A report prepared for National Defence, by CRG Consulting in 2013, notes that many buildings dating from the British Imperial Era generally “feature projections such as parapets or end walls, chimneys, pilasters and brick corbelling. . . .a number of buildings still retain their original eaves troughs with decorative conductor heads and rainwater leaders.” It was undoubtedly these architectural features which captured my attention as I wandered through the dockyard’s haphazard medley of historic buildings years ago with my camera. The photos were mislaid for more than two decades. I found them again and began developing these paintings in 2018. The evolving group are an interesting mix–a juxtaposition of the visual coloratura inherent in nineteenth century architecture with reflections of the undercurrent of conflicting emotion arising in a non-serving voyeur. This duality of perspective is perhaps most evident in Stop/Arret.
Symbolic use of various design elements is evident in many of my paintings. In “Stop/Arret” I have used an overall red masking colour to instill a sense of unease. Ominous red coupled with transparent layering of architectural elements suggests the multi-faceted response dockyard scenes often evoked in me.
This is an interesting studio shot for a host of reasons. Next to the easel and re-purposed for studio use is an old hospital table. It works perfectly at either the drafting table or my easel. I even use the hospital table as a stable platform for a camera when I don’t feel like setting up a tripod for studio photography. The height is adjustable—it is on casters and has an open arm design which means I can have it close to any work area. Another interesting accoutrement is a stack of wet panel boxes my woodworker husband Don Mazurick made. Seen here in use in the upper left, the panel boxes are modular, stackable and portable. Each panel box holds four paintings nicely separated so there is adequate air circulation. I generally have as many as six oil paintings in progress so these panel boxes are awesome in my studio. In the studio when I paint with oil my approach generally involves building layers of texture and transparent colour before doing opaque, scumbled or maybe more textured layers. It is a slow process. Pictured on the easel is an as yet untitled painting in progress. In this case the painting is from my CFB Esquimalt dockyard series and has just received its second transparent layer. If you are curious about the small metal cups upturned on the palette these are simply restaurant supply cups I use to cover blobs of paint when I don’t feel like cleaning the glass palette between sessions.