“This series of Landscape and Scenic Paintings give me the opportunity to capture my emotional reaction to a particular environment, it may be within a season, a weather event or during a specific time of day”

What techniques do you use to effectively convey a message through your art pieces? 

I primarily work in Acrylic paint as I find it is much easier to maintain vivid colours, and I can use it to achieve an impasto effect very much like with oil paint or I can thin the acrylic with gloss medium to create a watercolour like illusion.

I choose subject matter that is of Canadian content. Sometimes from Photographs I have taken, or photographs of a particular area by different sources. I like to take many different views or angles and fuse them together. Usually it is one particular thing, example:,a branch or a crocus, or the way the sun creates a reflection on the water that is the jumping off point for the beginning of each work.

In your Canadian Landscape paintings what province or town do you pull most inspiration from?  

I pull a lot of my inspirations for the Canadian Shield, I have travelled a lot through the area, and it is where many pictures have started from. My latest works have been about that time at sunset, just before the sun goes down below the horizon and the land is captured in dark shadows.The vividness of the colours and the reflection on the colours off water have a mirror effect.

Does art help you in other areas in your life?

Art is sometimes an outlet for me. I am an Early Childhood Teacher currently and I have very chaotic and busy days. I love engaging with the children and watching them learn new things. They show an interest in things that I may overlook as an adult. The weird shape of a pebble, or the ants crawling on the birch bark. The children have influenced my art in that with each work or Painting I choose one thing to focus on.

What place do you want to visit next that could help inspire more of your creative process?

I would love to visit the West Coast, especially the area of the Indigenous Haida people. I have always loved their vivid use of lines and simplification of colours that create such dramatic pieces that tell a belief or myth. I am drawn to places on the water, there's something about the water and where the sky meets, that I have been drawn to since I was a small child. There is a rhythmic sound and feeling to these areas.

Are there any new techniques or themes that you would like to explore in the future?

With the medium I use I get to discover new techniques every time I paint. Controlling the paint is a challenge and each solution I come up with breeds a new method of doing it. I continuously choose different colour schemes, subject matter and perspectives when I paint in order to grow and push my boundaries as a painter. I’m also playing with some traditional painting methods while I'm doing my finishing touches to give myself more control of the final piece, but not take away from the overall poured method.  

You mentioned that you became more expressive with your art amidst the pandemic, what creative part did you experience?   

During the pandemic I was reconnected with my passion for creating as a means to take my mind off of news around me. It seemed everything had to stop completely in order for me to reconnect with my creativity and love of painting.  

I discovered acrylic pouring in 2020 and focused all of my energy during lockdowns into mastering this medium and explore a new way of creating. This new method of painting gave me creative freedom that had no boundaries, timelines or goals. I merely painted for myself and discovered how happy that made me. 

What is your biggest challenge when it comes to acrylic pouring? 

The medium is very unpredictable and difficult to control. I have learned that less is more and to layer my paints in small painting sessions. Patience, I discovered, is essential when using my loose watery paints. A landscape can take more than 8 layers; I've had to learn when to stop and let the layer dry before I continue noodling. It will take 2-3 days for a layer to dry, and I have to keep my canvases flat so space in my studio for storage can be a bit of an issue. Especially when I love to paint on large canvases.  

Another big challenge is that I have no mentors or sources that I can lean on for advice. I have never seen acrylic pouring used this way before and it’s been a difficult journey to master something with little assistance. 

You mentioned that you do your own woodwork and create your own canvas. What made you want to start doing that?

My Dad actually! He came from artistic roots and loves woodworking. He made sure I knew how to use his woodshop and has always been there to help me solve my creative problems.  

In high school I was taught to stretch canvases, so coupling the two knowledge bases together I started making them myself! Once I started, I found I could make them any size and dimensions, and it added to the handmade vibe I was going for. It ended up being easier for me in the long run and more creative to do this all myself. 

Every frame is created to order, and I’ll stain it a colour that extends the painting itself. Doing things this way gave me full control of the paintings I'm making and allowed my clients more ability to customize their desired piece.  

Is there a specific setting or material that is integral to your work?

Yes, I paint with oils, using a layering technique. 

When I am working en plein air (in the outdoors), the preferred substrate is archival claybord or archival panel. Claybord and panel are less likely to be damaged when carting them around in the bush or alongside a riverbed, especially on a windy day.

Small to mid sized, the works created on location later inform my compositions on larger canvases in the studio. 

