Today i'm introducing 3 new paintings to Gallery 4 of the Recent Work section of my website. They are each 5" x 5", encaustic on panel, primed with red oxide.

untitled: (night map) minaki series, no. 4 India ink, graphite, bronze powder, watercolour, builder’s chalk, oxide, earth, & varnishes on blind-embossed paper, 213 x 60 cm untitled: (night map) minaki series, no. 4 (detail) The present is never uncoloured by the past, be it a collective, or particular set of experiences. Night Map evolves as a series of meditations on places or situations that have marked the psyche of the artist in some way during the process of claiming

These pieces are among my favourites, but are too subtle in their finished form to command much attention. Garden suite began as a series of soft focused polaroids taken from looking out from a lilac bush that I used to hide under as a child. In the process of making them, i remembered why I was hiding: an older boy was abusing me. I scanned the images into the computer, and blurred them before outputting them as inkjet prints which were then transferred to watercolour pa

Today's featured image is from the "loss of spring" series of fairly idiosyncratic paintings that happened around 2005, around the end of a relationship. I'm showing it today as i'm contemplating a spring that isn't quite here. The painting is encaustic on canvas, 152 x 102 cm.

This piece is from a series of grid-based pieces I was working on in the late nineties. The "ball" is intended to anchor the piece to the ground. "Cage" is made of electro-formed copper over a wooden structure, with added hand-made chain and patina. It is about 7 cm tall.

So I was photographing a couple of ceramic pieces to post on facebook in answer to an invitation from the ceramic artist, Valerie Metcalfe to show 7 pieces in 7 days... and i tripped on the stairs, returning them to their homes, breaking both... I guess it's a sign to do more ceramics or avoid them entirely... anyway, here are the pieces, handbuilt, burnished, and sawdust fired. Happily the photos turned out ok.

I used this image, a shadow from a piece called cradle, because if one stares at it for a while, the "boat" inverts itself. It's a reference to looking at a piece and the kinds of things one's mind does in reaction to a work of art. #homepage #cradle #bentwood #opticalillusion

This book arrived yesterday in the mail. I owned a copy years ago, but lost it in transit. I'm using it as reference for my current work.

This is a new pot from my friend, Toni Head, who lives in New Jersey. Toni and I were roommates in university for a while while I was in architecture, and she was in fine arts. Toni recently bought a couple of new paintings that i haven't shown on this site. These are the paintings: both are untitled, oil on panel, 12.5 x 12.5 cm.

Susan Turner invited 15 artists to produce works on the theme of bookmark. Each artist was to produce 16 pieces to share with each other, and one to exhibit. Here is mine: artist’s statement: bookmark project – “wintercount” series, collage on panel, 12.5 x 12.5cm. 2017. A bookmark is a basic mnemonic device. Used to mark a place in time, its function creates its meaning. It is, itself, a kind of presence, neither past nor future… it has the immediacy of a memory, yet it