When I work with acrylics I am reminded that paint cannot capture the luminous beauty of the world of nature, so I aim to get as close as I can through symbolic representation and hope that people will understand that paintings can be a form of shorthand.
I begin a piece by taking inspiration from a natural shape. I build up the focal area with heavy lines and then loosely apply colour in layers until I’m satisfied. Then I add detail and texture and refine the piece until it feels complete.
I develop websites for a living. Programming code requires precision, exactness, logic and rigidity of form. When I paint, I don’t allow myself to measure proportions or obsess over straightness or symmetry – my work is intentionally free of calculation or too much planning and I trust the painting to take shape without too much critical interference from my perfectionist brain.
My work is influenced by Taoist philosophy; Gaudi’s architecture; First Nations art; stained glass; natural shapes like the nautilus; and the landscape of the North Bay area.
My style began to take shape while I was living in a rustic (some would say decrepit) cottage on the north shore of Lake Nipissing between 2006 and 2009. I was working through the death of my spouse, Jean Paul Racine, while living outside of ‘clock time’. I grew very much in tune with the seasons, the stages of the day and phases of the moon. The magnificent beauty of Nipissing First Nation and the huge emotional impact of that time in my life has come out in the bright canvases I’m painting now (and is surprising me very much).