The undarkening of a new day gives birth to the world, filling the eyes as well as the heart. The feeling of freshness, the knowing of newness, the gift of another chance to do something good, an empty canvas of seemingly infinite potential which opens as wide as the countryside. If this charge is accepted openly, it can sustain us well into the day. The body knows, as well as the mind, that its will is entwined with the path of the sun. The tick of the dawn, the tock of the dusk, the daily rhythm that binds the soul to time until death do them part, and even beyond.
Over a lifetime of drawing, I’ve learned the importance of creating by impulse. The first marks on a page are the most direct translation of what the body is feeling. They inhabit a non-verbal realm of simple truth and are defiantly able to bypass the mind’s attempts to describe or understand. In letting these impulses guide the work, it becomes possible to sustain the spirit of an expression, offering foundation onto which one can gradually attach meaning.
Artist Statement
An image is a singularity. It may be snapped into existence by a phone pointed at something interesting; it may be carefully planned and crafted over many long nights; it may be the chaotic aftermath of paint cans thrown against a wall. Whatever the method, the level of control or the intent of its creator, an image has the power to evoke emotions which can act as a gateway to transmit ideas or ideologies. It has been used extensively to satisfy our thirst for novelty and has permeated even our social relationships. This has created a globally ubiquitous visual culture of ever-increasing demands on our attention. As our exposure to visual information has become more intense and intimate, our ability to process it has struggled to keep up.
It should be no surprise that a society which worships consumption would influence its people’s perception. Its not even a stretch to say that we feed on streams of pictures. While some people may be conscious of their nutrition, grazing on organic salads and whole grains, others surrender to temptation, crunching on seemingly infinite flavours of salty-sweet snacks. It is ultimately up to the consumer to discern what’s nourishing and what’s merely satisfying.
A visual artist uses the same vocabulary as advertisers and propagandists, only with vastly different intentions. Their gift is not just another piece of eye-candy for us to swipe through. It is a singular thoughtful expression embedded with meaning and an invitation for deeper engagement with our surroundings.
Creative Process
The choice of material is both an economical and sustainable one. Scrap wood is ubiquitous in our wasteful society and each piece has its unique texture and history. The painting process begins with a series of unconscious gestures informed by the mood of the day and the surface of the wood. As new elements are added, the composition develops intuitively. The evolution of each piece may span the course of weeks, months or even years. Long pauses in the process are the result of managing life’s priorities but also offer valuable periods of reflection. This sporadic time-lapse of production acts to balance moments of unconscious serenity and focused creative release within the obligations of the day.
There is no fixed formula for my painting process. When the need arises to “get something down,” a surface and colour are chosen at random. Generally, it begins with a muted tone of acrylic latex applied spontaneously. Subtle hits of spray-paint may be added for their bright lively energy and unpredictable texture. With the basic visual rhythm in place, a few lines of pastel might be sketched over top. As forms emerge, they are built up with acrylic paint. Colours are balanced with particular attention to warm and cool. With the majority of my recent works, there is a top layer of oil paint. This can be simply a second coat over the acrylic which adds some depth and sheen or it can lead to further explorations altogether. In the event of a creative block, areas of the surface may be sanded or carved away to reveal the wood. Occasionally I make the drastic decision to crop edges or remove entire sections with a table saw. The whole thing is a sort of conversational exchange. It becomes obvious when either too much has been said or there is nothing else to add.
