Artist’s Bio
I was 23 when I met Jeff Stone, a madman in the best sense of the word, and a mentor who changed my life forever. After meditating upon my hands for several minutes, he was the first person to tell me that I was destined to be a sculptor. His intensity as a painter and his wisdom as a Tai Chi instructor were inspiring, and within several weeks of meeting each other he broke the news that he had enrolled me in a sculpture class at the Ontario College of Art. I went. Subsequently, I also switched my studies at the University of Toronto from Archaeology to World Religion and Philosophy. After Jeff saw me well on my way, he disappeared from my life altogether. I am forever indebted to him.
Wood is the primary medium in which I work. Ever since I was a child I was drawn to its natural shape and earthy smell. Traipsing through forests I was mystified by these giants - by the shapes of their branches, burls and leaves. Already there was so much to see – a face, an elephant’s trunk, a raven, and a bear. Unlike a block of stone, wood already has a story to tell. It’s merely up to the sculptor to discover what that story is and bring it to life.
Sculpture in wood is one of the most physically demanding art forms, so growing up on the beginnings of my parents’ apple orchard was great training. On a farm you learn to be tough, how to work with your hands, and most importantly how to be driven by sheer discipline.
There was also the immigrant experience… I was born the youngest of four at home in Vierpolders, The Netherlands in 1970. Two and a half short years later my family immigrated to Canada. By the sheer force of literally everything changing overnight and watching your parents completely outside their comfort zone for a subsequent decade, you learn to pay careful attention to your environment. In essence, I became preoccupied with bearing witness rather than fully participating in life without feeling self-conscious. This kind of approach to life has many disadvantages, but as an artist it can be very beneficial.
In subsequent years also I became fascinated by the subtle and often not so subtle differences in culture, especially in terms of role and behaviour. My interest in feminist perspectives and literature grew immensely. It is the driving force behind so much of my work.
As a child I enjoyed art, but never excelled in it. I could never quite grasp the two-dimensional world – and in art class that was the dominant approach. Sculpture was presented as secondary. Once public school was over, I stopped practicing art altogether and yet during my adolescence my appreciation for art grew stronger. I became obsessed with going to Europe, the Mediterranean, the Middle East, and Asia. I wanted to experience “real” culture. By the time I was nineteen I began my traveling adventures – unintentionally soaking in art from as many different countries as I could find my way to. I quickly discovered that sculpture was far from secondary.
Fifteen years after my relationship with sculpture began I am still grappling with the artistic life – trying to balance my artistic pursuits with financial survival. I find myself back in the area where I grew up… close to the shores of Georgian Bay, nestled in the woods. What keeps me going is the idea that I have yet to fulfill my potential as a sculptor. I have much to do before realizing the creative visions that have piled up over the years. I’m excited to see what happens.
design Artmyth