"Entropy’s Edge" Painting

The Evolution of Form; A Study in Multi-Disciplinary Mastery.

My work is a continuous dialogue between the permanence of stone and the ephemeral nature of water. After establishing my practice in the early 2000s with exhibitions at institutions such as the Art Gallery of Peel and Cedar Ridge Creative Centre, I moved into a fifteen-year period of intentional private study.

This hiatus from the gallery circuit was not a pause, but an evolution. During this time, I stepped away from public showing to deconstruct my process, exploring new visual languages and pushing the boundaries of my materials. I traded the pressure of exhibition deadlines for the freedom of the "Study"—a rigorous exploration of how movement can be captured in the weight of Brazilian soapstone or the spontaneous bleed of ink on cotton paper.

Today, my work represents the culmination of that decade and a half of quiet refinement. Whether I am hand-carving the muscular form of a bear or navigating the atmospheric depth of a "Mariner" watercolour, I am seeking a balance between rugged Canadian geometry and a refined, modern minimalism. I return to the public sphere with a body of work that prioritizes technical precision and the raw, honest spirit of the subject.

Technical Approach:

Sculpture: Exclusively hand-carved using traditional tools. I work with global stones—Italian Alabaster, Brazilian and Chinese Soapstones—allowing the natural veining and density to dictate the final posture of the piece.

Painting: A focus on the economy of the stroke. Using ink-wash, watercolour, oils and acrylic, I explore the tension between light and shadow, often mirroring the three-dimensional forms found in my sculptures.