AT THE EDGE OF PLACE

Paintings shaped by memory, weather, and scale in Canada


AT THE EDGE OF PLACE brings together a body of paintings shaped by time spent in Canada, especially Alberta. These works are not travel views or descriptive records of place. They grew out of memory, weather, scale, and the emotional residue of lived experience.

Made after a period of grief and change, the paintings hold onto moments that stayed with me long after I had left them. Mountains, snow, water, light, and small human traces became ways of thinking about awe, stillness, and what I think of as psychological weather.

Winter landscape in Alberta with snow, dark trees, distant mountains, and a burst of yellow light across the foreground

Welcome to Alberta

I think of this as the prologue to the series. A burst of yellow light on snow and a roadside picnic table caught my attention for only a moment, but it stayed with me. The painting became a way of holding that brief threshold between movement, memory, and place.


DETAILS

WELCOME TO ALBERTA

2026

Acrylic on canvas

12 x 12in

Winter landscape on the Icefields Parkway with snowfields, dark evergreen trees, a winding road, and a small 50 speed sign beneath a pale sky

Icefields: 50 Max

This painting came out of the feeling of cold, distance, and stillness rather than the literal weather of the day. The small roadside sign became important because it introduces a quiet measure of human presence within a landscape that feels vast and indifferent.


DETAILS

ICEFIELDS: 50 MAX

2026

Acrylic on canvas

16 x 12in

Charred tree beneath the aurora borealis at Elk Island, set in open ground with a strong sense of stillness and endurance

SENTINEL: Elk Island

Painted from my first experience of the aurora borealis, this work moves away from mountain and into something more solitary. The burnt tree became a witness-form for me, holding stillness, endurance, and a charged kind of presence beneath the moving sky.


DETAILS

Sentinel, Elk Island

2026

Acrylic on canvas

14 x 11in


Athabasca River below a rising Rocky Mountain peak, with turquoise water, shoreline, and dramatic purple sky

Athabasca Rising

This painting opened the work out again after the narrower focus of Sentinel. What mattered here was the mountain as a steady presence held against water, shoreline, and sky, with awe settling into structure rather than description.


DETAILS

ATHABASCA RISING

2026

Acrylic on deep edge canvas

36 x 24in

Painting of Lake Louise mountain rising above cold blue water, with warm ochre rock face, reflected light, and a strong sense of stillness and scale

CATHEDRAL RISING

Painted from memory of Lake Louise rather than the literal weather of the day, this work became the emotional centre of the series. The mountain began to feel less like landscape and more like structure, warmth, and reverence, holding grief, awe, and stillness in the same space.


DETAILS

CATHEDRAL RISING

2026

Acrylic on deep edge canvas

24 x 36in


Painting of Rocky Mountain peaks reflected in turquoise water, inspired by places like Emerald Lake, with layered landforms and clear alpine light

The Colour of Majesty

This painting grew out of the feeling of that day at Emerald Lake, and the way reflected light, colour, and stillness stayed with me afterwards. I was less interested in recording the place exactly than in holding onto an after-image of scale, atmosphere, and emotional force.


DETAILS

THE COLOUR OF MAJESTY

2026

Acrylic on deep edge canvas

16 x 40in

Triptych of small mountain paintings in purple tones, using repetition, rhythm, and shifting remembered form

PURPLE MOUNTAINS

Alongside the larger paintings, I made smaller grouped works like these. They let me test form, repetition, colour, and rhythm in a more direct way. I think of them almost as mountain notes, less tied to one exact place, and more to the way memory reduces and sharpens what stays with you over time.


DETAILS

PURPLE MOUNTAINS

2026

Acrylic on paper

Triptych, presented as a group
Overall size: 16 × 12 in
Each panel: 4 × 10 in

Triptych of small mountain paintings in red tones, with repeated forms and a warmer, more heated emotional register

RED MOUNTAINS

The red sequence pushed that further. By changing the colour register, the emotional tone changed as well. These pieces feel more direct and more heated, while still holding the same basic remembered structure.


DETAILS

RED MOUNTAINS

2026

Acrylic on paper

Triptych, presented as a group
Overall size: 16 × 12 in
Each panel: 4 × 10 in

Weather Note I-Small blue mountain study with layered ridgelines, shifting weather, and a quiet sense of distance
Weather Note II-Small blue landscape study with simplified mountain forms, cool light, and subtle tonal variation
Weather Note III-Small mountain landscape in deep blue tones, with distant peaks, quiet water, and a held sense of weather and mood

Weather NOTES I - III

These small blue works let me return to the mountain form in a quieter and more reduced way. Working through repetition, colour, and slight variation, they became a space for testing what remains when landscape is stripped back to memory, atmosphere, and structure. I think of them as weather notes because they feel less like fixed views and more like held sensations, fragments of place carried through colour and mood.


DETAILS

WEATHER NOTES I - III

2026

Acrylic on canvas

7 x 5in

Seated figure at Pyramid Lake in Jasper, with red Muskoka chairs, water, mountain forms, and a sense of warmth and closeness

Pyramid Lake, Rachel

I think of this as the epilogue. It brings human presence into the work in a more direct way. After the scale and stillness of the other paintings, this one closes the sequence with closeness, warmth, and memory.


DETAILS

PYRAMID LAKE, RACHEL

2026

Acrylic on canvas

16 x 12in