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In my landscape paintings, I’m interested in holding the moment. I feel that modern landscape painting has to examine classical conventions or at the very least toy with them to retain traction.
In a spirit of ongoing observation, this new collection of paintings includes works based on photographs taken while walking the trails in BC. Those rendered around the riverbanks near Fraser Canyon bear the humid intimacy where rocks meet water with deep shadow and cliff drain the sky of light. The compositions I tried to create in this terrain are more immediate, compressing the view without a liberating band of sky, and the prevailing feels like a cold dusk. It’s an atmosphere that seems uncomfortably close. And this sensation increases when dense forest and lake scene are studded together in inverted duets. Playing with the idea of a reflection in a body of water, the large canvases throw up different facets of the same view: vivid yet abstracted, simplified or roughed up into cruder tones. It’s in these large works (such as “Seymour river” and “Mountain lake”) that the conventions of landscape get thrown about, the sky falling in the river bed, the mountain diving beneath the clouds, tree-tops forming root networks, and horizon be damned.