Sunday 14 December 2014

sessions begin again on Little Sliammon Lake

I started this painting as my process was shifting into exhibition gear this past May to June of 2014. It was shown in early stages, very vastly incomplete. Lately, I have been looking at it,  reluctantly at first, seeing nothing, utterly. immediately , I am admiring little areas of the composition, some areas i am leaving as iz, the rest is under spacial reconstruction.
                                               here iz
  so far.. .

Friday 12 December 2014

the ecossentials exhibit (candid camera style)

This exhibit contains new small paintings that were made on Cortes island during a recent visit, paintings from a recent ( and continuing) body of paintings of our local lakes, and some from my poetic body of work. My landscape work is a meditation on paint movement and manipulation, ...exploring spacial, atmospheric, and surface relationships. It is a process of 'feeling', and immediate response to the beauty of this area.
* tap/click on image to enlarge


 top row
 (frozen) Cranberry lake
acrylic on panel, on canvas
3 1/2 x 5 1/2 on 5 x 7 inches
 Phelan lake 1
acrylic on panel on canvas
6 x 4 on 5 x 7 inches

bottom row
Cortes Island: Kwas Wetland
acrylic on panel
6 x 8 inches
Cortes Island: Laura
acrylic on panel
6 x 8 inches

Fresh Kiss, in Blue
acrylic on canvas and panel
gross dimensions: 26 1/2 x 27 1/4 inches
[ in 3 pieces, mounted together ]
bottom row
  Cortes Island: The Bridge Between
acrylic on panel
6 x 8 inches
  Cortes Island: Smelt Bay 1
acrylic on panel, framed
6 x 8 inches

Fresh Kiss, in Yellow
acrylic on canvas and panel
gross dimensions: 20 3/16 x 32 7/8 inches
[ in 3 pieces, mounted together ]
bottom left
Cortes Island: The Zoo
acrylic on panel, framed
5 7/8 x 7 1/2 inches
Cortes Island: Smelt Bay 2
acrylic on panel, framed
6 x 12 inches

Powell Lake
acrylic on panel
16 x 16 inches

acrylic on cavas
48 x 48 inches

 Fresh Kiss, in Red
acrylic on canvas and panel
gross dimensions: 15 1/4 x 39 1/2 inches
[ in 3 pieces, mounted together ]

Loon/Inland lake 1, 5:30 a.m.
on panel
7/8 X 24 inches
@ Long Beach in March
acrylic on canvas
18 1/2 x 21 1/4 inches

and again.

the end

Thursday 6 November 2014

Cortes in November ( b/w + silver)

Cortes Island, BC. Walk to Hank's Beach

Cortes Island, BC. Smelt Bay

Cortes Island, BC.
K'was Park Wetland.

Wednesday 29 October 2014

Months of November + December: the Black, White, + Red Exhibit

a first show for this here image ( Anastasia Volochkova. acrylic on panel. 2004) on said poster, built by the delightful Adam Cramb. come out, come out, wherever you are on Nov 6th.


Tuesday 30 September 2014

That WOULD have been radical, say....20 years ago (explained)

This morning, a friend posted on facebook a new 'cartoon' found in the New Yorker. It was an image of a guy standing on the street- Header " Jeff The Human Tilapia"  surrounded by the words......" Inexpensive, Inoffensive, Widely Available, Goes with Everything"
That WOULD have been radical say,....20 years ago, well 17 to be precise.
re: RSM97 " "New! Look! Organic Forearm Meat . 29cents each.
( a collage made from 1942 life magazines)

Tuesday 23 September 2014


butterfly to scale w/ my thumb

Still from a series of short films that I made in 1988 for my second art school application attempt. *Texada Island to the left, Harwood Island to the right.

shaved my body in entirety for the full body / upper face cast, for the creation of 'Menstrual Man'.
This is a still from a short film of poetry reading.

Still from  Hi8 film document of the sculpture "Menstrual Man" 1991

my homemade kombucha

Thursday 11 September 2014


The Symptom +
The Cure

Saturday 6 September 2014

the return of Menstrual Man


I have recently had videotape waves from art school years 1988-1993, transferred to one's and zero's. This first still is of the sculpture "Menstrual Man", hung above the furnace in the then Capilano College Studio Art Department, May of 1991.

