Who have been the major influences and inspirations on your work and why?
My earlier influences were Paul Klee and Jean Dubuffet because of their use of line and texture. Currently, I am looking lots at works by contemporary artists; Philip Taaffe, Ross Bleckner and Donald Baechler. I am inspired by how they work with ideas and imagery from science and how they incorporate pattern and ornament into their paintings. Polly Apfelbaum's amazing floral patterned prints have also been an influence. I really like old botanical prints and John James Audubons spooky bird engravings.
Have you received any formal training?
I went to the Ontario College of Art and Design and the Art Students League of New York back in the 70's. Later, I studied Adult Education at the University of Regina because that was the field I was working in, creating technical and medical illustrations and designing learning materials for adults. In 2008, I participated in two encaustic workshops in Santa Fe, New Mexico.
Can you tell us a little bit about your history and how it has affected the way in which you work?
I was born and grew up in Hamilton, Ontario (Canada). I have always had a keen interest in the "other world" and the paranormal, and I spent a lot of time exploring seedy carnivals, dusty museums and Christian Revival tents. I created paintings and installations based on those themes. I also made comic books. I collect stuff too - mostly odd, grotesque or over-the top ornate things like shell covered icons and carnival prizes. In 1998, I created the Funomena Museum of the Weird and Strange, a travelling art exhibit that I toured around to festivals in the US and Canada until 2005. All the photos, stories and comics are virtual now at www.funomena.com
What’s your favourite environment in which to work and what other mediums do you like using?
I work in a variety of mediums in a variety of settings that are determined by the seasons. In the fall and winter I paint with mixed media on canvas and paper in my studio. Big, messy, sticky work. If it's too freezing cold to leave the house I work on my collages and little boxes in my attic or basement. In the spring and summer I draw outside and make my encaustic prints in a studio at the lake. I also go to an artist retreat at a monastery on a farm for a week.
What are the overall themes and messages you incorporate in your work? Could you explain a little further about the SUPERnatural concept you mentioned previously? I am particularly interested in what you describe as visualising the visible and the invisible.
My earlier works were based on themes of the paranormal and the pseudo-sciences. I positioned myself somewhere between the believer and the sceptic. I painted and created sightings of Bigfoot, Elvis, the Virgin Mary and aliens. Now I am creating captured "in-the-moment" experiences with nature - the sighting of a blue heron, pelican, jackrabbit or porcupine. Sometimes they are more magical - like seeing fireflies and grass fairies.
I want to capture the awe, surprise and fear that both the viewer and the animal experiences. My work is not a study of species or specimen. John James Audubon painted dead birds propped up with wires. I work from a quick glimpse, out of the corner of the eye, sightings of what are visible and invisible. I like the way an animal tries to look invisible. I have no interest in touching the animal or knowing what it eats or what it's poop looks like. I am only interested in that brief encounter, the SUPERnatural magic moment.
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