There are hints of illusion within the work. What’s your relationship to alternate realities?
In the words of my friend Rebecca Simonetti “reality is psychedelic”. I am interested in creating compositions that are familiar and alienating at the same time. Much of my work has conflicting perspectives or the scale of objects are wrong, or there are 2D and 3D images depicted within the same piece. In my print ‘A stone is nobody’s’ the lamp’s light shining down is darker instead of lighter. I use a lot of op art patterns that confuse the eye, and sometimes move images on the photocopy bed to create a warped or wiggly image. For example, in ‘Melting columns’, a collaborative print by Eunice and myself, the columns appear to be melting under a dying sun. Through a series of open doorways and windows to another time and place, I think my compositions offer a glimpse of ruins from the future.
How do your surroundings affect you? Are you more affected by your exterior or interior environment?
I feel equally influenced by both exterior and interior environments. I am drawn to the ways that people decorate (or don’t) their personal spaces and the objects they choose to surround themselves with. I love personal museums in people’s homes (like the Smiley Face Museum in Halifax, or the Troll Museum in New York) and the personality of stores whose owners have collections of their favourite things next to products for sale, like Fernandas Cleaning Supplies; his store is down the street from my house and has the best window display. Because I spend a lot of time in thrift stores looking for source material, they can start to feel like sad and strange museums too, which definitely influences me.
I am also really enamored with the natural world, it’s so diverse and incredible. To be in open spaces where you can see more of the sky, more of the land, just feels right. I grew up camping with my family during our summers and feel most at ease close to trees and water.