Grizzly Col, 2024
Upper Kananaskis Lake, 2024
Immovable Hare, 2024
Cute Blue Hatchback, 2024
Reaching Aspens, 2024
Mira, 2023
Entangled Wildflowers, 2023.
Oil and acrylic on wood panel.
8 x 16 in.
Buy Original or Prints
This painting was finished well after Mingling in Evening Light, though it was also meant to be a preparatory study.
8 x 16 in.
Buy Original or Prints
This painting was finished well after Mingling in Evening Light, though it was also meant to be a preparatory study.
Among the Vetches, 2023
Oil and acrylic on wood panel.
12 x 9 in.
Buy Original
Study made in preparation for Mingling in Evening Light.
12 x 9 in.
Buy Original
Study made in preparation for Mingling in Evening Light.
Study of an Interior, 2023
Stellar Object, 2023
Acrylic on canvas.
30 x 48 in.
Buy Original
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.
Buy Original
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.
The Watcher, 2023
Glory, 2023
Cool and Reclined, 2023
Sea of Fertility, 2022
Oil on linen.
40 x 60 cm.
Buy Original
The foothills near Laza, which seem to be draped in green velvet. The richness and fertility of these mountains pours down on you, and this plenitude was reflected in the overwhelming hospitality I received on my trip to Qusar. The landscape is depicted without sky or foreground. The soft, undulating mountainside takes up the entire field of view, so that the observer might feel they could reach out and touch it.
40 x 60 cm.
Buy Original
The foothills near Laza, which seem to be draped in green velvet. The richness and fertility of these mountains pours down on you, and this plenitude was reflected in the overwhelming hospitality I received on my trip to Qusar. The landscape is depicted without sky or foreground. The soft, undulating mountainside takes up the entire field of view, so that the observer might feel they could reach out and touch it.
Enfolded, 2022
Oil on linen.
80 x 60 cm.
Buy Original
An imagined view from the heart of Bayil, composed of both the outer and inner layers of the neighborhood. Finding a house here feels like delving into a labyrinth. Each turn into a narrow side street obscures more of the sky and brings you to places hidden away from the cliff-top villas hanging overhead, to where people take care of the simple daily tasks that make life more dignified. The focal scene of lively plants, a cat, and hanging clothes draws the gaze inward using unrealistic perspective and a shift in contrast and vibrancy, giving a sense of being hemmed in, and of warm invitation.
80 x 60 cm.
Buy Original
An imagined view from the heart of Bayil, composed of both the outer and inner layers of the neighborhood. Finding a house here feels like delving into a labyrinth. Each turn into a narrow side street obscures more of the sky and brings you to places hidden away from the cliff-top villas hanging overhead, to where people take care of the simple daily tasks that make life more dignified. The focal scene of lively plants, a cat, and hanging clothes draws the gaze inward using unrealistic perspective and a shift in contrast and vibrancy, giving a sense of being hemmed in, and of warm invitation.
Titanic Potential, 2022
Oil and acrylic on linen.
80 x 100 cm.
Buy Original
The icy peaks of the Greater Caucasus looming over a river notorious for flash floods. For now the Kish River is just a trickle, allowing cows to wander through the gully, and an artist to take advantage of the view. The mountains are patterned like the geometric mirrors found in the Palace of Sheki Khans, in order to relate the power of the mountains (which can wash away the town) to the power of the Khan (who can sever the hands of the artist who decorated his palace). This artist reminds me of Tural (@moyufov), who struggled to become an artist against the opinions of family and society, and of the Titan Prometheus, who was exiled in these mountains. The cows walking between the artist and the mountain refer to Tural’s grandmother, who supported his dreams by selling milk and cheese.
80 x 100 cm.
Buy Original
The icy peaks of the Greater Caucasus looming over a river notorious for flash floods. For now the Kish River is just a trickle, allowing cows to wander through the gully, and an artist to take advantage of the view. The mountains are patterned like the geometric mirrors found in the Palace of Sheki Khans, in order to relate the power of the mountains (which can wash away the town) to the power of the Khan (who can sever the hands of the artist who decorated his palace). This artist reminds me of Tural (@moyufov), who struggled to become an artist against the opinions of family and society, and of the Titan Prometheus, who was exiled in these mountains. The cows walking between the artist and the mountain refer to Tural’s grandmother, who supported his dreams by selling milk and cheese.
Heat Mirage, 2022
Oil on canvas.
40 x 70 cm.
Buy Original
The Soviet apartment blocks, natural gas flares, and bold modern architecture of Baku seen through the heat distortion of the ‘eternal flame’ of the Ateshgah. Baku is only possible because of the resources that fed those sacred fires, yet most Azerbaijanis don’t feel they benefit from the oil and gas industry. The city is depicted as both an ancient premonition come to life and a mirage.
40 x 70 cm.
