A reduction block print I made for Valentine's Day in 2021 got me started with this medium. I liked
the way the rubbery speedo blocks and water soluble inks left an uneven surface that allowed colors from the previous layers to show through. I didn't mind if the registration was not perfect. They had softer edges and looked like paintings; I liked this. In "Red Scent" from 2022, I went further and scuffed up the surface deliberately; it glinted and shimmered like intaglio.

My 5 year old grandson brought on the monotypes: he wanted to make musical instruments!

These are mostly small, quick, and shaggy outdoor paintings, attempting to capture some effects of  afternoon light and moving air. Most were done at the end of a long day spent on other things.

March is a big month for geese where I live, and these monotypes were what I worked on during the first six weeks of Covid-19 Quarantine. They started out with a foundation of intaglio but soon they were being made just of cutout shapes of geese, multiple overlapping stencils, and layers of colors applied in varying ways and arranged in a vertical, scroll-like format. 

This is an ongoing  series of monotypes inspired by sacred tantric paintings made by "tantrikas",  painters in Rajasthan, India, and collected in a book called "Tantric Song ". Thinking about them, meditating on the reproduced original, and making them--one segueing naturally into yet another--has been an oddly joyful experience in this strange time of separation and turmoil.

This is a selection from three series of monotypes I did during the first summer of the Covid quarantine. The geese belong to the first group and were made with masking and cut-out shapes that could be re-used throughout the series. The images of the other two series are abstract. They were inspired by a collection of small, ancient Tantric paintings created for meditation practice. In these, I was fascinated by the stains and marks (as well as tears), that read like natural palimpsests suggesting age and previous incarnations

In the late summer, I paint along the southwest coast of Nova Scotia. The air can be cool and vaporous when rain or fog are on the way, while at other times, above and below  you see the bluest of blues.