During my formal art education and beyond, I found myself drawn to the parallels between eastern philosophy and quantum theory. I was fascinated with ideas of impermanence, the interconnectedness and interdependence of life; the fluid, changeable nature of form. I used my art as a way of exploring these concepts. I became particularly interested in the nature of form: how tiny particles come together in almost infinite combinations to create the living universe. The notion that these particles are continuously moving, sometimes coming into being and/or retreating into nothingness; and the fact that they consist mainly of empty space, I found deeply compelling; both for its far reaching implications when considering the nature of the material world, but also the mystery of it. Beginning with very detailed black and white drawings of reproductive elements in nature- particularly flowers and seeds- I began exploring these ideas. I used my art as a medium for asking questions such as ‘What is matter?’, ‘What is permanent?’, ‘What is separate/defined?‘ The small, pointillated markings that I made with a ball point pen, were an allegory to atoms. I felt the work spoke to the interconnectedness of living things and the impermanence of our material universe.
As my work developed I chose to introduce color to engender a more celebratory tone and to inspire a reverence for the life all around us. I struck upon the idea of using thread, worked in to fabric to depict small plants and creatures; the thread allegorical to atoms in the same way as the pen markings had been in my earlier work. These images celebrate life in its myriad of intricate forms. Like their subjects, they are simple but paradoxically complex, and they are designed to draw the viewer in, calling for further observation and contemplation. It would be fair to say that they are a kind of visual meditation on the nature of life. For the me, the time spent making the work, attempting to depict the original form with such painstaking accuracy, is a kind of devotion; a sacrament to the beauty and perfection of life in all its fleeting forms. Each embroidery represents one manifestation on life on this planet, for one moment in time, captured and examined with awe. They are like relics for a moment and a form that will never be repeated and as such, they are laments for what has been lost as much as they are a celebration.
In recent years, my interest in eastern philosophy and quantum theory has been supplemented by an interest in deep ecology and the earth based spiritual teachings of many indigenous cultures, such as the First Nations Peoples of Canada. I am constantly learning more about these teachings and my recent work has subsequently been influenced by this new understanding as myself as part of a broader, more than human community of life. I feel my relationship with the subject of the work has changed somewhat as a result. Now, rather than the subjects of my work being objects to explore, I understand them more as a part of my own larger body, full of wisdom and intelligence. I consider each piece of work I undertake to be an exploration into a more deep and full understanding of one aspect of the living web of life of which I am also a part. In this sense, all my images are essentially self-portraits and I feel that by viewing them in this way, I can more fully know the truth of the life that lives through me.