A recent series of artworks intimately portray Canada’s storied naval dockyard on Vancouver Island. This holds deep significance for me, being where my husband was posted during most of his service in the Royal Canadian Navy. The dockyard, nestled within CFB Esquimalt, encompasses a charmingly disordered array of structures, many tracing their origins back to the British Imperial Era. My original artistic intent was to capture the alluring charisma of these installations. Yet, as I immersed myself in the series, a cascade of sentiments began to surge in response to my subjects.

In the final analysis, my artworks don’t merely present the captivating architecture; they also articulate the nuanced sentiments stirred by a military stronghold. A milestone in my artistic journey occurred during my inaugural solo exhibition, “Virtual Music,” when a curator adeptly recognized that my abstract creations bore resonance with Wassily Kandinsky’s pursuit of a visual vernacular. While I hadn’t consciously drawn that inference then, I now discern the subtle influence of utilizing design components to convey allegorical messages. In “Stop/Arret”, from the dockyard series, I employed an overarching crimson hue to elicit a sense of disquiet within the viewer. The double-exposure applied to architectural elements introduces an element of temporal flux, inviting viewers to perceive shifting perspectives within the artwork.