I began with landscapes. After creating a series of abstract, mixed media originals on paper, I cut them into vertical bands; the original compositions are destroyed and the substrate becomes the medium. With this new medium I have the freedom to merge, edit, design and fuse a new original to work upon. The final piece is mounted to Birch panel. It is abstract, but conversely cohesive, designed, structured, and rhythmic. The vertical seams play with the eye and inspire the imagination to see depth and changing dynamics. What is seen when standing back will vary from person to person, and from moment to moment. However, when one looks closer at any of my works, 'the big picture’ will reveal itself for what it truly is: a collection of tiny, unique, building blocks of abstraction.
 
Intrigued by the details revealed in this process, I was driven to take this technique a step further, separating the papers not only vertically but horizontally. This proved to be a successful method for exposing the concealed and intricate details hidden within natural objects like butterflies, feathers and flowers. These objects are built using an original that is dissected into ‘bricks’ that are shifted, built back and once again detailed. 
 
My studies in Fashion, with a focus on Haute Couture construction, as well as my experience as a Window Display Artist, impressed upon me a great appreciation for design and hand-finished detailing. Gaining knowledge of the destructive and wasteful nature of the ‘Fast Fashion’ industry, I was prompted to notice the waste that I was creating with my designs. In my ‘Repurposed Nature’ pieces, I re-explore my 10 year, and continued, accumulation of abandoned projects. Abstract markings on paper once intended as ocean, rock, and cloud, now carved out, sanded, shredded, distressed, oxidized, dyed, detailed and completely transformed into building materials for trees and bird’s nests. Manipulating some shapes by hand, all pieces are fastened into place, layered and sealed, and lay solid, textured and sculptural upon the panel.
 
Motivated by a childhood memory of layering wax and dye to make Ukrainian Easter eggs, my latest exploration ‘Manual Exposure’ uses a process of masking and layering colour depths to create scenes. The images rely on strong highlights and shadows to create their shapes, similar to black and white photographs on paper. For these, I have referenced my own memories, caught in digital format, and ‘develop’ them manually onto paper. These works, have vertical and horizontal seams and like paper photographs, wear signs of age and time; torn corners, rips, cracks and creases. Living and working in the West End of Vancouver, my digital captures of nature often feature, or hint at, the presence of an urban backdrop. The designs of Man; streets, buildings, signs, and cars juxtaposed against the designs of Nature.
 
The techniques and applications that I use include, but are not limited to, those used in fashion design, weaving, drafting, graphic design, film editing, wood burning and carpentry. 
 
I grew up in Carp, Ontario and after having lived in Toronto, Ottawa and Los Angeles., I am based in Vancouver, BC, Canada.