my . artist run website  

It was a pleasure to find out that these two pieces were published in The Big Art Book .


Jonas: You Are Loved


You are loved.

Jonas sat staring at the three words scratched in to the stainless steel on the side of the subway seat. His adolescent body tried to claim sleep as he lolled with the motion of the car. He watched the tiny words that were haplessly and willfully engraved pass in and out of darkness. This made his eyes as heavy as his heart. He had been made homeless for three days after his parents had discovered him. They had discovered “him” as if by accident through their hectic self absorbed fog. He had stopped any effort to hide himself a few years back, but for some reason they had only just made the discovery. The words felt like a beacon calling to him, a hope that would rise and fall with time and motion. There, scratched in steel, the intangible words seemed so permanent when he could see them, and so lost when he could not. He watched it for hours, slowly taking it in, tending to it.

That was the day he forgave his parents.


For more Jonas pieces and other musings, feel free to check out my notes at


Art is hope. Now back to the studio.




Painting under glass is always a peculiar thing. After considering the site in terms of this theme, I was pleased when Workman Arts accepted this proposal for The Shopper's Drug Mart / Workman Arts Window Gallery.

We are a culture of convenience, the short hand experience. We hurriedly catch ourselves in the reflections of our environment between destinations.

I was curious to test these works that are anathema to this reality with this installation; a chance to play with ideas of content and reflection. Contemplation can happen in mere moments or over extended periods of time, but does it ever go any further than our own relfection? Or can it just be a fleeting experience amidst a lot of noise?

This is one aspect of the window gallery: that we may stumble upon ourselves but see something else, an unanticipated second layer of reflection. At least for a moment.

The exhibition runs until April 29, 2014. Located on Lower Ossington and Queen Street West. Toronto.

It's been busy in pixel-land over the last few months. Here are some new collaborations with much thanks to Kronfonika and Philippe Gerber and all the great folks at Alrealon Musique.







Introducing yet another wonderful collaboration experience with Philippe Gerber.


Philippe Gerber/JOHN 3:16:




Art is hope. Now back to the studio. 

I was very pleased not only to come across the music of Philippe Gerber, but to be granted permission to create videos to his music.


The moving, abstracted, primal sound declarations of Obey God had captured my attention from the start and I was hoping that I would be able to use the glitched up imperfections that I am drawn to in my previous videos to accompany this sound.  


This is the result.



I look forward to creating other videos of JOHN 3:16 in the near future, and continuing collaborations with musician/composer Ryan Campos as well as improving my on my own emerging video/sound work.


You can view a selection of these works my homepage by clicking on MENU > AUDIO-VISUAL or hit the YouTube icon in the lower left corner of the page.


I feel very grateful for the inspiration.


Back to the studio.

Art is Hope.

I was pleased to finally find some music for the following video after sitting on it for about two years. It was made more special by coming from Venn Diagram aka Oscar Finch aka my brother inlaw because we shot this together at Pearson International Airport in Toronto (YYZ) when he was departing from his first visit to Canada and returning to Australia. Soma Redux is a wonderful piece of music that sits well with the image. I could not be more pleased to have permission to share it.



You can find more of Oscars music here:


Footage from the sculpture by Ingo Mauer Earthbound...Unbound 2003 

The Internet really can be a wonderful thing. 


Through my blog on Tumblr I had the good fortune of stumbling upon the music of Ryan Campos there was a mutual appreciation for eachother's work and since Ryan had quite generously made his music available on soundcloud I asked if I could make him a video to some of his music because I felt we had an aesthetic simpatico and I wished to express my appreciation for the inspiration and pleasure his music has provided me.


I am still in the process of honing skills of the applications that I use to make videos as an extension of painting and have recently added a brief paragraph about this pursuit on my artist statement, so I was quite honoured when Ryan agreed.


The images are glitched up footage of a collection of current clips and many collected from over the years that loosley relate to the overaching themes of my work. The look and process is still evolving. When I have had sufficient time to evaluate their overall merit I will create a page on this website for the work. 


In the meantime, I will use this blog as a way of introducing this new pursuit.


I hope to venture into other collaborations in the future. In the meantime, please check out Ryan Campos music


You can watch the videos here:

I think that sharing elements of one’s creative process can be useful to revealing a deeper understanding of the continuous dialogue between media and concepts that underpin the direction, obsessions and manifestations of the work one produces.


Although I have been collecting video clips and sound samples for a number of years now, I have not quite known what to do with them, other than to absorb them as references to the patterns and abstractions of substances that remotely manifest in my painting.


With the relative simplification and ease of use of certain apps, I have finally been able to start exploring what I consider to be an extension of painting through the medium of video. I work from the visuals and build the soundtracks from there. There has also been an underlying motivation to doing this as a means of adapting to some of the neurological and autoimmune limitations my physical environment has decided to impose on me in the last few years. So in essence, this is a creative adaptation. Limitations have their use.


As the learning curve of technology advances I have been posting my efforts on my YouTube channel and on other social media platforms (click-throughs are on lower left of the page). The aesthetic grows closer to where I want it to be. The production values are rough, in part because of knowledge limitations but more so because there is a bombardment of very highly resolved media on the Internet and that does not particularly interest me or serve my purposes at this time. I enjoy a balanced mixture of control and chaos put to good use.


I wanted to introduce the video Console to this blog by way of an introduction to this aspect of my creative process. Without any particular conscious intent to do so, this video captures much of the emotional landscape that is hard to name that occurs like a feedback cycle for me when I am working on a lux coda painting – so much of the mysterious and confusing qualities of the combined sensory input of light, substance and the music that I listen to (which is a broad spectrum of genres) has found it’s way into this video. Perhaps the title is what forms the strongest intent to describe what this process has become: a form of consolation – where drawing and handwriting have become painful and frustrating, I have turned to the console, to this medium, to paint with light and sound. This is what I do while the paint dries.


Art is hope.

Now back to the studio.


ps. A shout out to my Brother in-law Oscar Finch aka Venn Diagram for being a font of audio geekness advice extrordinaire.

An ever increasing comfort in aesthetic foils. The mysteries of lower resolution, blurs, glitches, low production quality, evidence of the awkwardness of human interactivity where intent is genuine, striving, and considered but composed of forgiveness.