Earth, fire, and water are our existing worldly elements. The excavated surface reveals a seemingly ancient pattern. The title is a quote from Shakespeare that suggests that the human imagination is limited and that there are many things we don’t know, things that haven’t been discovered and things we haven’t even dreamt of.

The artwork presents as a wall-sized texture field of blue with a strip of concrete. Three different areas of pentimento texture suggest a mash-up of different timelines and past communication. The juxtaposed triptych suggests chronologies of life, work, repair, and the patina and wear of living. Embedded and overlaid over the surface are typography elements suggesting past information of signage. The encaustic medium - beeswax and damar resin - is used as an additive and subtractive medium. Adding and burying some elements. And scraping, excavating and revealing other elements. The artwork suggests a solid construction and information. The evidence of wear on the artwork suggest that there has been changes, repair, and information that has been obscured and lost. The artwork might have had a message for the viewer, and the significance has past, but the structure remains steadfast and has become an object unto itself.

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.

Elements appear to be flying around over a surface etched with scientific or geometrical information. The painting presents itself as a flying circus pageant. On close examination the etched elements of science, knowledge and everyday things are quietly evident in the substrate.

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.

In reference to the school room where the students would become educated. The painting suggests a school room blackboard and elements of writing on the board. It also suggests schoolroom antics of drawing on the chalkboard and being erased.

Note: ”Send in the Clowns” is a song written by Stephen Sondheim for the 1973 musical A Little Night Music. It had a nicer ring than ’send in the fools’.

A wall of texture as if from an ancient cantina.

This piece was built on promises. Everything was once shiny and new and full of expectations. Now, used, old and beaten up. Repaired. Obscured. And then lost. Were the promises true?

One child in every class stands out for one reason or another. Sometimes the whiz kid will rise to the occasion and shine through and champion thinking and thought. Or sometimes they will falter and fail. A tribute to trying.

Bold and in your face - but restrained and hidden with something covered over, eradicated and partially seen.

This artwork was inspired by the Rosetta Stone. Elements of script type buried within the surface perhaps offering a offer a glimpse into past knowledge

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

Suggestions of buried foundations are partially revealed hinting to a past glory.

This is a story. It is probably true.

Inspired by the ancient foundations of buildings. Suggestions of buried foundations are partially revealed hinting to a past glory. Exposed elements are revealed and then become obscured, once again hiding something from inquiry.

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!

On this panel I was working with the idea of creating a strong graphic shape floating over a sea of information - technology, geometry, science and communication.

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.