Paintings purchased by the New Brunswick Art Bank for their permanent collection. 2017.




Part of an ongoing exploration of the transient nature of our industrial and urban landscape. I am trying to evoke the fluidity of this landscape, reminding myself and my audience that very few elements here remain fixed. The industrial infrastructure itself may be more or less stationary. Everything else - the ships, tankers, train cars, the sky, the water - moves in and out of our view. 2017.



For Wire Act, I drew ideas from negative spaces and overhead wires in urban environments. I used wire, nails and other found materials to connect one painting to the other, mirroring the ubiquitous overhead lines that bind seemingly disconnected structures in our cities. 

Exhibited at the Saint John Arts Centre, 2016.




This work is visually influenced by planimetric urban maps and neighbourhood planning, the idea of ‘starting over‘ in a cramped urban environment - whitewashed graffitied walls, razed buildings - as well as the sometimes haphazard use of space in an area that is constantly in motion and flux. 2015.

Many thanks to ArtsNB for supporting this project. 




I am drawn to the transient elements of urban culture, like graffiti, construction sites, cranes, scaffolding and tankers – things that move in and out of the urban landscape. These moving elements reflect the changing and movable nature of urban identity itself. Architect Wes Wilson sees cities as “field[s] of accumulated meanings...[T]hey are undoubtedly an accretion of materials, of matter which is susceptible to processes of change.” I visually interpret this definition of urban space, (re-)creating a field of ‘accumulated meanings’ through the physical application of materials, built over time on the canvas, each layer a temporary interpretation of the landscape. 2015.

Many thanks to ArtsNB for supporting this project.