36”x36” | oil on canvas | 2021
Influenced by Ma Kelu’s rhythmic works (Chinese painter, part of the No Name Group–underground artists working against Socialist Realism) and Motherwell, in the attempt to find my own language. Can be hung as a diptych with ‘My Language II’.
36”x36” | oil on canvas | 2021
Influenced by Ma Kelu’s rhythmic works (Chinese painter, part of the No Name Group–underground artists working against Socialist Realism) and Motherwell, in the attempt to find my own language. Can be hung as a diptych with ‘My Language III’.
40”x78.75” | oil on canvas | 2020
I reflect upon the anthropocentric dualism we find ourselves in … the mistaken illusion of separateness from one another and our environment. This idea of ‘us‘ vs. ‘them’ is what I feel is driving the common landscape to feel upside-down. I paint the ethereal, inner landscape, the place where the Caterpillar asks Alice “Who are you?”. I realized that there is always a dividing line that appears in my work, and I decided to explore that one detail. Is it the horizon line of a landscape? Is it the divisive line between two halves of a problem, a person or perspective? This work is named ‘Yugen’ – (n) a Japanese expression which describes the ‘feeling’ one has when contemplating beauty. This painting is sized to reflect our current landscape … it is 78.75 inches (or 2 metres) … the standard in Covid-19 Social Distance Etiquette. Note: the imperfections in the wood board form part of the unique character of the artwork.
40”x78.75” | oil on canvas | 2020
I reflect upon the anthropocentric dualism we find ourselves in … the mistaken illusion of separateness from one another and our environment. This idea of ‘us‘ vs. ‘them’ is what I feel is driving the common landscape to feel upside-down. I paint the ethereal, inner landscape, the place where the Caterpillar asks Alice “Who are you?”. I realized that there is always a dividing line that appears in my work, and I decided to explore that one detail. Is it the horizon line of a landscape? Is it the divisive line between two halves of a problem, a person or perspective? Or is it a realization that Leonard Cohen leads us to, that, “There is a crack in everything … That’s how the light gets in.” This painting is sized to reflect our current landscape … it is 78.75 inches (or 2 metres) … the standard in Covid-19 Social Distance Etiquette. Note: the imperfections in the wood board form part of the unique character of the artwork.
36”x36” | oil on canvas | 2019
Inspired by various contemporary Chinese painters, their Asian calligraphy and Motherwell in the attempt to find my own language.
36”x36” | oil on canvas | 2020
Are zebras black with white stripes or white with black stripes? Scientists claim that the skin of the zebra is actually dark. I was doing works concentrating on each syllable of the mantra ‘Om Mani Padme Hum’. This painting began with the syllable ‘Ni’ – representing patience which purifies passion & desire. The painting is built upon this syllable which is painted over and masked, and eventually, becoming something else. This is part personal journey and part social commentary … discussing the collective unconscious landscape of the times. It is ironic that this painting has taken a long time to produce (started in 2018) and was originally intended to be a mediation on ‘patience’.
48”x36” | oil on canvas | 2019
About this work
‘Zweilicht’ means half light. ‘Zwielichtig’ means shady, shifty. Through the vernacular of landscape I see a dialogue about ‘Current Times’. My view is to express what I see evolving in the distance. At times, a cynical uncontrollable future. We live in a ‘zwielichtig’ time. Current day economics and politics are a strain. We see things in half light. We are consumed by wealth, greed and intolerance. Spray paint and aluminum house paint are utilized in my work to express mass discontent. I utilize Rothko’s composition of ‘window-like voyeurism’ …creating layers to a view, peeling away, to discover what lies beyond.
48”x36” | oil on canvas | 2019
About this work
Inspired by the moody, grey, rainy days of the Pacific North West. This is an abstract landscape of the mind.
36”x36” | oil on canvas | 2019
About this work
Inspired by Leonard Cohen’s ‘Famous Blue Raincoat’, series of 3, named after my daughter, Dylan Olivia Jeanne.
36”x36” | oil on canvas | 2019
About this work
Inspired by Leonard Cohen’s ‘Famous Blue Raincoat’, series of 3, named after my daughter, Dylan Olivia Jeanne.