Buy Original
The Soviet apartment blocks, natural gas flares, and bold modern architecture of Baku seen through the heat distortion of the ‘eternal flame’ of the Ateshgah. Baku is only possible because of the resources that fed those sacred fires, yet most Azerbaijanis don’t feel they benefit from the oil and gas industry. The city is depicted as both an ancient premonition come to life and a mirage.
Searching For Lachin, 2022
Oil monotype on paper.
49 x 76 cm.
Buy Original
A Lachin-like landscape of rolling green hills, silvery mountains, and red rooftops. Due to the presence of landmines, I could not travel to Lachin with Yusif Mirza. Instead, I learned about Lachin through his stories, paintings, and photos. The monotype technique turns the landscape into a ghostly impression, like my vague mental image of the place.
49 x 76 cm.
Buy Original
A Lachin-like landscape of rolling green hills, silvery mountains, and red rooftops. Due to the presence of landmines, I could not travel to Lachin with Yusif Mirza. Instead, I learned about Lachin through his stories, paintings, and photos. The monotype technique turns the landscape into a ghostly impression, like my vague mental image of the place.
The Fortress City, 2022
Oil on linen.
80 x 160 cm.
Buy Original
The cliffs of Shusha as seen from the new Victory Road. At this time, Shusha was still inaccessible to most people due to both security restrictions and its inherent nature as a fortress city built on a mountain. The carpet ornaments act as symbols, telling the story of my experience there and things that Ramiz Abbasov shared with me about his home. The fences of “mullah basha” evoke borders, protection, and obstruction. Fractured running water (axan su) ornaments refer to mineral springs that have run dry. Bird ornaments trace a hopeful song in the sky, and the tree of life takes the form of a cherry blossom tree with a flower for each year that Shusha’s residents have been unable to return home.
80 x 160 cm.
Buy Original
The cliffs of Shusha as seen from the new Victory Road. At this time, Shusha was still inaccessible to most people due to both security restrictions and its inherent nature as a fortress city built on a mountain. The carpet ornaments act as symbols, telling the story of my experience there and things that Ramiz Abbasov shared with me about his home. The fences of “mullah basha” evoke borders, protection, and obstruction. Fractured running water (axan su) ornaments refer to mineral springs that have run dry. Bird ornaments trace a hopeful song in the sky, and the tree of life takes the form of a cherry blossom tree with a flower for each year that Shusha’s residents have been unable to return home.
Chair, 2022
Oil on wood panel.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
Buy Original
Still life painted in collaboration with a generative adversarial network.
Dandelions Sparkling, 2022
Storm in the Fall, 2022
Elm Catching the Last Light 2, 2022
Water Jug, 2021.
Oil and acrylic on wood panel.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
Teapot, 2021
Oil and acrylic on wood panel.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
Buy Original
Still life painted in collaboration with a generative adversarial network.
Two or Three Bottles, 2021
Oil and acrylic on wood panel.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
Pile of Fruit, 2021
Oil on wood panel.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
Coffee Cup, 2021
Oil and on wood panel.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
12 x 12 in.
Buy Original
Still life painted in collaboration with a generative adversarial network.
Sun-scorched Seaweed, 2021
Oil and acrylic on illustration board.
15 x 7 in.
Buy Original
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.
Buy Original
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.
Medusa 3, 2021
Cyclops 3, 2021
Bounding Hare, 2021
Oil and acrylic on wood panel.
24 x 24 in.
Buy Original
One day I caught a brief glimpse of a documentary about rabbits and made a sketch inspired by a moment in a rabbit’s jump. I generally try to preserve the raw energy of the initial sketch when moving to a larger painting. Hares are a common sight in my semi-urban habitat – always around, but evading you – and serve as a reminder both of my animal nature and my artificial distance from it.
24 x 24 in.
Buy Original
One day I caught a brief glimpse of a documentary about rabbits and made a sketch inspired by a moment in a rabbit’s jump. I generally try to preserve the raw energy of the initial sketch when moving to a larger painting. Hares are a common sight in my semi-urban habitat – always around, but evading you – and serve as a reminder both of my animal nature and my artificial distance from it.
White Dog, 2021
Oil on wood panel.
24 x 16 in.
Buy Original
A simple, nostalgic painting with a focus on creating a sense of brightness and celebrating the beautiful simplicity of a naive drawing.
24 x 16 in.
Buy Original
A simple, nostalgic painting with a focus on creating a sense of brightness and celebrating the beautiful simplicity of a naive drawing.
Sick Party, 2021
Oil and acrylic on illustration board.
16.5 x 16.5 in.
Buy Original or Prints
A collection of characters found through automatic drawing and brought together to form an eerie ensemble.
16.5 x 16.5 in.
Buy Original or Prints
A collection of characters found through automatic drawing and brought together to form an eerie ensemble.
Jewel Landscape III, 2020
Oil on illustration board.
