Entangled Wildflowers, 2023.
Oil and acrylic on wood panel.
8 x 16 in.
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This painting was finished well after Mingling in Evening Light, though it was also meant to be a preparatory study.
8 x 16 in.
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This painting was finished well after Mingling in Evening Light, though it was also meant to be a preparatory study.
Stellar Object, 2023
Acrylic on canvas.
30 x 48 in.
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One thing I’m exploring with my nude paintings is the unsettling human contradiction of being both a subject and an object. In the case of Stellar Object, I depict a human body with simple, elegant curves and rich layers of primary colour to make a kind of beautiful ornament of molten glass. It doesn’t meet your gaze, just sits there like a hot ball of gas, but you can humanize it like we do the sun and stars because we know at some level we are made of the same stuff.
30 x 48 in.
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One thing I’m exploring with my nude paintings is the unsettling human contradiction of being both a subject and an object. In the case of Stellar Object, I depict a human body with simple, elegant curves and rich layers of primary colour to make a kind of beautiful ornament of molten glass. It doesn’t meet your gaze, just sits there like a hot ball of gas, but you can humanize it like we do the sun and stars because we know at some level we are made of the same stuff.
Wintery Hare, 2023
Miistukskoowa, 2020
Oil on illustration board.
15 x 9 in.
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A view of Eisenhower Peak and Rockbound Lake from the slopes of the eastern amphitheatre of Castle Mountain.
15 x 9 in.
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A view of Eisenhower Peak and Rockbound Lake from the slopes of the eastern amphitheatre of Castle Mountain.
Darwin (ghost), 2020
Oil monotype on paper.
15 x 18 in.
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In my monotype process, a painting exists for a while, you make an imprint of it, and the painting is wiped away. The chaotic tributaries bring to mind genealogy, lineages, and organic structures. After a photo by Leonard Darwin.
15 x 18 in.
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In my monotype process, a painting exists for a while, you make an imprint of it, and the painting is wiped away. The chaotic tributaries bring to mind genealogy, lineages, and organic structures. After a photo by Leonard Darwin.
Water Jug, 2021.
Oil and acrylic on wood panel.
12 x 12 in.
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Still life painted in collaboration with a generative adversarial network.
12 x 12 in.
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Still life painted in collaboration with a generative adversarial network.
Crank, 2022
The Fire Tree, 2018
Soft pastel and ink on illustration board.
10 x 12 in.
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A drawing of a Russian olive tree made on location near my house in Mount Pleasant.
10 x 12 in.
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A drawing of a Russian olive tree made on location near my house in Mount Pleasant.
Light Stripes, 2017
Oil on illustration board.
11 x 6.5 in.
Painted on location in Confederation Park.
11 x 6.5 in.
Painted on location in Confederation Park.
Nude with Pointillist Fields, 2023.
Sun-scorched Seaweed, 2021
Oil and acrylic on illustration board.
15 x 7 in.
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By zooming in on a single, delicate crisp of seaweed (found on a beach on Lasqueti Island), I revealed an alien landscape evoking melting caramel, molten gold, or marbled meat.
15 x 7 in.
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By zooming in on a single, delicate crisp of seaweed (found on a beach on Lasqueti Island), I revealed an alien landscape evoking melting caramel, molten gold, or marbled meat.
Head Study 2023025, 2023
Medusa 3, 2021
Wenkchemna Pass, 2019
Beet Soup, 2019
Cool and Reclined, 2023
Sick Party, 2021
Oil and acrylic on illustration board.
16.5 x 16.5 in.
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A collection of characters found through automatic drawing and brought together to form an eerie ensemble.
16.5 x 16.5 in.
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A collection of characters found through automatic drawing and brought together to form an eerie ensemble.
Sick Party III, 2021
Digitally altered monotype.
An alteration of Sick Party II, using only the ghost image created by the databending process.
An alteration of Sick Party II, using only the ghost image created by the databending process.
Beam of Light on Mount Sarrail, 2020
Oil on canvas panel.
10 x 8 in.
10 x 8 in.
Lewis Black (3/3), 2020
Soft pastel on paper.
10.5 x 8.5 in.
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Sometimes people move in a beautiful way that I have to capture. I watched an interview with comedian Lewis Black on YouTube, and paused the video on single frames that characterized the range of Lewis’ body language. I drew from the frames while listening to clips of Lewis talking in order to infuse the drawings with his thoughts and intonation.
10.5 x 8.5 in.
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Sometimes people move in a beautiful way that I have to capture. I watched an interview with comedian Lewis Black on YouTube, and paused the video on single frames that characterized the range of Lewis’ body language. I drew from the frames while listening to clips of Lewis talking in order to infuse the drawings with his thoughts and intonation.
Cute Blue Hatchback, 2024
Extreme Sacrifice, 2019
Oil on paper edited digitally.
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Initially inspired by some sketches I made for an illustration. Featured in American Illustration 39.
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Initially inspired by some sketches I made for an illustration. Featured in American Illustration 39.
Plateau, 2018
Oil on wood panel.
24 x 12 in.
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A summation of many paintings undertaken at Nose Hill in 2017.
24 x 12 in.
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A summation of many paintings undertaken at Nose Hill in 2017.
Gestural Nude, 2023
Winter Flatness, 2017
Dandelions Sparkling, 2022
Figure Coalescing with Nature, 2023
Rabbit Head, 2018
Oil on paper.
9.5 x 7 in.
A still life of a skinned rabbit head in the vein of Monet’s Still Life with Meat, but using a stock image from the internet as reference.
9.5 x 7 in.
A still life of a skinned rabbit head in the vein of Monet’s Still Life with Meat, but using a stock image from the internet as reference.
Self-Portrait as Narcissus, 2018
Oil monotype on paper.
12.7 x 17.3 in.
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Made by leaning over a mirror and painting over my reflection onto the glass, then pressing paper onto the painted glass.
12.7 x 17.3 in.
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Made by leaning over a mirror and painting over my reflection onto the glass, then pressing paper onto the painted glass.
Sweltering Marsh, 2019
Soft pastel on coloured paper.
21 x 14 in.
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Developed from a drawing session done on location in northern Alberta. I was thinking of van Gogh and trying to reflect my emotional experience through mark-making and visual movement.
21 x 14 in.
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Developed from a drawing session done on location in northern Alberta. I was thinking of van Gogh and trying to reflect my emotional experience through mark-making and visual movement.
Teapot, 2021
Oil and acrylic on wood panel.
12 x 12 in.
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Still life painted in collaboration with a generative adversarial network.
Buy Original
Still life painted in collaboration with a generative adversarial network.