My current practice challenges the hierarchy in the Canadian art world between fine art and craft. In this series, I take floral henna patterns, generally classified as decorative and crafty, and incorporate them into paintings of the Canadian landscape. In doing so, I merge the boundaries that separate high art and low art, while also questioning the way Canadian landscapes are traditionally represented in paintings. Unlike the cool colours and the emptiness of the Group of Seven paintings, the landscapes in my paintings are warm, lively and incorporate patterns familiar to the many immigrants who reside in this land. I use patterns that may be considered primitive, feminine and ‘other’ because of their decorative nature and eastern origins to create contemporary conceptual artwork that is fuelled by the idea of culture, along with individual and national identity, as being inseparable from land.
Painting – Oil