giving it prominence. The presents as if from the side of a warplane. The three stripes, although yellow, are a nod to the WWII invasion stripes.

War Paint Series—The base image is of a particle track trajectory. The overlapping graphic is dazzle camouflage. Science is obscured, obstructed and denied. The viewer must fight back disinformation.

War Paint Series—Written in metal on the base are hard-stamped the words spoken against Canada in recent months. Everything has changed with the United States president’s disrespectful attack on Canada. The invasion stripes are attack paint over these words. The viewer is preparing for being attacked—War Paint.

War Paint Series—The art and practice of concealment and visual deception is the new normal of long established traditions and rules. The military Universal Camouflage Pattern (UCP) covers writing on permanent metal.

War Paint Series—Written in metal are laws, rules and regulations. Then everything is changed, obstructed and denied. The invasion stripes are applied in green as if redacting everything. The viewer must prepare themselves.

War Paint Series—A particle track trajectory peeks through. Dazzle camouflage, almost imitating a harlequin or a clown outfit, obstructs and obscures the science. The viewer must fight back disinformation.

War Paint Series—The text stamped into metal are the USA President’s remarks that set off a fire storm of controversy. The disrespectful dialogue stamped in the metal gives the words an ominous permanence. Talk of Canada not being a real country; talk of annexation; talk of Canada being the 51st state—this will change Canada’s relationship with the USA forever. The invasion stripes—five stripes of 3 white and 2 black—were used in WWII to quickly identify allied aircraft. In this painting I suggest these stripes as Canada’s War Paint run it’s readiness against the USA.