New Page 1

This past February I submitted a proposal for The City of Calgary Public Art Idea Competition. The proposal was targeted at designing a public art piece for a location in the down town core of the city. The proposal that I submitted was based on the current work I am doing with the mechanical pieces and the passage of time. I wont go into great

great detail about the proposal, but I included these 3D digital renderings to show the proposed piece. The location I chose for the work was the exterior west-facing wall of the Council Chambers located in the Calgary Municipal Building.

The proposed piece is approximately 17ft long, 9ft high, 2.5ft deep, and would change shape over a 365 day cycle. The top image is its starting position and the bottom image is after approximately 182 days.

After designing this piece I was compelled to build a smaller scale version. So I am currently constructing this piece to be 80" long, 40" high, and 7" deep.

This piece is similar to Abstract Nature #2 series #2 so I believe that they will work well together when shown in a gallery setting.

painting becomes a passage way to the wall, so the painting through its interaction with the viewer almost becomes transparent and the viewer ends up looking through the piece.

You can also view more pictures and information about Abstract Nature #1 series #2 in my Gallery.

The painting that I am currently working on is entitled Abstract Nature #2 series #2. This work deals with the same elements as the first piece but I am exploring more complicated movements and materials. I am exploring the possibilities of new forms and shapes in this new painting and along with all the combine elements Abstract Nature #2 series #2, will be the next step into the Abstract Nature #2 series.

experimental. My idea for this piece was to have a painting that was more then what it seemed; an illusion. But at the same time the painting had to work visually. The outcome of Abstract Nature #1 series #2 is an object that still keeps the reference of painting but begins to come out of the wall at the viewer. The piece works well on its own but if the viewer investigates the painting further they begin to discover different elements within the work. They discover sound, light and movement. Although the movement is very slow and naked to the human eye, and it's only through repeated viewings that one will notice the change that the painting is going through, it is this element of the painting, the things that can go unnoticed that intrigues me most. The idea that the viewer is interacting with the painting even when they might not know it. This all plays into the illusion. The middle of the

These are 3D digital sketches that I've created to aid in constructing this new painting.

The most noticeable new material in this painting is the clear acrylic panels. These panels act as transparent sheets that obstruct the viewing of the object behind them. The circles in the piece look through to the wall, and again reference the wall, while the curving forms break up the geometrics of the painting bringing it into more of a realm of an abstract object.

Another difference in this painting will be the surface. The first painting in this series relied more on a flat surface, while this painting will have a contrasting high gloss surface with a matte surface that reacts with different lighting situations.

The size of this piece is similar to Abstract Nature #1 series #2. I didn't want these paintings to be to large, I find they work best at the size they are because they become more intimate instead of intimidating.

If you have any questions about my current work or any other work please feel free to contact me and I would be glad to discuss my work further.

I have recently finished Abstract Nature #2 series #2. Although a few changes have been made from my original design.

When it came time to paint the piece I made a drastic change in my colour scheme. I primed it in white and when it was sitting on the wall I liked how the piece seemed to emerge from the wall.

Even though the piece is white, it doesn't appear colourless. As light catches the curves and clear panels, the shadows reflect shades of lavender and light blues.

I decided to leave the main part of the piece matt as the glossy transparent panels were enough contrast. I also painted a matt gray strip across the panels that sit at eye level and split the painting in half, only until the panels start to separate.

Please visit my gallery for more pictures of Abstract Nature #2 series #2. and also a complementary body of work in Abstract Nature #3 and #4 of series #1.