From childhood, I loved both the rigor and exactness of science and the
free creativity of the arts. I settled on an early career as an architect
precisely because it accommodated both of these impulses. As an architect,
I specialized in commercial projects, especially high-energy retail
interiors. I highlighted the geometry of spaces with razor-sharp edges. I
learned to exploit symmetry as a source of harmony, but never perfect
symmetry: I used deliberate, slight irregularities to imbue a space with
energy and interest. These principles are part of my sensibility and
technique as an artist.
On my mother’s side I am descended from the Mi’kmaq nation, and as a
child spent summers on the reservation in Nova Scotia where my
grandparents taught me traditional crafts and the hieroglyphic writing
system. I became deeply sensitive to the possibilities of color, and think
of each work as a chromic harmony. My palette reflects the vigor of that
ancient tradition.
Above all, I strive to open the viewer’s mind to the fresh, vibrant beauty
of the world around us. My work might seem abstract at first viewing,
but it is deeply infused with the energy and mystery of biomorphic
processes. The “abstraction” is that of the natural world, as seen through
a fish-eye lens, or a microscope, or time-lapse photography. Indeed I
create the illusion of motion: my best works, I believe, “blossom” or
“bloom” in the eyes of the beholder.
My work is thus life-afrming, optimistic. If it makes people feel a little
happier, I am content.