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All my original prints are concieved of and created within a particular printmaking process such as Lithography (either stone and/or ball-grained aluminium plates), Intaglio, Silk Screen, Relief Printmaking, or a combination of these four processes. Some editions also contain handwork Prisma colour conte sticks and/or water colour), and collage elements.


Hand printed Aluminium Plate Waterless Lithograph
Paper: Arches Black 100% archival rag paper
Paper Size: 72.0 x 55.7 cm; 28 1/2" x 22"
Image Size: 72.0 x 55.7 cm; 28 1/2" x 22"
Number of Prints in Edition: 10. Numbered: 1/10 - 10/10
Artists Proofs: 1/3 - 3/3
Studio Proofs: 0
Trial Proof: 1
Number of Prints Available: 13
Price: $705.00 Canadian

About the Image: this is a self-portrait of myself as a dancer. Shown within the confines of my body are all the people who have made me the person I am. In New Zealand the Maori say, "I stand before you on behalf of all my ancestors who came before me". I believe the same.


People left their homes and families and moved an ocean and a continent apart. They never saw each other again and eventually they lost contact with their parents, aunts, uncles, and cousins. This prompted me to read English history books because both sides of our family came from England; on my father’s side they came to North America in 1643, on my mother’s side they came to Canada in 1912. I was always interested in genetics and genealogy and over the years, through the diligent work of my sister and other relations, I learned more about our extended family. I at least know their names now and where they lived, died, and are buried. I finally had some roots and an extended family, even though many of them had been dead for hundreds of years.


In 1994 I visited my father a few months before he died. During my last visit with him, I looked at him across the kitchen table and wanted desperately to ask him why he married our mother. Here was a man, my father and I knew little about him, I didn’t even know what his favourite colour was. It was a sad moment especially because I could not overcome my fear of how him he would react to such a personal question. The moment was gone, and I never had another opportunity to ask him this, or any other question. After he died, I began to explore the dynamics of family relationships so that I had a better understanding of the man who was my father. It’s not an easy task because of the many complexities found in all family relationships. And there were external factors to consider: the times he was born into, his upbring, where they lived, how he and his siblings were treated as children/teens, what was expected of him and others, access to food, education, money, and travel.


I have a series of images that are based in family imagery. Creating them helped me learn more about my siblings and myself and, in an indirect way, my father. I will never know why my father married my mother but when I asked my mother why she married my dad she said, “For lack of better sense.” She never elaborated on what this meant and so I can only ponder what these words might mean.

Lord, We Know What We Are, But Know Not What We May Be

  • This is an original work of art created within the printmaking medium of Aluminium Plate Waterless Lithography.

    Method: I print all my own work using either a direct pressure lithographic press, or an etching press. My Editions are small, with 2 to 15 prints per Edition. Most of my lithographs are multiple colour images with up to 25 separate colours and/or colour blends per image. Adding more image elements requires the use of a separate stone or plate: either a silky smooth, perfectly level lithographic stone (limestone), or a ball-grained aluminium plate. I draw directly on the stone or plate using a range of grease based Lithographic Crayons (#5 - #1). I often incorporate either water or solvent washes made from tusche paste to create certain "wash" effects. Once the drawing is complete and the washes are fully dried (overnight), the image is "etched" and allowed to sit overnight. Before printing can occur, the drawing materials need to be replaced with lithographic ink, and a "second etch" applied. Once again, this etch is left to sit overnight. This reduces the chance of image loss during the Proofing stage. The image is Proofed in black before moving into colour. Each colour is mixed and printed by hand, and each colour requires a separate printing. Colour blends are a convenient way to print multiple colours during a single printing. They also impart interesting colour effects to the image. In many instances I destroy the image as I create it because I use a Reduction Process to remove parts of the image before I print the next colour.

    Printmaking is generally a time-consuming process but each printmaking medium has unique visual characteristics that are not found in any other medium. I have always found this to be the most interesting and exciting aspect of creating original works of art in printmaking.

    Canadian Print Documentation Form

    Purchase of any of my Original Prints includes a copy of the Canadian Print Documentation Form. This form is endorsed and supported by the Canada Council Art Bank, Canadian Museum Association, Malaspina Printmaker’s Society, Ontario Association of Art Galleries, Open Studio and Professional Art Dealers Association of Canada. It documents the number of runs, colours, and procedures that I used when creating a particular image. It is proof that the work is an Original work of art as opposed to an “Off-Set Reproduction”, "Poster" or “Fine Art Print” of a pre-existing work of art created in a different medium, such as painting or drawing.

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