14.25 x 8 in.
Buy Original
Part of a series of landscapes done on location in Nose Hill, where I darken the hills and sky to call out the bright flora like strings of precious stones.
14.25 x 8 in.
Buy Original
Part of a series of landscapes done on location in Nose Hill, where I darken the hills and sky to call out the bright flora like strings of precious stones.
Darwin (ghost), 2020
Oil monotype on paper.
15 x 18 in.
Buy Original
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.
Buy Original
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.
Bow River Headwaters, 2020
Oil on canvas.
20 x 16 in.
Buy Original
A landscape found on a hike up Mount Jimmy Simpson, looking southwest towards Vulture Peak, which is barely visible in the background. The river in the foreground is the beginning of the Bow River, fed by the Bow Glacier just out of frame to the right.
20 x 16 in.
Buy Original
A landscape found on a hike up Mount Jimmy Simpson, looking southwest towards Vulture Peak, which is barely visible in the background. The river in the foreground is the beginning of the Bow River, fed by the Bow Glacier just out of frame to the right.
Beam of Light on Mount Sarrail, 2020
Oil on canvas panel.
10 x 8 in.
10 x 8 in.
Miistukskoowa, 2020
Oil on illustration board.
15 x 9 in.
Buy Prints
A view of Eisenhower Peak and Rockbound Lake from the slopes of the eastern amphitheatre of Castle Mountain.
15 x 9 in.
Buy Prints
A view of Eisenhower Peak and Rockbound Lake from the slopes of the eastern amphitheatre of Castle Mountain.
Wenkchemna Pass, 2019
Extreme Sacrifice, 2019
Oil on paper edited digitally.
Buy Original
Initially inspired by some sketches I made for an illustration. Featured in American Illustration 39.
Buy Original
Initially inspired by some sketches I made for an illustration. Featured in American Illustration 39.
Beet Soup, 2019
Candy Hills, 2019
Prismatic Reservoir, 2019
House on the Bluff, 2019
Oil on illustration board.
7 x 5.5 in.
Painted on location at McHugh Bluff. This shows a large walled-in property overlooking Sunnyside, surrounded by woods. It’s a spot that’s always held mystery for me.
7 x 5.5 in.
Painted on location at McHugh Bluff. This shows a large walled-in property overlooking Sunnyside, surrounded by woods. It’s a spot that’s always held mystery for me.
Brewery Crows, 2018
Oil on hardboard.
12 x 7 in.
Buy Original
Painted on location at the former Molson Brewery in Inglewood.
Buy Original
Painted on location at the former Molson Brewery in Inglewood.
Suffocation, 2018
Watercolour, graphite, and oil on paper.
13.4 x 19 in.
Buy Original
Painted from a photo taken at Big Lake, near St. Albert, Alberta.
13.4 x 19 in.
Buy Original
Painted from a photo taken at Big Lake, near St. Albert, Alberta.
Self-Portrait as Narcissus, 2018
Oil monotype on paper.
12.7 x 17.3 in.
Buy Original
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.
Buy Original
Made by leaning over a mirror and painting over my reflection onto the glass, then pressing paper onto the painted glass.
Self-Portrait, 2018
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.
Head Study 14, 2018
Plateau, 2018
Oil on wood panel.
24 x 12 in.
Buy Original
A summation of many paintings undertaken at Nose Hill in 2017.
24 x 12 in.
Buy Original
A summation of many paintings undertaken at Nose Hill in 2017.
Winter Flatness, 2017
Artificial Lump, 2017
Oil on hardboard.
11.75 x 8.5 in.
Buy Original
Painted on location at Nose Hill. Some of the mounds atop Nose Hill are man-made and look out of place.
11.75 x 8.5 in.
Buy Original
Painted on location at Nose Hill. Some of the mounds atop Nose Hill are man-made and look out of place.
Floating Tree, 2017
cfrederiksen_unioncemeteryfixed
Sparking Bushes, 2017
Bridgeland, 2017
Oil on illustration board.
8.5 x 5 in.
Buy Original or Prints
Painted on location overlooking Bridgeland, the neighborhood I lived in from ages 8 to 12.
Buy Original or Prints
Painted on location overlooking Bridgeland, the neighborhood I lived in from ages 8 to 12.
Busy Valley, 2017
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.
Purple Alice 2, 2016
Male Nude, 2016
Acrylic on illustration board.
9.5 x 16.75 in.
A study of the human figure where I tried to emulate the planar colour transitions of Euan Uglow.
9.5 x 16.75 in.
A study of the human figure where I tried to emulate the planar colour transitions of Euan Uglow.
Figure in Watercolour, 2015
Secret Island, 2011
Acrylic on paper.
11.8 x 8.5 in.
Painted on location on a small island in Confederation Creek.
11.8 x 8.5 in.
Painted on location on a small island in Confederation Creek.