Whimsical imagery resulting from interactions between pigments and water forms the structure of the piece, gathering high in the room, evoking both the earth and the clouds above it.
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Through automatic processes of image creation, organic forms emerge, clash, and coalesce, revealing cloud-like universes filled with animals, plant-forms, and hybrid grotesques. The artwork references ornate wallpaper designs common in the early yea
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The palette includes a range of hues expressed by iron oxides and other elemental influences. In addition to ochres in muted greens, yellows, and reds, a cool grey-blue pigment was isolated from green shale. Finally, roasting a deep brown soil sampl
Three hues found in Toronto’s High Park, a glacial ravine rich in pigmented sands.
Curing earth samples.
Six refined pigments became the foundation for the hand-bound painting palette used in the mural.
Built in the Romanesque Revival style, the Gladstone House has been in operation since 1889 and features a range of decorative flourishes including foliage, filigree, and fantastical beasts upon its surfaces, finishes, and exterior columns.
Apart from earthen sources, a new pigment – Gladstone Red – was rendered from bricks used in the original construction of the hotel building (Left). Hand-bound paints were applied loosely and organically to the walls, wetted to allow the hues to
Romanesque window columns, with their drooping acanthus leaves, provided inspiration for the kinds of imagery that would emerge on the walls.
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Two paintings rendered through the same process as the mural hang as a diptych behind the guest bed. Study For Terra Nimbus #1 (left); Study for Terra Nimbus #2 (right). Locally foraged, hand-rendered mineral colours on cotton rag paper, 24” x
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Hidden on one of the walls is the image of a cormorant, a signature in some form, buried among the plumes.
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