My Story
I live south of Vancouver, near the ocean and surrounded by huge trees and colourful shrubs. Except for the closeness to water, this is a dramatically different environment from where I grew up — at a uranium mine in Northern Saskatchewan and barely south of the Northwest Territories.
Biting winds, a huge fierce lake, delicate Lady Slippers tucked into the woods, and Northern Lights that sang to us on winter nights. A place that inspired AY Jackson and a place that inspires me still today,
This early experience with nature, years sailing the Gulf Islands and offshore trips, and my passion for creating wildlife gardens profoundly influence my art.
I always had the creative bug, experimenting with gold and silver jewelry for a time and a camera at hand for scenic photos. Never though, did I think of being a painter until partway through a law career when I took time out to be at home with my sons. For a few years, I painting with a focus on social commentary and was fortunate to be selected for exhibitions before returning to my career.
After I retired, I volunteered and wrote a book called ‘Sun Dogs and Yellowcake’ about that long abandoned uranium mine: Gunnar Mines.
Then one day, I found my old paints in a closet and my love for painting reignited. By this time, I had developed a strong interest in abstract art and that was where my art journey began again.
There’s no adequate way to describe the fulfillment and joy one has when finally following a dream. I’m awfully glad to be here.
Abstraction allows me to be free of specific subjects, expectations or restraints. I am able to explore emotions and ideas that have meaning to me. I am always painting with nature in in my mind.
I like to play music when I paint in the studio, up loud. It’s a mix of old Blues tunes, 70’s rock, classical and modern. Some days are slow and call for classical. Sometimes Dua Lipa or Dire Straits.
I mix some paint and begin making shapes and marks on the canvas. The outcome is never known ahead of time. Instead, I’m engaged in play and exploration until I sense where the painting is wanting to take me.
Then I begin the intentional part of the process. I reflect, add, subtract, and refine until I am happy with the result. I’m looking not simply as a critic of what elements are or not working. I’m examining it more for how the painting makes me feel. Is it conveying something deeply internal, emotionally satisfying to me?
That’s my test. And I believe it’s what most people look for in a painting. That profound emotional reaction. A ‘Stop the Car’ moment.
It might be the colours, or design, or connection to the artist’s vision. I hope you find it here.
