I have always gravitated toward bright colours and detailed images in my work. In my first two years at uOttawa my subjects involved photographic references (mainly animals) whose natural colours I boosted, sometimes altering the image with unnatural palettes. My interest in pattern began to appear in my drawings as I finished first year in Spring 2013, becoming my major interest in third year when I drifted away from photographic sources toward solely pattern filled paintings. I began exploring the meditative features of creating in a circular motion that also appear when observing through the same roundabout movement of the eye. In most cases I tend to fill the canvas to the brim with details, even beginning to travel off the edge of the flat surface in the Mandala series by sewing through the canvas and using small wooden pieces to create three-dimensional pattern.
Initially the wooden pieces were more of a feature than a resolved part of my work. Through trial and error I transitioned from using chunkier scraps of wood to cutting long, even pieces that were placed on the canvas to enhance features, creating outlines and layers. The strips (cut from the edges of beveled stretchers) and cylinders (cut from dowels), began to feel integrated rather than separate. My work also advanced in terms of methods of mark making. Toward the end of the series I began to explore different textures in order to create variety within the various geometric sets, stepping away from the original use of solely flat colour. The early stages of my more recent pieces involve more planning for the major shapes than when I began experimenting, but even still I generally tend to work impulsively outward, completing a section entirely before moving to the next rotation.