The title of this body of work is taken from a song by The Blind Boys of Alabama. Musicians of course know a lot about road trips and the particular sweetness of nearing home, but I think it is something everyone feels whatever kind of journey they are on.
This work sees the landscape as we so often do; from the window of a car, showing the rush and blur of the roadside tangle. The wild and sparsely inhabited BC interior is crisscrossed with hydro wires, headlights and road signs. I don’t edit this out because my subject is not just this country’s stunning beauty but rather the experience of travelling through it.
I most often choose the half-light of dusk for my paintings, when the idea of homecoming is hardwired into our brains and the not-quite-there feeling of being almost home is at its strongest.
Tracery I, oil on canvas, 60x48"
Almost Home II, oil on canvas, 24x30"
500 Miles I, oil on canvas, 48x72"
Almost Home IV, oil on canvas, 60x48"
Rain I, oil on canvas. 36x60"
500 Miles II, oil on canvas, 18x24"
The wet street series examines the interface between the natural and man-made worlds. Distorted and abstracted by the rain, the forest leans into the street threatening to take back the pavement, light standards, hydro wires and the cars that move between them. The point of view uses the rush and blur of light to evoke the city as we usually see it; from a moving vehicle.
After the Storm III, 14x11", oil on canvas
Early Evening 97N, 8x10", mixed media on drafting film
Benvoulin Church, 8x10", mixed media on drafting film
Snowshadows, 8x10", mixed media on drafting film
Road Less Travelled VII, 9x12", oil on board
Cloudburst, Hwy 97, 30x40", oil on canvas,
Road Less Travelled VI, 11x14", oil on board
Road Less Travelled VII, 30x40", oil on canvas
After the Storm, 10x8", drawing media on vellum
Wet Street Series II, 10x8", oil on board
Wet Street Series I, 10x8", oil on board
Road Less Travelled III, 12x9", oil on board
The drawings in the Port Mann series capture the moment in time when the construction of the new bridge across the Fraser River is underway but the old bridge still exists. The images occupy the slipstream between conceived and existing, offering the illusion of shelter and promising the transition from the confused mess of the building site to the order and clarity of the new structure. While the images denote the hardscrabble nature of this massive project, they also honour the scale of the undertaking, and the unexpected beauty of the process saturated with light unique to the Pacific Northwest. All works are mixed drawing media on drafting film.
Race the Roaring Fraser I, 36x60"
Sail Away IV, 42x70"
Race the Roaring Fraser II, 36x60"
Sail Away III, 36x60"
Port Mann XXVIII, 25x35"
Port Mann XI< 42x70"
Sail Away I, 36x60"
Sail Away II, 36x60
This exhibition/installation uses two icons of Canadian mythology; the Common Loon and the paddle. The paddles are freestanding, blade up and therefore useless. Each is painted with the image of the loon. The paintings are ambiguous, the birds hold their usual postures for fishing, grooming and resting yet they appear distressed. The paddles are gathered together in the centre of the gallery, raised a few inches on a plinth. This is the 'raft', the proper term for a group of loons. On the surrounding windows hang large scale waterscapes in oil on drafting film while fragile 'wings' constructed of rice paper and willow hang from the ceiling.
Raft was installed in The Kelowna Art Gallery in the fall of 2015, and in The Rotary Centre for the Arts in February, 2016 in conjunction with Opera Kelowna's Lake of Tears.