Collections
Three bodies of work, each with its own weather
I don't paint series on purpose. A group of paintings starts to look related, and eventually I give it a name. These are the three that have settled so far — each one has prints available, and each one is still occasionally growing.
Collection one · [Number] works
[Collection title]
Painted over one long autumn, mostly from memory of the train between Montreal and [place]. Ochre, rust, raw umber, and a stubborn streak of pale sky that kept reappearing whether I wanted it or not.
These are the warmest paintings I've made. They're about distance — the way a field looks when you're moving past it and can't quite hold on to the colour before it changes.
- Palette
- Ochre, rust, raw umber, bone
- Medium
- Oil on linen and panel
- Prints
- [Number] editions, two sizes each
Collection two · [Number] works
[Collection title]
Gouache studies of things that grow slowly. Moss on the north side of a wall, seed heads in November, the particular green that survives a Quebec winter and looks almost grey until the light hits it.
These are small — most of them no bigger than a sheet of paper — and they were painted fast, in one sitting each, which is the opposite of how I work in oil. The prints are close to actual size.
- Palette
- Sage, moss, chalk, deep green
- Medium
- Gouache on toned paper
- Prints
- [Number] editions, one size
Collection three · [Number] works
[Collection title]
The quietest paintings I've made, and the hardest to stop touching. Pale blues and greys worked wet into wet, so the edges blur and nothing quite lands where you expect it to.
They began as an exercise in painting only what I could see from one window through one winter. What came out was less a view than a temperature.
- Palette
- Pale blue, slate, bone white
- Medium
- Oil on linen
- Prints
- [Number] editions, two sizes each
Not sure where to start?
Tell me the wall and I'll tell you what fits
If you're choosing a print for a particular room, send me a photo and the dimensions. I'll suggest two or three pieces and be honest about which ones work at that scale.