Space, a sense of stillness, the natural elements and the minimalist view, all define home for my practice. This is a visual and visceral aesthetic - awareness of spatial relationships, the space within words, thoughts and speech, space between and through all perceived existence, and the stillness that underlies everything. Considering that space is the primary element of all existence, it is surprising that aside from physics we don't pay much attention to it, preferring the manifested form. Living for 40 years in fields and woods, large skies and horizons have informed my aesthetic. Nature also shares a pervasive heart of presence when we care to pause and touch into it. The elements are in constant dynamic change and space generously provides the scaffold for this observation, the support for a lived awareness if possible.

Integrated seamlessly into my art practice is a passion and practice of the science of direct experience, perception and being. Understanding the relative and essential nature of our phenomenal world. 

The quiet relentless simplicity and stark beauty of Agnes Martin's work has endless resonance for me. Formally, Lyrical Abstraction and Minimalism also sustain me in my inquiry, as well as simple living and observation. My approach is to encounter, observe, simplify, and learn. 

My home and studio is in Oro-Medonte, Ontario, the traditional land of the Anishnaabeg people.
I acknowledge the enduring presence of First Nation and Metis people who were stewards of the land long before I was. 
In this place of beauty, I share life with Canadian artist and musician Robert Marchessault (http://www.robertmarchessault.ca). I would also like to honour my Tibetan teachers of many years who have shared some knowledge with me, hoping that at some point I might be able to pause, be kind, and just be fully with, What Is. 

Curriculum Vitae

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Propeller Gallery, Nov 2019, Best in Show talk

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Wasaga: Detritus 18, digital image

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Wasaga: Detritus 13, digital image

The Washi works: For ecological and health reasons, and for the joy of drawing, I returned to incorporating works on paper into my practice, specifically Japanese handmade papers called Washi. I make my own walnut ink from the walnut trees that line my studio driveway, with an aspiration to eventually create and blend more natural inks from nature's living organisms. Experimentation and introducing new elements is always about a continuous creative rebirth. The effort usually brings exhilarating and fruitful results.

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Fire & Water, diptych, 16.5 X 24"