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Between busy moments there is often a beautiful and quiet space. Deep, dark and wonderful. Like falling asleep in a cave. No light touches this place and water is the only sound you can hear.


36" x 40" 
Acrylic Paint 
$ 2,500 CAD




To be human is to be a channel. Energy runs through you from a mysterious source. 
The water that this waterfall is channeling has healing properties and can lead to mild clairvoyance. Many come to bathe and become believers. 
But if instead of bathing, you dare to drink from this source, you'll enter the non-linear world of omens, foreshadowings, and prophetic dreams.


36" x 12" 
Acrylic Paint 
$ 1,800 CAD




Last night you had a dream about the absence of a loved one. In the dream, it seemed important that you find a way to measure this absence, to understand it. First, you had to gather all of the necessary items: a very large void in a remote landscape, 100 gallons of holy water or tears, a thread from the fabric of time, a laser beam, diving equipment, and a stopwatch.


36" x 36" 
Acrylic Paint 
$ 2,500 CAD



 The Source


In your backyard, one morning you notice a small wobbling rainbow, palm-sized. You picked it up and watched it wiggle like a small creature. A ladder you had never seen before has been placed against that tall hedge which runs along the perimeter of the yard. You put the rainbow in your pocket and begin climbing.


18" x 24" 
Acrylic Paint 
$ 1,300 CAD


Cave Witch

Have you ever wanted to return to the land? To go live in a cave in a place where the weather is mild and a pyramid helps you meditate for 45 minutes each morning? Have you thought about what it would be like to dry out some grasses by tying them with locks of your hair and hanging them on a branch to later be used to make your cave-bedding? And if you did all these things would your magical powers grow stronger until you became an actual cave witch?


60" x 84" 
Acrylic Paint 
$ 8,500 CAD



This work is from my 2014 series – Eccentric Gardens. In this series I used imagery of gardens to signify part of our internal psychic landscape.


If we imagine our psychic landscape as a vast place full of different areas that represent different parts of our personalities then, for me, the creative part of that landscape is a garden full of sunlight, shadows, the surreal and the symbolic.


I use wavy rainbows to signify the creative energy that flows through this place, an energy that can be harvested freely as long as you can find your way back to that secret place ie. avoiding creative blocks etcetera.



Memory Light


Here is a talisman for remembering. For keeping this particular memory strong. For remembering your purpose and your importance and what you hold so dear in this world. Some pools are full of memories that grow dark, others stay illuminated by the vigilance of this tiny lightkeeper. Say "Memory Light" twenty times by candle-light to summon her.


30" x 40" 
Acrylic Paint 
$ 2,500 CAD




  This work was created surrounding the concept of nostalgia and is a combination of my new series called Goth Fauve (psychedelic colour meets strange female figures in technicolor landscapes)  and my 2014 series – Eccentric Gardens. In Eccentric Gardens I used imagery of gardens to signify part of our internal psychic landscape.

  Nostalgia is a bittersweet feeling and memory can be a place where we can get lost in obscurity.

  Memory Light is a way to see the past with more clarity, reducing the dissonance between our perception of the memory and it’s reality.



Goth Fauve Series 

(see images from this series here: )


  My Goth Fauve series is a new painting series started in spring 2016 in which psychedelic colour meets strange female figures in technicolor landscapes.

  I love making images that create mysterious narratives that revolve around female heroines. In Initiation I like to imagine that a girl’s braid is being removed in a sacred ritual that initiates her into a friendly cult of women who live in the forest in a self-sustaining community.

   In Sleep Like The Dead  I indulged in my favourite colour – purple and channeled my inner Wednesday Addams, to make a piece about the way I wish I could sleep every night minus the location of course : )

  These pieces are often completed alla prima or in two sittings. I began making this series because I wanted to explore working with the figure again and develop a new series that would allow me to work with radical colour combinations and a stylized approach.




M o u n t a i n   S i g n a l 


A mountain-scape provides a ascending and descending horizon that fades into the distance while a blocked-out green line provides a level marker. Thinking of the perception of this type of scenery I decided that the line would be a type of code for what was being seen - a median that has compressed the changing elevation into its overall visual impression ie. the horizon line.


In my practice I am ever-curious about the way that we perceive the world around us and in the case of this series ("Imprint") I am showing my constant consciousness in regards to the perception of the world built in our minds versus the coded information that we are receiving. I'm inspired by modern theorists like cognitive scientist Donald D. Hoffman who argue that the world presented to us by our perceptions is actually nothing like reality.




M o u n t a i n   S e q u e n c e


In this work I am using pattern to represent the code we receive to build the scenery of this "mountain-scape" in our minds.


This work is part of the series called "Imprint". I am exploring the idea of how we perceive the world around us and the impression it has upon our being - physically and mentally.


The sequence of dots punctuates the calming vista of the mountains as a reminder that we are receiving coded stimuli and then interpreting that data in the form of an image.




P o r t a l   S i g n 


In my past work I have created images with a similar shape floating in a landscape such as this.


The previous work has been more colour saturated and the floating shape has been painted with a flat black paint. I then referred to this shape as a "portal" and let it represent a passageway into the terrain, an echo of the viewer's immersion into the landscape by the process of viewing.


Here the shape is painted white and it's blank quality is a "stand-in" for the black portal. Instead of a portal it signifies that a portal is here. Once again this explores the idea of visual information being presented in a code ( like a sign ) that we subsequently interpret. This work is part of my series of paintings called "Imprint" which deals with the process of visual perception.