I was born and raised on a dairy farm in rural southwestern Ontario, alongside three brothers. I spent countless years playing competitive hockey and continued while beginning my artistic adventure in London, Ontario. After deciding to hang up my skates, I moved to Toronto, Ontario to study and volunteer in a purely artistic atmosphere.
While studying, I began volunteering in a large scale museum/art gallery and working at a commercial art gallery. After graduating last year, I began travelling internationally to speak at conferences about youth engagement in museums and presenting contemporary art for the public. Now, I am here in Medicine Hat working as an artist at the Hive Artists’ Hub while seeking new cultural experiences throughout Western Canada. It is incredible being back in a rural atmosphere while still allowing the urban museum opportunities to continue.
Repetition in patterning can be either comforting or discomforting depending on how it is rendered. Between multiplying and flattening quilt patterns, and using contemporary colours to decorate them, a juxtaposition of traditional and contemporary lifestyles emerges within an optical pattern. This unique synthesis of traditional textile patterning and contemporary painting stemmed from my move from rural Southwestern Ontario to its busy provincial capital, Toronto in 2011 and has since developed into .
It is important to bring attention to quilt-like patterns in a contemporary manner, because they have long been under-appreciated as an art form. Although quilted patterns have their history in feminist movements such as the Pattern and Decoration movement and their literary and narrative valences in the weaving tales of Scheharazade by reducing the mode to its bare aesthetics, my art invites a post-colonial interpretation of painting, reminiscent of Frank Stella’s early work which enabled painting to transcend the boundaries imposed by various critics. Along with the injection of geometric shapes into the quilt-based paintings, contemporary painting motifs within my work are evident.
At a young age, I learned to sew and embroider through the instruction of her grandmother, but was never as motivated to investigate the limits of the medium as deeply as she does so now with painting. Throughout this series, materiality is parodied in a number of ways due to the elusive subject matter and visibility of raw canvas. By leaving visible canvas, my work invites the viewer to interrogate the spatial painting and geometrical shapes with the static, yet ever changing textile based subject. One is invited to question whether the work is painting, textile, or whether the boundaries between the two are so simple.