There is the empty but claustrophobic square space set deep in the center of wavy layers of color in her In the Metabolic series, for example. “We detect the body’s interior, it’s as if it’s inside a landscape.” She adds, “I grew up around water, in and near Toronto.” During the pandemic, she took the time to let the work develop. “I was making art the whole time. Your perception of time is so internal—our idea of it speeds up.”
The fifty-six-year-old artist has shown widely in North America and Europe and currently has a show at the Wetterling Gallery, Stockholm, through November 27 and is in a group show at the Sarasota Museum of Art, which will open November 27 and run through April 3, 2022.
In the early 1990s, She began exhibiting in the company of such other noted abstractionists as David Row, David Reed, Jacqueline Humphries, Fred Tomaselli, and Bruce Pearson, loosely sharing styles and ideas but retaining her very distinctive, quirky vision.
Her dots—or pokes, as she calls the marks in her rhythmically punctured canvases—may evoke the active "Op" marks of Larry Poons or the excited ones of Yayoi Kusama, while her stretched ribbons of color are like the transmogrifying abstractions of animated cartoons—squashed, leering mouths, and distended bodies. They are mischievous and call to mind the antics of Wylie Coyote and boomerangs as they bulge and turn in on themselves.