Canada is an expansive setting, there is no lack of subject matter. So I often take long haul road trips that will last four to six weeks on average. Each trip is a grand adventure with no set destination though I gravitate to waterways, waterfalls, lakes and oceans. Somehow drawn to water! I've learned how to pack sensibly and that includes my personal and safety gear and, my painting materials and storage for wet paintings. Other times I will choose a destination/region and work for a week to ten days.

In every case, the paintings which I've begun on the road are completed in the studio setting; the oil is too wet to accomplish all the layers in a short time on location.

What have critics and collectors said about your work and what is your biggest accomplishment as an artist?

There is no single 'biggest accomplishment' I can highlight so I'll put it this way.....

• Growth, learning, creating, improving, and recognizing the value of this 

• Juried acceptance to the Art Renewal Center, which leads the revival of Realism

• having people say my work makes them think of W.J. Turner 

• being a signature member of Artists for Conservation and giving back to conservation causes through my artwork

• knowing there is an audience who identifies with and chooses my work

Critics and collectors and peers:

I copy here for you a testimonial written by my Mentor Xiangming Zeng. I am honoured by his words as he expressed exactly how I feel and what painting means to me. There are other testimonials on my website, link can be found here.

What is the best piece of advice you have received as an artist?

Stay true to your creative identity and style.

How do you know when a piece is finished?

Sometimes I don't know if it is finished, or what is needed to make a piece complete. So it will be set aside in my home based studio where I can reflect on it over time. There was one particular painting which waited ten years for its final brushstrokes. 

And after such a long time, my process has evolved so it becomes a very different expression of the original idea.

But typically I just know it is finished. Sure, there are always more things to tell about the complicated process of painting and creating.

So if you need more details, here are a couple sources.....

Source 1 | Source 2

Where did you find inspiration in using texture and monochromatic colours in your pieces?

The inspiration for the monochromatic colour palette came from my own interior decor.  I've always loved the calmness and harmony a limited colour palette provides and I wanted my artwork to convey that same sense of peacefulness and calm.  With the limited colour palette,  the texture helps provide depth and movement and visual interest. 

How do you stay motivated and inspired during creative blocks?

If I'm feeling really stuck, I'll sometimes grab an old canvas and just play with colour combinations and textures.  I usually come out of that with some new ideas to try.

How would you say your personality is reflected in your work?

My artwork is definitely a reflection of myself and my personality.  I tend to be a fairly calm, reserved person and really enjoy lots of quiet time and I think this comes across in my work.

What processes do you look forward to experimenting with? 

I've been experimenting a lot with texture over the years and am looking forward to leveraging the thick impasto texture and the monochromatic colour palette in a more abstract way in the future. 

Your mosaics display a great deal of texture, tell us more about your background and how you first became interested in making art through mosaics.

I've always felt the need to express my thoughts and feelings through art. Initially that was through writing. Then, totally by accident, at the end of the 90s, I came across an old book about making mosaics. The book immediately captivated me. I decided to give it a try and quickly fell in love with the technique. In the beginning, I made small pieces and decorative mirrors. Over time, I started experimenting with texture, light, colors, shapes, allowing my creativity to flourish.

Can you walk us through your typical setup and the tools you use?

Typically, I start by sketching my ideas on paper. Then I transfer the sketch onto a mosaic substrate (object, wooden or wedi board, etc.), at which point I am ready to finalize a decision about colors. For cutting tools I usually use one of my wheeled nippers, and sometimes mosaic hammer and hardie. I also use various dental picks, spatulas and other tools to help me move and place little pieces of tile. As for material, my favorites are smalti, marble and stained glass, which are great for playing with shades and colors.

How do you stay motivated and inspired during creative blocks?

I always have more ideas than time. More often than not, new ideas come to me while I am still working on a specific mosaic. These ideas can originate from nature, an image I see, events, or emotions that surface as important. When this happens, I usually just note them in my notebook and gradually build on them. By the time I finish the mosaic in progress, I am ready and excited to start on one of the new ideas.

Can you describe a rewarding or memorable experience you’ve had as an artist?

Although creating each piece is always rewarding, I vividly remember working on my Indigenous series because of the timing. During that period, I was in the midst of discovering more truths about their horrific experience in residential schools. By working on that series, I felt like I was part of the whole healing process, as if those mosaics were my humble expression of appreciation and apology.

You use a familiar colour palette throughout your work for your display for Viewpoint, is there something that intrigues you about how these colours correlate to landscape work?

