I am currently working on a series called "PortTown", inspired by all the ports I've known and loved.
Why ports? Why now?
Over the years, I've lived in and visited many port cities. I've photographed, sketched, and walked the port areas of Halifax, Montreal, Manchester, Boston, New York, Chicago, and now Vancouver. I've studied architecture and urban planning. Last year, I moved to a temporary studio overlooking the Port of Vancouver. I had intended to work on something completely different, but I spent the first two weeks in my new artistic home staring out the window.
I watched things move about the port, arriving and departing. The mist, fog, and clouds came and went, and with them, buildings and entire mountains appeared and disappeared. It was obvious that this was the time to paint whatever was going to come from all these years of looking, recording, and studying ports.
The Tangible and The Mystery.
I am fascinated by the visual, physical and metaphorical aspects of ports. The port is where city meets waterway. Humans continue to push and pull this territorial edge, drawing lines based on industry, wealth, national security, prestige, and panoramic vistas.
I am exploring the sense of history accumulating and being eroded, the angular shapes/shadows/forms, and the mystery of the structures and their inner workings. The impact of time is palpable in the rise and fall of the tide, and the patina on any exposed surface. Ports are a place of tangible industry in our increasingly virtual world. Ports are a place of beginnings and endings: the demarcation between city and ocean, people leaving loved ones behind or stepping out into the brave unknown.
This new work utilizes drawn line in contrast to painted surface, angular structure juxtaposed with patina and drips. Forms surface and submerge behind veils of paint.