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Gallery Introduction Photos Notes Contact Links	At a time when everywhere we turn, we are being encouraged to focus on ourself; I would like to propose a more outward view. The message we are receiving from various media is to think about us…make ourselves happy, spend time and money on ourselves. I suggest a more external approach, and that is to focus on our home – our Earth. To look at what we have been provided with…this beauty that surrounds us and nurtures us, gives us shelter and food. Everything we need is here in these landscapes – the inspiration to love, to protect. Our attention must be on appreciating and respecting the beauty of our world
	All of my paintings start off as photographs and are therefore based on real places. My pieces are an interpretation of the nature in Quebec. Eventually, I hope to include other places within Canada.

	My husband and I divide our time between Montreal and a piece of land he purchased shortly before we met. Located in Northern Gatineau, this isolated paradise has become the driving force behind my work. The diversity and harmony of nature, evident in every step I take while walking around the old farm, has become increasingly fascinating to me. It has been about 25 years since anyone’s lived here. Wildflowers are abundant in every direction; the weeds grow waist-high where once the fields were plowed. The road has grown over in many areas and the old apple tree has branches that reach for the ground instead of the sky. In one direction, reeds grow up from the swamp through intricate root systems, while in the other direction, a pine forest has developed and gives anything under 6 feet high a hard chance at survival. The land is free – wild, chaotic – free to grow as it needs to; to develop the way nature intended. I can’t help but admire the beauty that arises through the untouched landscape. I can’t help but feel peace with this flow of existence.
	RECYCLED LATEX MIXED WITH ACRYLICS I've spent the last few years experimenting with different styles and medium. In the process of developing my desired aesthetic outcome, I felt dissatisfied with the actual act of painting. I felt that neither oils nor acrylics were giving me the opportunity to be free with the paint. I felt bounded. On a whim one day, I added white latex house paint to an abstract-expressionist piece I was working on. The white was fluid and dripped. It popped off the image and dominated the controlled palette-knife strokes underneath. I loved it immediately. I began incorporating this white into more pieces and eventually decided to try out other colours in the latex medium. I discovered some lines of recycled paint that claimed to be less toxic and, of course, more environmentally-friendly. It was at this time as well that my style was moving from abstract-expressionism to expressionism depicting nature. Right away I noticed that the more neutral tones of the recycled paints lent themselves perfectly to my subject matter. The most enjoyable aspect of the paint, however, is the way that I apply it to the canvas. Due to its viscous nature it can be applied with quick strokes, it can be dripped and thrown. I can achieve the concept of chaos and wildness that I desire by letting the paint fall to the canvas and adding layer upon layer. Most importantly, this paint has helped me to be freer, to unlearn the rules of what a painting should be, and to develop my creativity in a more appropriate way. I do add some acrylic to all of my paintings. It is necessary in order to get some of the bolder colours. Also, black is not available in the recycled line, so I tend to use a more premium fluid acrylic for this, as I consider black to be an extremely important element of my pieces. To ensure the quality of the paintings, several coats of varnish are added to seal the paint to the canvas and to help protect against degradation. A final couple of layers of premium UV-protective gloss is added to resist fading. Overall, the materials I use are crucial in the development of my paintings. The fluidity, the tones, and the ability to build my images in this way give me both pleasure while painting, and a unique style that pushes boundaries . Artists should take chances and try new things. For me this takes form in my materials. And to be able to achieve this while being conscious of environmental factors provides a perfect balance between my art and my goals of becoming less harmful to our home.
	Cha"os\ (k[=a]"[o^]s), n. [L. chaos chaos (in senses 1 & 2), Gr. cha`os, fr. cha`inein (root cha) to yawn, to gape, to open widely. Cf. Chasm.] 1. An empty, immeasurable space; a yawning chasm. [Archaic] Between us and there is fixed a great chaos. --Luke xvi. 26 (Rhemish Trans.). 2. The confused, unorganized condition or mass of matter before the creation of distinct and orderly forms. 3. Any confused or disordered collection or state of things; a confused mixture; confusion; disorder. Webster's Revised Unabridged Dictionary, © 1996, 1998 MICRA, Inc.