After graduating from Emily Carr School of Art and Design, I worked at my art for a period before taking time off to raise two boys. About five years ago, I returned to my studio to pursue my career. I began the journey of defining and refining my visual vocabulary. What elements, both visual and emotional, intrigue me and are powerful for me. After five years of push and pull and experimenting, some themes and ways of working have emerged; I find my work does not evolve from an intellectual starting point but by step-by-step as I respond to what I am creating. It is an emotional center to the work that I am looking for, more than an idea. So although I am continually asking myself what the work means, the answer is not in words but in the feeling, tension, and intrigue the painting evokes. The work is also not particularly autobiographical, and I definitely try to avoid any narrative. I think I am looking for something more obscure, something more ambiguous, more universal. I use the figure in undefined expansive spaces because I love the tension and again the ambiguity it creates; the known, figures, unknown, and space.
The images I create are quite spare, but I hope that the figures in them have enough humanity that there is an empathy with them. When I try more decorative elements I always seem to end up removing them. In fact I often find that the act of taking away paint is as important as building it up.
In the end I hope that the images, whether drawing or painting, have a quiet weight, an emotional center that the viewer can respond to. I think the essence of what I am trying to do is to gently reveal or touch on some essential human element and find its place in the known and perhaps unknown world.