Dec 032018
Behold!  An invitation to visit Ground Zero Printmaking studio for our annual holiday sale. I’ve been a member for the past 15 years, and always enjoy showing a selection of my prints, along with other members, in celebration of the holiday season.
Our Open House provides guests with an opportunity to meet local print makers in a working studio.  Many fine art limited edition prints will be for sale, and are great value if you’re adding to, or beginning your original art collection!
Ground Zero Print Studio is a fascinating space.  In historic Chinatown, the atmospheric studio is unique and well worth a visit.  We’re located on the third floor, up well worn stairs, just next to Fan Tan Alley.

Here is one of the mono prints from my large Planet edition.

Lunar Study 2  1/1/15  mono print   6 x 9″

Lunar Study 4  1/1/16 mono print 6 x 9″

I’ll have a variety of limited edition and mono prints at Ground Zero on Saturday.

Hope to see you there!

Nov 212018

Inspired by Textile

This recent painting reflects my love of textile. I’m inspired by traditional fabric and have developed an unusual collection during my travels.

The theme of my big studio project, Sewing Lessons, is the metaphoric thread that leads through my recent works on canvas.  It’s only recently that I’ve noticed and acknowledged this strong connection.  I’ve given myself permission to enjoy the conversation on canvas.

Sewing Lessons is a large body of work that encompasses printmaking, painting, photography, and print installation.  It’s been in the works for about four years.  I’m now preparing to showcase my labours at Xchanges Gallery, Victoria,  in May 2019.  The print work will be on display in Burnaby at the Burnaby Art Gallery in their satellite space, at Bob Prittie Library, 2nd floor, Metrotown, starting in March 2019.

In the paintings that follow, I use pumice to create texture and carve into the surface. I’ve been working on this piece for a year. This is the third iteration, and it’s finally done. It lay dormant, and hung where I could see it everyday.  Putting Smile aside in the spring, I worked on prints and sculpture for Sewing Lessons.  Last month it went back on the easel for final touches.

Smile  2018 36 x 48 ” acrylic and pumice on canvas

Below is more work taking a cue from textile.

Verge 2015 36 x 48″  acrylic and pumice on canvas

The Blues 2014 36 x 48″ acrylic and pumice on canvas

Off Macaulay Point 2012 36 x 36″  acrylic and pumice on canvas

Big Red  2013 36 x 48″  acrylic and pumice on canvas

I plan to start another canvas immediately.  I’m energized by my new approach to the work, appreciating the strong link between the tradition of fine textiles and my painting.




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Aug 182018

Happening Soon!

Visit Ground Zero Printmakers in their unique printmaking studio on historic Fisgard Street in China town as part of the festival.  Check out the many other venues at Integrate Arts by going to:

It’s a great opportunity to visit a working printmaking studio, meet the artists, and buy original art at very reasonable prices.  GZ members will be on hand with portfolios bursting with mini prints.  Buying fine art mini prints is an economical way to start collecting original art or add to your collection.  And, you’ll support local artists!


Lunar Study 6  is one of the mini prints I’ll be offering for sale.

Mini Prints
Mini Prints have a long history as a standard for international print biennials.  Many Ground Zero members and other local artists participate in these shows in Tokyo, Romania, France, Spain, and Vancouver. It really is a window on the world of art. In the past, communist block artists were able to send the tiny prints somewhat secretly by post out of the country.
Vancouver’s Biennial International Miniature Print Exhibition (BIMPE) is held every two years. This exhibition is a showcase for small scale works measuring no more than 15cm × 10cm, and is open to images made using all printmaking techniques from traditional line etching to contemporary digital processes.
Some of the prints from my Bliss limited edition that were shown at BIMPE will be for sale at Ground Zero.

Opening at Ground Zero Printmakers Society is Friday August 24 from 6 t0 9 pm.  

Looking forward to seeing you there!

Aug 182018

Beginnings:  CNC Engraving

These latest small hybrid prints are part of Sewing Lessons, a large printmaking installation project I will exhibit at X Changes Gallery here in Victoria , May 2019.

The project has taken on a larger than life scope over the past 3 years, and led me into the exciting world of hybrid printmaking.

This method of engraving polycarbonite plates is done by converting a lens based image with a computer program.  Then CNC table engraves a line image on the plate.

Sewing Lessons:  A Well Oiled Machine

This new print for my installation are based on a photo image of my first sewing machine. Other methods used in the print are emboss, chine colle, and monoprint.

