Encountering celestial bodies | 12" x 12" | acrylic on raw canvas | 2017


My next solo show is called Monuments + Mysteries and runs from September 9 - 30 at Yumart Gallery.


I usually resist writing too much about a body of work, so I'm careful not to influence or define the experience of my art. However, I've chosen a couple of meaty words, rich with connotation, as my show title and decided it was important to provide a little insight into what they mean to me. Why I chose them.


Monuments are reminders. They stand as markers of a moment in time and remind us of what mattered. They don’t need to be statues, or buildings, or plaques. They can be significant questions, or difficult choices, or a body of work that can’t help but reflect the preoccupations of now. My artistic approach may be to memorialize, but it is equally a surrender to all that is unknown. An evocation of the mysterious unfolding of things. The circle appears as the primary shape symbolizing both wholeness and the perpetual cycles of change; conjuring the space of dualities where most of real life happens.


I employ a minimalist approach to new paintings and works on paper with a focus on the constellation of abstracted form, colour, layer, and light. I continue to play with a lexicon of familiar shapes and geometric forms. The resulting pieces foreground the relationship between these components and decisions; the ways they are complete in their solitude, but magnificent when they become a gathering.


Writing an artist statement is really hard.


It is a deeply uncomfortable exercise that forces an artist who’s carefully chosen a particular medium of self-expression to take the reigns of an entirely different medium and attempt to describe what they do in a way that makes someone want to look at their art. And THEN hopefully give them money/space/recognition. Those are stakes. I work with images, not words. Not to mention, any exercise that requires reflection on something so intimate, something that you’re inside of, is a highly vulnerable experience. The whole process is fraught. But it’s also necessary. The requirement for this complimentary piece to what you make is one of the realities of being a contemporary artist.


I had the privilege of taking a class called Developing an Artist Statement with the brilliant Art Writer and Founding Editor of Momus, Sky Goodden and the paragraph above is basically how she opened what I’ll describe as our “grappling session.” If this affirmation was all I left with, I might have been satisfied. I stepped into this process with admitted resistance and doubt. What I left with was a deeper understanding of my work, why it matters, and what it means to call myself an “artist.” Sky’s insight, guidance, and keen knowledge of the topic was one of the richest learning experiences I’ve had in a LONG time.


Importantly, she also created a safe environment that encouraged everyone to lean into the experience and share sloppy statements for feedback (I read aloud what I’d written the night before from an email I’d sent to a friend with the subject line “this might be a piece of poo”). I shared this moment with a great group of artists who all felt like artist statement losers, but we did it together and the feedback was golden. What I shared is best described as a personal narrative that was honest (and a decent piece of writing), but not at all what I thought an artist’s statement was permitted to be. I left with the knowledge that there was, in fact, lots of space for it to be a piece of creative writing, for it to be raw and challenging, as long as it aptly reflected what I make and why. I knew what I needed to excise and rework. I also knew how necessary this rigour is to produce something that I’m proud to share.   


The minimalist sculptor Anne Truitt said: “the shape of my work’s development becomes a little clearer every time I am forced to articulate it.” I’ve known about Anne and her work for while, but I only recently really dug into the treasure that is Daybook. Anne began her adult life studying to be a psychotherapist, so her engagement with the emotional tapestry of being human is finely tuned. The book is a collection of journal entries that wrestle with the tangled ways in which art and life intertwine. I’ve learned a great deal from her writing about this, but most importantly, she gave me permission to allow the personal to take up space in my art practice. You don’t have to be making work that is figuratively or narratively about the details of your existence (Anne is known, among many things, for making pillar sculptures out of wood that are painted a single colour), but to deny that this is where the work comes from is just as misleading.


I stumbled upon the above quote from Anne on the same night I took this class and it made me think about her again from the other side of this troublesome and revealing writing exercise. Her conjuring felt like a reassurance that my statement of purpose as an artist was cutting to the quick in a way that I hadn’t had the confidence, or bravery, to do before. It all came together. Perhaps, Anne was unconsciously lingering when I coughed up my dirty first draft. I think my new motto is: when you’re not sure what to do, just be honest. And if you have an opportunity to share some space with Sky, do it!


p.s. you can read my artist statement here: ARTIST STATEMENT

My friend and budding art writer, Cynthia Mykytyshyn, chose my show, Two Februarys for her first blog post! You can read it here: https://lookwriterepeat.wordpress.com/

Two Februarys

April 9 - 30

Opening: Saturday April 9, 2:00 - 5:00 pm

Yumart Gallery (401 Richmond Street West)

In my upcoming solo show, I continue to explore the delicate subtleties of line, form, and colour in minimalist abstract works on canvas and paper. Layers of hard-edge geometric shapes in carefully composed acrylic paintings play with movement, space, and surface tension. Oil pastels are used as the primary medium for works on paper that engage with similar concerns of composition in carefully ordered pictures that celebrate the constant comfort of rows.


I'll help you celebrate the holiday season in style hand-folding your own paper tree ornaments in her intimate studio at 401 Richmond St. W. Using origami techniques that anyone can tackle, you'll make colourful and shiny paper cubes that add a touch of modern design to your tree-trimming game, simple garlands, and whimsical mini evergreens that are just plain adorable.


The workshop is $30 per person including materials. You'll leave with a good start on your handmade ornament collection and the skills to keep folding at home.


Get your tickets here: https://www.eventbrite.ca/e/paper-ornament-workshop-tickets-19463512891


Dwanye East and I will be talking about our experience creating Conjuring for Nuit Blanche this year at Create in TO. The event is free an open to the public, you just have to sign up to the Meetup group. It's on Wednesday November 25 at 7:00 pm. 


You can find out all the details here: http://www.meetup.com/CreateInTO/



THURSDAY NOVEMBER 5, 7:00 - 10:00 PM

In the Round III

Graven Feather

906 Queen Street West


I'll have 3 paper sculpture pieces in Graven Feather's third annual In the Round show.


Graven Feather Website




3rd Annual Holiday Salon

Yumart Gallery

401 Richmond Street West


I'll have new paintings in Yumart's annual holiday show that features work from gallery artists.


Yumart Website

Gallery Artists Group Show

July 30 - August 8, 2015
A final group exhibition before moving to 401 Richmond Street West.


Showcasing gallery artists: Robert Chandler, Peter Templeman, Y.M. Whelan, Tim Noonan, a.k.a. yum, Eugene Knapik, Erin MacKeen, Joe Rosenblatt, Tim Deverell, Lee Lamothe and Deirdre Tara Whelan.