Over the past 15 years I have taken a stylistic journey that has drawn me to a path of parameters within the act of painting to create my unique and distinct style. My pursuit began by painting in plein air. This allowed me to explore the concept of capturing the moment through large brush strokes and the act of drawing with the paint. My work has grown with a impressionistic flavour over time, evolving into large areas of colour. The subjects of these works are a variety of scenes: barns, trees, Georgian Bay, icebergs, tundra, mountains, and portraits. The exploration of capturing the moment has lead my style to a more linear and more abstract modern approach that could be described as “Post-impressionism meets the digital age!” Choosing a thick application of paint, vivid colours, geometric forms and the distortion of forms for expressive effect. The effect is similar to a kaleidoscope or stained glass window, which fragments an image and reassembles it in a new way. It allows me to reconsider something as familiar as the landscape and emphasize its patterns: the dance of geometry against organic forms, the distinction between depth and distance and the movement created by the placement of colour. My desire is to create an illusion of depth and vibration throughout the image and to capture some of the feeling the landscapes gives to me. My plien air approach I have worked on throughout many the series of Linear pieces as a meditation and continue to due so. Just as my work has evolved, I wish to the further explore the evolution of the Canadian Landscape due to the encroachment of man. I seek to interpret that juxtaposition of man’s mark or signature on the environment against the iconic beauty of traditional Canadian landscape painting. Does graffiti, pollution, deforestation, urban sprawl, etc. Change the inherent beauty, or perhaps hide it, change the light passing through it and change the impact on the soul, or do the iconic symbols in nature persevere despite the defacement and continue to evoke the same emotion for those who take it in?
Through the crossovers of styles and drawing I was taking to those places, I began to think and examine these beautiful places through disassembling, reconstructing and rapid completion. What are the rights and the works within the landscape and how may I assemble it with what I know as an artist? How may I use a select part of the negative or the flaws that are so often present? Through the use of graffiti, Sharpie Markers, burning, carving, and traditional painting techniques there is an inherent beauty hidden with in. It is seen when one is involved within the landscape itself. The landscape drawn on the board with a Sharpie as if it was the expression of a past lover. The jack pine replaced by the spray paint commonly seen on the great Canadian Shield. Highlights of light on the rocks carved into the wood board and enhanced by traditional painting methods. The distant trees burnt into the board and sketched with charcoal from a camp fire. All because even in the midst of effortless beauty, we as the human race feel the need to leave a mark to express our love for someone, a better view, the security to have a fire, and to communicate that we were there! This calls into question the traditional painted Canadian landscape and what we consider to be a part of our landscape, by using the deformations of our modern society and culture and the collision of this with the uninhabited wilderness. Are the iconic images of the jack pine so suggestive that even their removal, and the open space that this creates, continue to hold power on the viewer?
The significance of this proposed program on my artistic advancement would further my work on a technical level by combing drawing, painting, and mixed media such as spray painting, stenciling, carving, and burning all in one. Conceptually this will test me and give my work more of an environmental focus that compliments the interesting landscapes and how these chosen forms of bastardization on the land have effected the way we view our surroundings and its beauty. Thus the pieces will have more of what is within the landscape itself. I will be thinking about how the replaced natural link within the image, has affected the overall piece and how I can construct an interesting piece within, without and amongst the void!