"Yellow Holding Blue" Painting

My work deals with the luminosity of light and the radiance of colour in counterpoint with elemental schemata that transcends surface and meaning. The intent of my work has been for the viewer to “fall in and drown in the work” and see things beyond the surface of the paintings. My painting process uses the layering of see-through images and imaginings of x-ray vision similar to the drawn schemata of Canada’s aboriginal artists. To see beyond the surface, whether it be the early ambiguous schematics of something/someplace, or the current painting process whereby the dance of paint application, movement, direction, tools and their manner of use inform its’ significance, either as an object/painting unto itself or having further consequential narratives and visual theatrics beyond the surface. The paintings have the appearance of being lit from within, and use edge bars, and other geometric counterpoints to create the dynamics of push and pull oppositions of colour, structures, and gestural mark making. “Tripping The Light” simplifies notions, and sensibilities of mark making into a cohesiveness of intent, paint application and implied meaning or interpretation.