Incept date: 1990.9
At this time my focus turned solely to sculpture. The stripping of former realities via the shifting of emotional and philosophical perspectives was now the central theme. I wanted my work to be a collaborative process. This was manifest in the group creation of a body cast. The cast was then painted red to signify the ‘emotional layer’ of my allegorical spirit, which at this time was being exposed, attacked, traumatized, somehow released. This male body cast was also pregnant (with creation), to conjure 'androgyny', reflecting the nature of emotion and intellect. With one magnifying lens ‘window’ embedded in the belly and one in the lower spine, the viewer, breaking from the gross anatomy, could get close up and peer inside to see the dimly lit womb environment.  ( Menstrual Man (1990-1991) ]
The sister sculpture was a piece dealing with the rapidly advancing technological revolution going on around, on, and inside the body.
Both of these sculptures were not easy on the eyes. They were about emotional pain and suffering, and searching for release. They were about a scarred and abused world on a very personal, raw, and visceral level. At 22 years of age, I was in a process of being emotionally stripped bare, torn open, and turned inside out. Paradox, chaos, genetics, studying the microcosm and macrocosm, the theme of androgyny, word games, jigsaw puzzles; these elements were additions to a vision that was on the way to opening all ‘taps’ to create/channel/manifest the visual poetry, with no impedance.
1991. Hard at re-working the language, exploring decay, entropy, transformation, the barcode, graffiti, colours - silver + orange, the extra-terrestrial landscape, the x-ray, toilet metaphor, process of the internal organs, especially the immensely critical role of colon health ( metaphor for life and evolution), apocalypse, expressions of sexuality, the visual making of sounds, the collapse of structure into inter-dimensional space, atmospheric effects, depictions of the heart, hands, feet, and eyes. [ Aneurysm (1991)]I became increasingly focused on studying the link between animal consumption, capitalism, de-forestation, de-humanization, and the onset of physical and global breakdown.
 I made a connection between the painting and my skin. Both were living breathing atmospheres; interchangeably poetic and physical. I set out to tune the canvas to express the ‘painting as living energy’...constructing a metaphor for a kind of ‘visual flesh’.[ study 1:Hybrid (1992) ]Emerging from my personal sense of the increasing disconnection of my life and mind from the world around me I sought to unite and heighten all senses attending the painting. It was a simple approach to bridging the gap between artist and audience, mind and spirit, collaborating with eyes, nose, ears, taste, and touch...

for more insight,read  a Brief History

Tuesday 2 September 2014

Wednesday 6 August 2014

this may take a while, depending on the size of the file

these days I need some kind of shovel. Have i become an artist in its' purest sense. words fail me when it comes to writing about my myth of creation series. words do not fail those who see it though. quandary. positive though. The words for it fail me miserably consistently. so much in there. I remember way back in my art school days, burning the candles at both ends, words , explanations, in explicit detail, no problem. this is of course,visual art, and I figure that I must be becoming a visual artist in the essence of that term. boggles me. frustrated me, feel trapped without the words somehow. the paintings are speaking for themselves though. a vortex. an archaeological dig, for me, and you who can see.

Sunday 27 July 2014


August looms. maps to make. on tour. New Work in progress. peeling through them layers. exercises in discipline/s. moving fwd into you. staying put, exercises in swimming free, through you and back to me and through you and back to me, movements in limitless timeless. wonder. wander. oneness.

Sunday 25 May 2014

a New Page

 Pages > NeW Landscape Work

Malaspina Art Society Exhibition
May 1 - June 3  2014

"Powell River: Local Water, Out Back:Lakes and Spirit"

Tuesday 6 May 2014

UP. A little taste of my latest exhibition ( As I document and build a page for it )

acrylic on canvas
48x 48 inches

Sliammon Lake
acrylic on panel
12 x 36 inches

(frozen) Rainy Day lake 1
acrylic on panel on canvas
3 3/4 x 4 on 5 x 5 inches

Loon/ Inland lake 3
acrylic on panel
11 x 12 inches

Friday 11 April 2014

Wall of Sound. Shapes of exhibit to come.

minus the 4 x 4 ft center piece working title: "Spirit", this wall of neatly vertically stacked paintings shows the bulk of my upcoming Malaspina Art Society Exhibit at the Vancouver Island University in Powell River. I will build a new page of these images and post it on opening day. plz chek back May 1st.