I have had pencils or paint brushes in my hand for as long as I can remember - It seems I have always been creating.
At the start of my career I diverted from fine art and made a conscious decision to pursue a different aspect of my creativity, so for 30 years my creativeness has been expressed through the "business" of art i.e. graphic design, illustration, (including very tightly controlled painting and airbrushing techniques utilising gouache, acrylic, oils, inks, digital) cartooning, and the creative side of advertising in print, radio, TV and the web-including writing and production. At this point in my career I am again turning to painting as this means of expression has become more meaningful to me.
From an early age, my fascination for water has been forged into my soul. My life has been inextricably linked to water having spent my formative years, first growing up by a lake, and then on the beaches of Vancouver Island - exploring small creeks and salmon fishing the ever changing ocean. I am by birth, fortune and artistic temperament a true Aquarian.
My fascination with surface has developed over many years. I have always been fascinated by surfaces in the creation of art - flat ink printing of traditional colour comics, art deco posters, Japanese woodblock printing - to my creating traditional cell animation in the commercial market. And for subject matter I have always admired Turner and Monet. So much so I have created my own small backyard "Giverny." Over the years I have been experimenting with ways to push the bounds of painting by channelling this interest looking not to just "rehash" old ideas and techniques. I now believe that I am on the right track.
I am very close to being fully ambidextrous. A few years ago I injured my drawing hand and was in a cast for most of a year. During this time my left hand came into full use and my brains plasticity strengthened my inherent ability to "see both sides"(surfaces) in my art. This shift in visual perception further strengthened my way of looking at achieving the ethereal transition between air and water. The use of Plexiglas as a substrate/surface medium and other industrial and traditional painting materials has further allowed me to explore possibilities of expression that are not possible with other materials and techniques.
My paintings explore the ethereal and optical effects where water and air transition, that illusionary area where the 3rd dimension seems to disappear - that illusive surface area that artists have been trying to capture for centuries with limited success.
The use of industrial materials allows me to work in ways that were unavailable to artists of the past (with the possible exception of medieval stained glass window artists). This gives me the ability to express myself across both sides of the "surface" and occasionally - to spill over the edges.