About Me
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I have lived on Vancouver Island most of my life and the Island is where I gain many ideas. As an artist I have worked hard to let my inspiration guide me. To work outside my comfort zone and experiment with new concepts. I am always looking for new themes and images incorporate into my repertoire. I also enjoy traveling to new places to gain knowledge of different art and fresh insight for my work.
I am very interested in my community, both local and global. I strive to provide the message of "use what you have", and "just because its broken doesn't mean it has to be thrown out", within most my work. There are so many things to make art from and so many ways to make it. I love working in recycled materials and make the "something from nothing" philosophy part of all my work. I mostly concentrate on designing mosaics using broken recycled mirror in interesting combinations with tile or china. When I make these recycled treasures I hope they find a new home where everyone imagines how many faces have looked into each piece of mirror, or where each piece of driftwood has traveled from and that they then consider each scratch and nick part of the piece's unique history.
I work with driftwood, which I use to make my army of West Coast Driftures (WCD). During a road trip to Mexico (1998) I met a driftwood artist who taught me the secrets of his art. As soon as I returned to the west coast of British Columbia I knew I had to make driftwood sculptures. My first Drifture was the Sock Monster, who is now part of a private art collection. The Sock Monster was an amazing beginning to this creative journey, as he possessed energy and vitality that was seen by everyone. Because he turned out better than I had imagined, I was propelled into a creative title wave of driftwood transformation. Over the past four years I have built eleven WCDs. As often as I can I scourer the beaches around the island in search of body parts and interesting pieces of driftwood. It can take years to find all the parts for a particular Drifture. Some sections of the sculpture live in my studio for years before being used in a creation. Once I have all the parts I use paper mach
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