“The resilience and creativity we use to find balance and meaning in turbulent times.”

Q1: What inspired you to explore the theme “Inner Worlds: Chaotic Realities”? Is there a specific event or experience that led you to this concept?

The inspiration for “Inner Worlds: Chaotic Realities” came from observing how people cope with increasing chaos and unpredictability. The global pandemic, in particular, highlighted this theme. During this time, many—including myself—retreated into vibrant inner worlds to manage the external turmoil.

This contrast between hopeful facades and hidden chaos intrigued me. My paintings reflect this dual existence, capturing the fragmented nature of our mental and emotional experiences. Through this collection, I aim to show the resilience and creativity we use to find balance and meaning in turbulent times.

Q2: How do you hope viewers will engage with and interpret the duality and interplay in your work?

I hope viewers will feel a connection to the duality in my work, recognizing their own experiences in the contrast between vibrant dreams and hidden chaos. I want them to see how we all balance hope and turmoil, and to find comfort in the shared journey of navigating our internal and external worlds.

Q3: How do you decide on the textures you use in your pieces, and what role do they play in conveying the energetic and ever-changing nature of the mind and environment?

I choose textures that match the emotions and energy of each piece. The varied textures create depth and movement, reflecting the constant changes in our minds and environment. They help bring the chaos and vibrancy to life, making the experience more dynamic for viewers.

Q4: Do you plan to explore other themes or concepts related to human psychology and external realities in future collections?

Honestly, I’m not entirely sure what my future collections will bring, as they are often inspired by how I feel at the time. My work is very intuitive and responsive to my current experiences and emotions. It could be something entirely different, reflecting new insights or challenges I encounter.

Q5: You use a familiar colour palette throughout your work. Is there something that intrigues you about how these colours correlate to your thought process?

Bright, bold colours captivate me because they stand out and command attention. They represent the vibrancy and complexity of our inner worlds. Using these colours helps me highlight the contrast between hope and chaos. The darker colours, on the other hand, represent the hidden turmoil and complexities that lie beneath the surface. This interplay of bright and dark hues allows me to convey the full spectrum of emotional depth in my work, making it more impactful and engaging for viewers.

Q1: You mention Picasso’s quote about painting like a child. How do you balance the spontaneity of child-like creation with the technical skills you’ve developed over the years?

I remember a famous quote about that, but unfortunately, not who said it. The thought was that in order to break the rules, you have to first know the rules. So I don’t find the idea of painting in a very primal way to be at odds with having learned more sophisticated techniques as well. If anything, I think they’re complimentary.

Q2: As a primarily self-taught artist, what challenges have you faced, and how have you overcome them?

Well, I have taken a few foundational courses, so I have a strong background in the fundamentals of painting. The basics, shall we say. And because I’ve been able to paint full-time since 2020, I’ve been able to maximize my time in front of the easel. And when I get stuck or want to add something that I don’t know how to do, I turn to YouTube. I think anything and everything you could ever want to know can be found there. And then it’s up to me to practice what I’ve learned.

Q3: How does it feel to have your work collected internationally, and has this influenced your artistic direction or goals?

Anytime someone spends their own money to purchase a piece of your art, it’s the highest compliment an artist can receive, so it makes me feel very proud and very happy. But as far as influencing my direction or my goals, I’ve worked very hard to not let them influence my approach one bit. I have my ideas, and what I want to express and I try to stay focused on that.

Q4: What do you hope viewers take away from experiencing your paintings?

My greatest hope is that my paintings somehow make viewers feel like they’re seeing something new - something that connects with them in a new way. It’s that connection; one unknown person creating something that speaks to another unknown person. When that happens, it’s magical!

Q1: You describe yourself as a quiet person but a very loud painter. How does this contrast between your personality and painting style influence your work?

I find that people really like this description of me and they understand what it means immediately. It has been a great conversation starter in my booths.

I was a shy, quiet person when I was young, and I had a perfectionist mother, so my work tended to be tight and quite traditional. I worried about mistakes and not getting things quite right. I tell my visitors that I had a teacher early on who helped me move past this and see the possibilities when taking risks, rather than playing it safe. She also gave reassurance that you wouldn’t be criticized for doing it. So, I think, underneath the shy person, is a passionate, idealist who likes to be heard, but not necessarily by going to the front of a room to make a statement. But, instead, by using my art to speak for me.