My colour palette is usually not planned when I start a painting, but I definitely have my favourites: blues, yellows and oranges. These are the colours that bring me joy, and I hope this is transparent in my work. I often paint yellow skies, and yellow reflections, which are not true to reality but recur in my paintings all the same. These colours are found in nature, just not necessarily in the way that I use them, but that is what makes art so fun. 

What art trends inspire your current work? 

I am currently leaning into abstract impressionism. I love bold marks, unblended colours, and objects in paintings that are indicated without being overly developed.

What message or feeling do you hope to convey through your landscapes?

My paintings come from a place of nostalgia. I don't know what I am painting when I start a piece, but somewhere in the process I know that I am painting memories of being in a certain place, with certain people, at a certain point in time. People often ask, "Is this a specific place?", when viewing my work. I usually answer, "It is a place that has meaning to me, but I hope that it brings to mind a place that has meaning for you".

Has your style changed overtime? 

My style has evolved recently, particularly as I incorporate different subject matter, such as florals, into my practice. My work has also become looser and more intuitive. I am a relatively new, self-taught artist, and as I gain confidence in my work and explore new techniques, I feel that I can trust myself to leave things a little less 'perfect', and a little more undone, and I'm usually happier with the result.

What role does nature play in your art, and how do you capture its essence?

Nature is the main inspiration for my art, providing the general compositions and overall feeling of the piece. I try to amplify the key features like flowing rivers, rock formations, and any trees and flora that are present to be the prime focus.

You tend to use vibrant colours in your pieces, what feeling do you want to portray when using such colours in landscape pieces?

The vibrancy and saturation of my colour palette is meant to be dynamic and entirely optimistic! Nature gives me so much positive energy and I want the viewer to feel that too!

I don't even choose colours anymore; it's completely intuitive.

Who would you say are your artistic influences?

I have always loved abstract expressionism, and while my paintings aren't only abstract pattern and colour, they play in my subconscious while I am painting. David Hockney and Matisse are also forever favourites.

In your years of work do you find it hard to part with your artwork?

There are definitely some pieces that are hard to part with, but I also get a huge sense of joy and satisfaction when a collector falls in love with a piece and wants to live with it forever! That keeps me going! 

What materials do you use to make it seem like stained glass? What challenges do you face when using those materials?

I use alcohol ink on synthetic paper for most of my paintings and recently started using alcohol ink on canvas that has been primed to make a more non-porous and slick surface. Alcohol-based pigments can be applied to smooth, non-porous surfaces such as glass, metal, and ceramic. When the medium mixed with alcohol touches the paper, it spreads out, and I contain it by using brushes to create walled pools of colour. I also manipulate the direction and drying of the ink with my breath through a paper straw. The translucence of the ink allows light to pass through and create a sense of depth and radiance.  

You mentioned you switched your style of art recently and have used a different artist approach, what motivated you to do that?   

I have always been comfortable painting small originals, at most 16 x 20. I love to delve into the smallest details and textures in the rocks and trees, and I was hesitant to paint larger pieces until an artist friend suggested it was time to try.

(He has since passed away, and I've dedicated my first large painting to him, called ‘Spring Run’. The artist is Christopher Polari, and his work is romantic fantasy. Early on, he encouraged me, and coming from him, I was inspired to work hard at my art. The dedication reads: Dedicated to the artist Christoper Polari. Thanks for the encouragement, my friend; you made a difference in my life, and I will pass it on. He was that kind of beautiful human, a true artist, leaving a legacy of incredible art and kindness behind.)

I love my painting process and crave the opportunity to paint for hours on end. Painting large will loosen my style, and I've been adapting my ideas and level of detail, moving more while I paint and taking necessary steps back to view my work, and I feel good about it.

What are some of the biggest challenges you face as an artist? 

Finding balance and time for family, home, a full-time job, and art is challenging. I want everything to be perfect, and it takes time and energy for that to happen. I feel that my family and friends miss me in the process. I am grateful for my husband, who takes every step in stride.  

When I speak one-on-one with people, I enjoy the interaction, but finding the time to attend events and promote myself is the most difficult for me. I'm grateful for friends and family who patiently help me along; they step in when I need them most.

Does art help you in other areas in your life?

It is a joy to paint, and I am inspired by the people I have met along the way. I have struggled at times to express myself and communicate, and art has made it possible to move past self-doubt and make connections. Now, I want to expand my experience and knowledge, and I make it a rule to say yes to every opportunity.