Making art was the only way to proceed. That was clear. For me, nothing could otherwise make any sense.
There were numerous childhood inspirations and influences. Growing up in a village adjacent to the land and beach on Lake Ontario fuelled my adventuress nature. Skating on the marsh and being able to see to the depths, witnessing the grass fires along the sandy cliffs, seeking the birds who nested there, finding love in the warmth of the shale, all this set me on a life path of discovery, intellectually, physically and creatively.
My close relationship with my younger sister who is sixteen months my junior, has had a constant effect on my perception. Witnessing her fall from a baby carriage that had been perched on the third floor landing of a fire escape had a profound effect on both of our lives. Neither of us was ever the same. My sister suffered brain damage. Her view of the world has since informed me, enriched me and humbled me. In turn, I have tried to navigate what she could not. Because of her, I see things differently.
The third easily identfiable influence was coming across a set of miniature art books in my Father's den. Included, were small monographs of Renoir, Modigliani, Gaugin, Degas etc, but when I saw the volume of Kandinsky, I thought, " Now here is something ".
Much about my life has been documented in "Processes of Defense" by Dr, Joseph Fernando, whose brilliance and help have enabled me to evolve through Freudian psychoanalysis.
What I like to do most of all is wonder. This Is what sets my work in motion. When I wondered what 'negative space' could possibly be or if it existed all, I began an investigation in my work that would span two decades. Questioning that one standard, but obsolete, phrase from the language of painting, propelled me through numerous media like blow torch paintings on wood, burlap bag installtions and a substantial body of work on black velvet tarpaulins with extracted markings, text, images and at times, projections. It was also the basis for my thesis.
In 2010 I felt that my investigation had led me right back to painting itself. After two decades I began to paint on canvas once again. I felt that what I had studied, learned and experineced about space must now be synthesized. I had to trust that my findings would present themselves on canvas. I began to wonder about gravity and drops and how many drops did a space need to comprise a form. How many intersections would cause a direction change in the line and on and on, on and on, I wonder.