When I make my art I try to let my real self out, to let go of preconceptions and to follow my intuition and emotions. Then I try not to edit the work too much, otherwise it begins to be less fluid and becomes conformist. I am always “fighting” with myself to stay loose and open, but at the same time to follow some of the “rules” of painting, by paying attention to values, keeping my shapes and marks different, not too repetitive and choosing colours that are complementary or congruent on the colour wheel.

Although showing my art is a vulnerable thing to do, and I do feel on display, it is less risky for me, than making a speech. And, there is some detachment for me by the time it is displayed. Then, I really hope to connect with others and to hear from them how my work makes them feel.

I try to take this learning from my art-making back into the way I now live my life. I think it is what they call being authentic. I’m learning to let my real self out more often.

Q2: How did your experience at Central Tech’s Art Program and learning from individual teachers shape your artistic journey?

Being at Central Tech showed me how much I enjoyed being around creative people, to both absorb some of their excitement and to enjoy when my work was appreciated by others. I think being part of a community that provides support is very important to developing your craft.

Although I do work alone now, I do enjoy learning from others in classes, listening to art podcasts and being a member of artist groups that provide education and support.

At Central Tech I was also pushed out of my comfort zone and learned skills in printmaking and ceramics, both things I wasn’t really interested in. I learned about enjoying the process and came to value those experiences. I learned that some art forms take time - such as making a wood block by carving into wood to make a print. You have to slow down and just make one mark at a time. Once you make the block, you can make many prints quickly, but the actual carving was quite meditative. Your mind can wander while you do your craft, but your heart rate slows down. On the other hand throwing a pot on a wheel required absolute focus and physical control. Life drawing required a focus of looking while also feeling the movement and putting that down on the paper. Silk screen work taught me about simplifying shapes. I have continued to enjoy printmaking, but in a looser way, making random marks on parchment paper and pressing them onto the painting as a way of keeping my marks more spontaneous. I think these experiences taught me to value all forms of artmaking, to stay curious and not to try to rush the process. Like most crafts, good work takes time to percolate and develop.

I wanted to concentrate on painting though, so instead of staying with the Central Tech Program that exposed me to a variety of media, I took classes with Steve Rose and Suzanne Metz. Both teachers exposed me to new artists to learn from and taught me how to stand back and look at my work and assess it. Suzanne’s approach was to provide starting points that would push you to be creative. Her teaching was all about the process and not the outcome and about taking risks - being willing to face the unknown or to keep going rather than accept a good enough safe painting. Each class started with an exercise. I often stayed with the exercise for the whole class, just having fun and exploring a tool or technique or idea. I found out that I was more creative that way, than if I “tried to make a good painting”. She was also the teacher who taught me about intuitive painting, so that I could start trusting my own judgments and not worry about following all the rules. If I felt a painting was done, I could now be confident in stopping.

Q3: Besides your internal dialogue and feelings, what are some key sources of inspiration for your work?

I drew much of my original inspiration from artists whose work I admired, beginning with Picasso.

My main influences were the abstract expressionist painters like Joan Mitchell, de Kooning, Franz Kline, Cy Twombly and Helen Frankenthaler. The group Painters 11 in Canada, particularly William Ronald, Tom Hodgson and Alexandra Luke, were also models for me.

Nowadays I admire abstract artists on instagram such as Miriam Traher, Claire Kirkup, Bibby Gignault, Drew Steinbrecher, and Daniela Schweinsberg. The internet has shrunk the world and made it possible to study with and learn from people all over the world.

My work has been inspired by colours from nature. I spend a lot of time walking in the forest and my local ravine, I love adding native plants to my gardens and I’m a volunteer nature steward. I also live and spend summers by lakes and have spent summers and COVID confinement periods at my cottage. Those times alone have given me a lot of time just to look. I notice details, I notice the bright greens of spring and the combinations of purple and gold that occur in the fall. I’ve also spent time observing the colours in winter for a painting course. I am constantly inspired by small nuggets that I notice in nature. But, I’ve also included intense pinks, turquoise, and purples based on a study of my great niece’s wardrobe and the painted house colours in Mexico on a friend’s instagram post. All of these are fodder for the artist.

I sometimes respond to the music or a podcast I am listening to. I do tend to listen to upbeat music from my era (60’s and 70s) or the occasional soul or jazz music from the past. I like to gain some energy from what I am listening to. I have many responsibilities at home and my son needs my support as he copes with mental challenges, so I turn to lively music to shift my mood.

