2010. Watercolour on paper. 64 × 64 cm.
This was painted in the evening on the spring equinox (March 21) as the setting sun shone beneath the storm clouds. The purple blue of the clouds was a challenge.
I have been seduced by the wild. I am in love with wild roses, wolf prints in the sand, and caribou in the mist. When I first began painting, I did a series of watercolour portraits of plants and insects. I quickly learned that the experience of painting, of seeing, was more important than the finished product. Frederick Franck says, “I have learned that what I have not drawn I have never really seen, and that when I start drawing an ordinary thing I realize how extraordinary it is, sheer miracle: the branching of a tree, the structure of a dandelion’s seed puff… I discover that among The Ten Thousand Things there is no ordinary thing. All that is, is worthy of being seen, of being drawn.” (The Zen of Seeing: Seeing/Drawing as Meditation). Back to Gallery Page
2009. Watercolour on paper. 64 × 64 cm.
This was painted at midday at mid-winter (December 21). I knew the sun stayed low in the sky, but I was shocked at how low it rose at 500° latitude. I was really interested in how the light wrapped around the branches, and the contrast between the rich blue sky and white trunk.
2013. Rozome (Japanese wax resist silk painting). Silk, natural dyes, mordants, soy wax. 100 × 28 cm.
My sister, Maureen Bush, writes delightful children’s books. The Nexus Series features a flock of crows led by Corvus. This scarf was a gift for her to wear to book readings and writer’s workshops.
2013. Rozome (Japanese wax resist silk painting). Damask silk, natural dyes, mordants.
Boreal caribou are solitary and elusive creatures. In all my years of working in the boreal forest, I have only seen two: one emerging like a ghost from the mist, and another who walked a half circle around us, as curious about us as we were about it. We, however, made noise whenever we moved (those darn nylon and Gore-Tex jackets). The caribou walked silently through the willows and Labrador tea.
2012. Rozome (Japanese wax resist silk painting). Damask silk, natural dyes, mordants. 100 × 28 cm.
This was my first attempt at using pigments. It was not totally successful (the pigments faded with washing), so I will try again. I know that it can be done, for John Marshall uses pigments to develop rich, colourful, silk stencil (katazome) paintings.
1992. Watercolour on paper. 55 × 74 cm.
This was one of my first large paintings. Crab Spider hung in my living room for many years. Guests would ignore it, assuming it was a nice piece of ’80s abstract art. After a few glasses of wine, their eyes would suddenly see the eight eyes and mandibles, and I would hear them gasp.