I began this year with a series of paintings exploring personal and universal associations with colour. These eleven panels formed the basis of my show at Muse Gallery in Toronto this spring. As often happens, that series spawned a new one, inspired by the patterns and textures that evolve through growth an decay. I’m now working towards a solo show this November at Studio 22 in Kingston. 

Some of the paintings evoke complex surfaces such as lichen on rocks, weathered barn board or raindrops on glass. Others are inspired by rhythms in landscape — the repetition and variation of sunlight through trees, waterlilies on water or fields seen from above. This series has challenged me to apply paint in new and exciting ways, pouring, extruding, embedding and layering to create surfaces that are visually compelling and as varied as the subjects that inspired them. 

My canvases go back and forth from the floor to the easel as they evolve. On the floor I move quickly, working from all sides, pouring fluid paint and moving it around with big wide brushes, scrapers and sometimes just my hands. When the work is on the easel I am slower and more contemplative, stepping back often to see the work from a distance.

I think it’s the push and pull between these two ways of working that gives the paintings their energy – that delicate balance between  the fluid and solid, muted and bright, transparent and opaque, mysterious and tangible.