Alternatively, sometimes I will zone out to a book on tape or a podcast focussed on buddhist beliefs or how to combat perfectionism. Online artists like Louise Fletcher and Nicholas Wilton offer coaching and support, when my confidence ebbs. These are the background voices in my head while I am painting, urging me to keep going because this is my gift and through it I can bring some joy to the world.

Q4: You aim to create space for the viewer in your work. How do you hope viewers engage with and interpret your paintings?

What I mean by space is that they are not complete. Abstract paintings invite the viewer to complete the story or make up the story, or just to react in an emotional way. My biggest thrill is to notice the reactions of viewers to my work at the outdoor shows. I am able to see their reactions and then to also speak to them about them. In a recent show, my very large, simple painting entitled ” Vroom!” resulted in the most engagement. People were drawn to it because it had simple colour blocks and a car shape. It was fun. It reminded them of their childhood. It was painted purely and simply. I was afraid it was a risky painting to show, but it got a very positive reaction.

I want to be able to create freely and hope that others will find a way to relate emotionally to what is there. The fun colours, the chunky brushstrokes, or the weird shapes. I want people to notice, stop and think for a minute, and to want to share their feelings. I think by taking these risks and not creating serene or predictable paintings, I am allowing people to also take risks in how they decorate their home and how they connect to me, the artist. I hope they will open up to me about how this piece makes them feel, like I have shown my vulnerabilities to them by not being afraid to try something different.

Q5: Your work has been exhibited at venues like the Federation Gallery in Vancouver and the Artist Project in Toronto. How have these experiences impacted your career and visibility as an artist?

I have exhibited in Vancouver at the Federation Gallery as a member of the Federation of Canadian Artists. It is an active and well respected group of artists that provides education, mentorship and juried shows. Being selected by their judges has given me more confidence as an artist. Also, their gallery is at Granville Island, a tourist destination in the heart of Vancouver, so it offered me the chance to exhibit in a popular, creative and urban location. I am also a member of the Toronto chapter of this group. Being part of a group of artists has helped me to meet more artists. These connections are important as artists tend to support one another and learn from one another.

The Artist Project was a huge milestone for me this year. I learned a lot about participating in an indoor art show, I made many new connections with artists and gained confidence from the positive reception I received. This year, I am continuing to build on that experience by approaching galleries and taking advantage of every opportunity that comes my way to show my work. Later this summer I will be showing at Paula White Diamond Gallery in Waterloo and in MELT Studio and Gallery in Picton. I hope to continue to be offered new opportunities to share my work in galleries as well as through my own studios in Toronto and Muskoka.

Q1: What drew you to the ancient art form of Encaustic painting, and how do you work with beeswax and damar resin in your pieces?

To be honest, I had never heard of this medium until five years ago.  I saw an encaustic artist on Instagram, and just by watching her process I began to feel excited about painting again.  I love the translucency of encaustic and how I am able to create depth.  This medium can be unpredictable and it is quite nuanced and keeps me on my toes.  At the same time, it allows me to let go of control and enjoy the process.  By melting beeswax and damar resin  (tree resin) together, it becomes encaustic medium.  Beeswax on its own will melt at 62C-65C, but with the addition of damar resin, the melting temperature is elevated to 200C.  Encaustic medium is created by combining two materials together.  It is strong and impervious to moisture.  Encaustic must be applied to a rigid substrate and heat is used to fuse the layers together.

Q2: What are some specific textures, patterns, or flows in nature that have particularly inspired your paintings?

I am inspired by nature all the time: the way trees move or the waves of the ocean, texture of tree bark or the hypnotizing rings on a cut tree trunk, the veining on stone, the translucency and colours of crystals, and of course all the creatures in our ecosystem.  I love how it can create that perfect symmetry and when we zoom in or dissect, there is a world within a world and it is this perfectly organized chaos.  I find that so spectacular,  Mother Nature is truly the most incredible artist!  One of the specific visual textures that I love imitating is the veining found in natural stone.  It reminds me of a bucket of rocks in souvenir shops, and that tactile experience of putting my hand into that pile and feeling the shapes and surfaces of those rocks and examining them up close.  With the translucency of encaustic medium, I can create that world within a world in my paintings.  With each layer there are details and textures that look like they were created with age/time, heat and pressure.

Q3: Is there a specific painting that was deeply influenced by a particular piece of music? Can you share the story behind it?

“Lilac Wine” was inspired and named after the song by Nina Simone and later also performed by Jeff Buckley, two of my absolute favourite artists.

