'"What did you think quotas were for?", asked the last Atlantic bluefin tuna...too weak to raise his fin to point at the offending country.' (2018). 

31" x 35.5" x 4". Painted wood frame, screws, machine embroidery thread, needle felted wool. 

Our Gift (2017)

​Pottery buttons, ribbon, fabric. 

​12" x 12" x 4". 

SOLO SHOWS-CARELESS REMNANTS:


- July, 2017  Gallery 1313, Toronto, ON

- Oct, 2017  Art In House, Barrie, ON

- Jan, 2018  L.E.Shore Memorial Gallery, Thornbury, ON

- Feb, 2018  Cedar Ridge Studio Gallery, Scarborough, ON

- May, 2018 Neilson Park Creative Centre, Etobicoke, ON

**with installation The Great Pacific Garbage Patch**

- July, 2018 Barrie City Hall, Barrie, ON

- Feb, 2019 The Gibson Centre,  Alliston, ON



‘Take only photos, and leave only footprints’ is a commonly known phrase related to healthy stewardship of the planet. This exhibit looks at the consequences of the actions that do NOT adhere to this principle.The title of the proposed exhibit is ‘Careless Remnants’ which refers to the negative effects of human activity left behind on the earth. Often (but not always) these effects are unintentional. They are usually ugly, cause the earth harm, and are regretful consequences of human action.

At What Cost? A study in scale (2017)

​Found objects, paint, felt. 11" x 11" x 9". 

'Subsidence' (2017). Canvas, paverpol, gouache, acrylic, copper paint. 24" x 48" x 2". 

Downward movement of the ground caused at times by over draining of groundwater, mining, or removal of natural gas. Peel back the earth to find that it is parched underneath, and no longer supportive. 



​SOLD

'Sinking and Swimming: the dubious race to become Atlantis. (2017). 76" x 40" x 18". Purchased wood frame, yupo, alcohol inks, thread. 


Featured are Bangkok, Venice and NYC. From all reports, Bangkok will be uninhabitable by 2032, and totally submerged by 2100. 


Amputation #2: Land Mines (2017)

Needle felted wool.  62" x 43". 

'Sludge' (2017). 21" X 34" X 4". Needle felted wool, found object, Quick Water, Paverpol.

Clean drinking water is but a dream for millions of life forms on the planet, due to careless stewardship of the water supply. 

​‘Reservoir Zen Garden, Cape Town (circa 2023 C.E.)’ (2018). (14" x 14" x 16"). Wooden panels, mermaid sequin fabric, needle felting. 

A popular tourist attraction for cruise ship passengers, the Reservoir Zen Garden features succulents interspersed between rocks and sand (which the visitor can rake into patterns). The tourists show a naïve (or perhaps willing) lack of understanding of the issues that affect this community, and the severe effect of the loss of an actual reservoir on the city. 

Winner: 


​Quarrington Arts Society  Award for Multidisciplinary Work. Carmichael Canadian Landscape Tradition Transformed Juried exhibition. Orillia Museum of Art And History. Orillia, ON. 

Breathe (2017)

Needle felted wool, embroidered dust masks. 

​43" x 18" x 3". 

'Fresh Glacial Water! Would the Ostrich Like a Drink?' (2017). Metal, wood, fabric, Paverpol, acrylic paint. 


The pear is a symbol of immortality or longevity. In this case, it takes the form of a melting glacier 

The Higg Index: Why Won't They Tell Us? When Will We Care?   (2017).  Cotton, clothing labels, Paverpol. 12" x 15" x 3". 


The Higg Index is an apparel and footwear industry self-assessment standard for assessing environmental and social sustainability throughout the supply chain. (Wikipedia)


Most of the labels on this object have travelled 10000-13000km to get to my closet. 

'Excuse me, Ma'am? You have a hole in your ozone layer.' (2017). Wire, textiles, Paverpol, paint. 33" x 37" x 27". 

The Copper Blues (2017)

Handmade dress, copper paint, copper sulfate spray, copper tags, beads. 32" x 24" x 4". 

Algal Bloom: When Going Green is a Bad Thing (2017)

Mixed needle felted wool, mixed textiles, found objects, paint, metal, wood. 51" x 19" x 16". 

'Return to the water: to the day that Darwin and Noah are no longer relevant' (2017). 16" x 48: x 12". Drywall board, fabric, plastic feet, beads, glass pig. 


Loss of biodiversity is one of the biggest problems facing this planet. This piece follows reverse evolution with the loss of the larger animals first, and gradually only the simple organisms remain, and then no longer in pairs. It is our thought that this will happen 'when pigs fly' (ie: never), so the final step into the water is with a flying pig. 

Washed Ashore (2017)

Mixed textiles, paper, found objects, alcohol ink.

11.5" x 20". 

​The Great Pacific Garbage Patch installation will be at Neilson Park Creative Centre next may/june, 2018. 

​Careless Remnants

Latent: Arctic Gravestone (2017)

Drum lid, metal, fabric, balloons, acrylic paint. 

​24" x 24" x 32". 

'The Great Pacific Garbage Patch' (prototype)(2017). 4' x 4'. Plastic, rope, plywood. 


With an artery, vein, and spinal cord, the Great Pacific Garbage Patch is so large it is nearly akin to a living organism. 

'The River Dyed' (2017). 24" X 30" X 2". COPIOUS amounts of acrylic!, Pebeo, copper paint, bike chain. 

Factories that dye fabric often dump their waste into the nearby waterways. 


'Flames of Guilt' (2017). 18" x 13" x 30". Raw silk, wood button. 

'Subsidence #2' (2017). Canvas, Paverpol, copper paint, gouache, acrylic. 30" x 30" x 3". 


Downward movement of the ground caused at times by over draining of groundwater, mining, or removal of natural gas. Peel back the earth to find that it is parched underneath, and no longer supportive. 

​Oil Slick (2017)

​Acrylic, feathers, mica. 

​30"x 30" x 2". 

So Long, and Thanks for all the Fish (2017)

​Needle felted wool, canvas, acrylic paint, grommets, sinew thread. 30" x 40". 

- ​We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.
- Nous remercions le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.

Amputation (2017)

Needle felted wool. 23" x 34". 

SOLD.

Mrs. DeWinter: The Ghost of Discarded DuMauriers Past (2017)

Hand dyed fabric, cigarettes, metal, wood, stuffing. 36" x 24" x 8". 

The unyielding path towards inevitability: a tale of greed and woe. (2017)

Metal, wood, paint, lettering. 

24" x 32" x 3". 

'Ghost Forest' (2017). Wood, screws, clear line, skeleton leaves, mica, organza ribbon, acrylic paint. 30" x 40" x 5".