  The Lace Makers

The engraved lace pattern on this plate sits on the right.  I added carborundum, and pronto plate chine colle.

Cut One 

A CNC laser engraved plate has a fabric-like pattern that supports the chine colle pattern pieces.  The bottom of the print is embossed with more chine colle.

Just bought this excellent book, Post-Digital Printmaking, by Paul Catanese and Angela Geary.  Everything you wanted to know about post digital printmaking but were afraid to ask.

Feb 112018

This is the cultural anchor for the Design District and is free of charge. The 37,000 sq. ft  building was designed by the Madrid based firm Aragurent Gallegos Arquitectos.

ICA Director Ellen Salpeter states,  “Our mandate is to show the most innovative work being made today.”

The elegant entrance sits in striking contrast to the parking garage across the street, pictured below.

They’re rushing to install the garages cladding screens that were designed by different artists.  It’s rather fun!

Pittore 1973

Who else?  Phillip Guston.  Born in Montreal, his family moved to Los Angeles when he was a child.  He spent much of his life teaching art as a way of supporting his art practice.

These examples of his work after 1970 are characterized by gross cartoon like images.  I feel uneasy looking at his work from this period.  And I think that’s his point, taking a 360 degree turn from painting refined abstracts.

It was a slap in the art world face at a time when  abstraction was revered for its purity and autonomy.  This work was met with hostility when it was first shown.

He was concerned with figuration, reflecting social upheaval, the cruelty of the world, and, more personally, the isolation of the painter in the studio.

This theme of the artists’ push against creative isolation resonated for me throughout much of the work I saw at the ICA.

The Door 1976

I get the feeling he’s making a comment on the ‘rat race’ here.  I like the whip like image on the wall to the left and the discarded paint brushes.

These sandwiched pieces were done by the collective, Art & Language, founded in 1967 in Coventry, UK, by Michael Baldwin, David Bainbridge, Terry Atkinson, and Harold Hurrell.  Two more artist joined in 1970, Charles Harrison and Mel Ramsden.

There were eventually fifty people associated with the group between 1968 and 1982.

They produced pieces typically associated with conceptual art:  journal writings, text-based work, ephemera and installation.  The group challenged the very nature of the contemporary artist, working cooperatively and collectively.  No artists isolated in their studio here.

The Studio at 3 Wesley Place Illuminated by an Explosion Nearby, (which is represented in the painting above)

One of a series of large scale paintings dedicated to the motif of traditional studio work.  The work is ironically referring to the popularity of expressionist painting at the time, and challenging the strict formal vocabulary of Conceptual art.

Dieter Roth has turned his studios (Iceland, Germany, Switzerland, and the US) into sculptures in his quest to merge art and life.  The process like Table Hegenhelmerstrasse was built from 1980-2010.  He’s a relentlessly prolific artist.

His son, Bjorn Roth, works with him so as to expand his practice into a social organization.  Dieter Roth has also made ‘trash pictures’ combining garbage, chocolate, and collage, in a process of permanent decay.

Joseph Buoys Table With Accumulators 1959-1985

Bronze table and balls, painted black with wire cables.

I’m always very moved by the work of this artist.  A groundbreaking figure in German and International art, Joseph Buoys also uses his studio as sculpture.  This piece is part of a large scale installation.  These enigmatic forms seem both sinister and humorous.

I think that Buoys experience in WW2 in Nazi Germany, his time in the Luftwaffe, as well as on the ground as a soldier, has had a profound effect on his art practice.  I’ve seen other installations of his work in Germany.  They have a sense of austerity, foreboding, and mystery.

Edward Kienholz and Nancy Reddin Kienholz

The Soup Course at the She-She Cafe 1982

Here are two married artists who are best know for their installation work.

Sandwiched here are Still Life,  polaroid works of Lucas Samaras.   This artist had a big impact on my work when I was a student at the Alberta College of Art and Design.  I was studying painting.  These small pieces, taken in his studio, are painterly and intimate.

O-Ton and Cat’s-eye  2014  Rosemarie Trockel

This German artists work critiques and reflects the conventions of art making.

In O-Ton, the dusty paint encrusted easel might be interpreted as the death of painting. Cat’s-eye depicts a window with an obscured view, referencing the ‘window on the world’ of painting.

The work I saw at the ICA provided me with lots to think about in my own art practice.

As I leave, they’re still working on the parking garage.  Can’t wait to get back to Miami and the Design District to see it completed.