This song is about intoxication and how that clouded state can make you see things, understand them and give you bravery to face them. I’ve always found Nina’s voice itself intoxicating and she is able to reach deep into my heart with every song that she sings.   

For me, the scent of lilacs is lovely when I smell them out in nature, but when brought inside, it takes over and makes me feel dizzy as if I am intoxicated.  For this painting I wanted to capture those delicate pinks and lilacs of the flowers and I intended the viewer’s eye to move in a circling direction, like wine being swirled in the glass to release its aroma.

Q4: What do you hope viewers take away from this exhibit, and how do you want them to connect with the themes presented?

The meaning of the word ABYSS is an unfathomably deep or boundless place.  Friedrich Nietzsche used The ABYSS as a metaphor to describe the infinite depth of psychological human complexity.

This word “abyss” can be used to describe what we see and what we can experience and feel on a solitary level or as a collective.  It is a word that can have a fear connotation to it, but here we see artists creating beauty and levity.  Such a beautiful contrast.  

Married to each of my paintings is a song or a piece of music which can make me feel boundless joy, love, loss, grief and sometimes even overwhelm.  That’s my own experience, but my hope is that the viewer looks deep into my paintings and discovers their own unique inspiration.

Q1: Can you elaborate on your intuitive painting process? How do you let your instincts guide your work?

My painting style can be described as a layered process that begins with a bold statement through large script marks. The marks serve as the foundational element to build from, setting the tone for the piece. I transition into creating lighter marks that add depth and intricacy to the composition. As the painting evolves I introduce colour into shapes as the composition takes over.  My methodical approach creates a visually engaging and captivating artwork that invites viewers to appreciate the complexity and detail within each layer of the painting.  By incorporating colour into select shapes, my instinct takes over to form a sense of balance and cohesion to the piece, guiding the viewer's gaze across the painting.

Q2: How have participating in group shows and art clubs in Toronto helped in your development as an artist?

Overall, participating in art shows, not only, helps in showcasing my artwork to a broader audience but also offers valuable opportunities for growth, learning, and professional advancement in the art world.  Art clubs are great for constructive criticism and praise to grow as well as networking for future opportunities. Art Shows through the Art Clubs have given me validation and motivation to continue to pursue my passion. 

Q3: As a self-taught artist, what have been the key challenges and milestones in your artistic journey?

As a self-taught artist, without formal training, I have attended many workshops and classes over the years after learning the basics in a watercolour class at OCA early in my art career.     This foundation was beneficial to fuel my ongoing creative curiosity and motivation and has taken me to other countries to attend workshops in many different mediums.  Every class and workshop I have experienced has led to being a part of my unique style.  I have attended classes at Toronto School of Art, Ontario College of Art, Fleming College, Loyalist College, Belles Artes and the Instituto de Allende.  I have participated in many successful shows and I have had significant sales.  I have been a member of many art groups in Toronto;  Bayview Art Tour, North Toronto Group of Artists, Don Valley, Forest Hill and currently the West Toronto Artists. 

Q4: Who or what are your biggest inspirations and influences in the art world, and how have they shaped your work?

My biggest inspiration and influences in the art world have been very diverse and eclectic, shaping my  artistic style and vision.   My artistic challenge is to balance space, colour, value, and harmonious shapes that connect across the canvas to create balance and a focus.    My inner reflections from life experiences play a role in shaping my artistic expression and come through in my paintings.  

Q1: How has personal loss and grief influenced your work, and how has art helped you process these emotions?

Grief is complicated and I could feel myself spiraling and feeling consumed, unable to move forward.  I wanted to try something creative and totally different, leading me to take art classes.  I was instantly drawn to fluid art; it was extremely calming to watch the movement and fluidity of paint flow and interact with each other forming these intricate details and beautiful colours.  And so, for a few years, I mostly watched and learned until I finally decided to experiment on my own. 

Creativity has been a powerful way to process these complex emotions where words were not enough - my whole process is very much meditative and what I have experienced is the joy and beauty that exists even during times of darkness.  I try to create a balance and harmony of this duality through colour and movement allowing layers of vibrant colours with iridescence to cascade gracefully across negative space.  There is something invigorating yet serene and calming about my pieces, and that is what I hope my work conveys to the audience.  

Q2: Can you discuss some of the collaborations with brands you’ve enjoyed? How do these collaborations influence your artistic practice?

