Artist Statement + Bio

 “Artists have no choice but to express their lives” Anne Truitt


I am deeply motivated by a fascination with the intricacies of human connection. I seek to understand all that I can about the rich emotional tapestry of interaction and the messy and glorious ways we bump up against each other every day. Because of this, it’s not entirely surprising that my work would be about relationships.


I would describe my approach as minimalist. My paintings are a delicate dance of carefully composed elements - only those that are the most necessary to achieve the expression of a moment. Every choice matters. I combine a finely tuned assemblage of abstracted form, colour, layer, and light in paintings that foreground how these components and decisions relate to each other and how they are most magnificent when they become a gathering. My current preoccupation is with the familiar lexicon of shapes and geometric forms that I play with making unfamiliar. I want to subtly defy what seems like the comfortable choice and make space for an awkwardness that ever so slightly shifts perception. I embrace moments that are confusing and the space that makes for questions. What unfolds on the canvas is a relationship of elements that either works or doesn’t. There is no re-negotiation, only something new. This process is what my work is about: honing in on the most crucial things and letting them shine and be enough.




I’m a self-taught painter, who had the privilege of being mentored by the late-career artist, Paul Fournier. We spent many hours in informal studio sessions where he made me look at, and talk about, a lot of art before making my own. We built trust and I leaned into fear. In that space, with that person, I found the thing I always should have been doing, but didn’t know I should have been doing until I tried.


I have been painting professionally for four years and am represented by Yumart Gallery.


For all the process junkies out there: I paint with a sponge (cheap dollar store ones) using acrylic paint on raw canvas that I hand stretch on birch panels. I often use matte medium to thin out my paint and create the desired opaqueness. I like to control the juxtaposition of flat colour with intentionally shiny, often metallic, surfaces. I use a combination of masking tape and adhesive shelf-liner paper to create my shapes. I use various stencils to draw out the shapes and then cut them from the paper either using the outside section as a stencil, or the inner shape as a friskette or mask that I then paint around.



A selection of works for my show Monuments + Mysteries (September 9 - 30, 2017) in their natural habitat in a studio at 401 Richmond Street West.


This is Paul Fournier.