I have been lucky enough to collaborate with brands that I really stand by and love to use in my own practice.  I work with high-gloss epoxy resin as a top coat for my pieces and the brand I use is ArtResin.  There are a lot of brands of resin out there and I have tried many.  But ArtResin is my favourite – it is non-toxic with dual light stabilizers to protect against UV light and so very easy to use.  Plus, the people behind the brand are artists themselves, they offer a ton of support and are wonderful to work with!

Q3: Who are some of the artists or mentors who have influenced your work, and in what ways?

Oh wow, I don’t just have one!  I feel so fortunate and grateful for  all the artists  who I have met during my art journey so far.   I really mean that.  The artist community has been so supportive and as a self-taught artist I am learning so much from them.  Getting to meet and chat with artists who I have admired from a far and seeing how generous and encouraging they are means so much to me.  I am mindful to always do the same and pass that knowledge along to other artists who approach me.

Q4: What kind of impact do you hope your art has on viewers? Are there specific reactions or feedback you’ve received that have been particularly meaningful to you?

I hope to captivate the viewer not just on the aesthetics but on a deeper emotional level.  To encourage introspection and perhaps ignite a spark of joy or peaceful moment for personal connection.  It’s always exciting to hear everyone’s initial reaction and feedback!  I see visitors from children to adults initially attracted to all the vibrancy of my pieces and as they get closer they are always intrigued by the glossy glass like finish and amazed by the shimmery shifts and depth in colour.  But some of the thoughtful comments have also been on how the movements in my paintings make them feel a sense of calm and tranquility as they take in the beautiful colours.

Q2: How has your time in Florence, Italy, influenced your artistic style and approach?

Florence was truly transformative for me. I continually draw upon the art history and architecture I encountered there. Studying   the rich history firsthand in Venice, Milan, Siena, Rome, and beyond was surreal and profoundly educational. Traveling alone fostered my independence and led to friendships around the world. To this day I am inspired by the sounds, food, people, and the breathtaking scenery—it felt like living in a fairy tale. That year remains incredibly nostalgic, and my heart became deeply attached to Italy, its way of life, and its culture. Overall, Florence not only nurtured my artistic growth and passion but also had a profound positive impact on my personal development.

Q2: Can you describe a particularly memorable collaboration with a client and the resulting artwork?

Two years ago, I received an unusual request to create a series of pop art for a client. Although it wasn't typically my style, I agreed to the challenge and found it to be incredibly enjoyable. Both the client and I were delighted with how the pieces turned out, and they remain some of my favourite works to this day. As an artist, it's important to me that I feel proud of the work I deliver to clients. Pushing myself outside of my comfort zone allowed me to produce something unique that I wouldn’t typically have done. It was a fun and different experience I would welcome again if the opportunity presented itself.

Q3: By sharing your vulnerability through this collection, what kind of dialogue or understanding are you hoping to foster among your audience?

The purpose of speaking out about this topic was not only to aid in my own healing and utilize my art as a form of therapeutic expression, but also to initiate a dialogue about it.  By sharing my story and encouraging others to do the same, I hope to reduce the stigma and shame associated with fertility struggles. Initially hesitant and embarrassed to speak out, I've discovered that many others have faced similar challenges. Since sharing my story, I've connected with individuals who have shared their own journeys. While we're encouraged to seek support for sadness, depression, and loneliness, there's a notable absence of support for those struggling with fertility. I've been inspired by online figures, particularly those in Australia, to take this step. However, I've noticed a lack of community support for fertility issues in Canada. I hope that sharing my experience will serve as a starting point for positive change.

Q4: What are some of your upcoming projects or goals for your brand? Are there any new themes or techniques you are excited to explore?

My next goal would be to showcase my work at the Artist Project TO, that’s always been a long term goal of mine. Currently, I intend to continue creating art focused on themes of motherhood and fertility, as I believe there is still much to explore in these areas. However I also look forward to drawing inspiration from our travels to Asia during our honeymoon. There is so much rich culture there I'd love to translate through my practice. There’s definitely lots more to come.

Q5: How do you balance your artistic career with your personal life, especially when dealing with such profound and personal themes?

For this collection it was difficult, I would say I fully immersed myself in my artistic practice because that’s what I needed to do to heal. For the past three years I was working in sales and marketing, and working full time made it challenging to pursue my art. After experiencing my third miscarriage, I faced a difficult decision. It became clear that continuing in my job while needing frequent time off for my health wasn't sustainable—I had to prioritize my well-being. We mutually agreed to part ways, and once I regained strength both mentally and physically, I decided I would dive into my art as a form of self healing, something I never had the courage to do.