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Mackenzie King Estate

The Mackenzie King Estate in Gatineau Park is more than a historical landmark, it's a sanctuary where time slows and nature speaks in quiet, sacred tones. Nestled among ancient trees and peaceful gardens, this place invites you not only to observe its beauty, but to be transformed by it.

Surrounded by history and the gentle rustling of leaves, the deer often appears; a gentle guide and protector.

Slender and still, the endangered least bittern rarely reveals itself. Its cinnamon coloured plumage blends in with the reeds and waterways of its home.

A living emblem of ancient wisdom with its distinctive domed shell and yellow throat, the Blanding’s turtle seems to carry the knowledge of the earth in its very being.

Combined in a transformative surreal image, this piece taps into these elements to interpret the extraordinary experience of this incredible historical site.

MACKENZIE KING ESTATE

Homage series

Soft pastel on Pastelmat paper
13" x 19" (Artwork)
21" x 28" (Framed)

Lac Deschênes

There's a deeply spiritual pulse to Lac Deschênes in Aylmer; a connection woven from gentle breezes, ancient waterways, and architectural ghosts preserved in stone.

Following the Voyageurs Pathway, you feel yourself drawn into the river’s embrace. The wooden bridge crossing the marsh is a quiet pathway covered in sun-dappled plant life enchanted by the song of hundreds of bird species calling this sanctuary home.

The crumbling remnants of a 19th-century hydroelectric dam and mill, their stones carved by time and water where the rapids surge through ancient arches, you find the Deschênes ruins where human ambition yields to nature’s patient recovery. Chosen as nesting grounds for hundreds of seagulls, cormorants and the majestic white egret, Conroy Island, a substancial portion of these ruins, has been transformed into a haven for these birds.

Through surreal transformative imagery, this piece shares a unique awareness of this historical site.

LAC DESCHENES

Homage series

Soft pastel on Pastelmat paper
13" x 19" (Artwork)
21" x 28" (Framed)

Carbide Wilson Ruins

There’s something deeply spiritual about the Carbide Wilson Ruins in Gatineau Park; an ancient echo in stone, moss, and rushing water that calls to your soul. In the Carbide Wilson Ruins, Gatineau Park offers you a mystical sanctuary where nature’s beauty and human history merge to remind you that even in decay, there is grace; even in abandonment, a profound connection to all that endures.

Through transformative imagery, this piece presents this ethereal sentiment for this historical site.

CARBIDE WILSON RUINS

Homage series

Soft pastel on Pastelmat paper
13" x 19" (Artwork)
21" x 28" (Framed)

Can I Have It?

As a parent of two, I feel an instinctive pull to do everything in my power to make my children happy. Modern life hands us endless tools for this — toys, screens, gadgets, sugar on demand. Joy, it seems, is just a purchase away.

But is that true happiness?

Is giving them everything really giving them what they truly need?

This piece doesn’t offer an answer — it asks you to sit with the question.

CAN I HAVE IT?

Choices series

soft pastel on Arches watercolour paper
22" x 28" (Artwork)
30" x 36" (Framed)

How Do We Get There?

As the dominant species, we shape every part of the natural world we inhabit. The choices we make ripple outward, triggering chain reactions that transform our environment — sometimes for better, often for worse.

This piece reflects on one of those choices: how we move through the world.

Our choice of vehicle influences where we live, how much we pollute, and the freedom we feel. Since the 1940s, cars have been more than transportation — they’ve become symbols of status, aspiration, and independence. Eight decades later, for many, owning a car still feels like an unquestioned rite of passage.

This work invites us to pause and consider a decision we so often make on autopilot.

HOW DO WE GET THERE?

Choices series

soft pastel on Arches watercolour paper
22" x 28" (Artwork)
30" x 36" (Framed)

Disintegration

Sir David Attenborough warns that we face “irreversible damage to the natural world and the collapse of our societies” (BBC, Climate change: Sir David Attenborough warns of ‘catastrophe’).

Ironically — and undeniably — we are largely the cause.

“… there is a strong, credible body of evidence, based on multiple lines of research, documenting that climate is changing and that these changes are in large part caused by human activities. While much remains to be learned, the core phenomenon, scientific questions, and hypotheses have been examined thoroughly and have stood firm in the face of serious scientific debate and careful evaluation of alternative explanations.”
— United States National Research Council, Advancing the Science of Climate Change

Even our smallest actions can have disastrous — and often invisible — impacts on nature. The polar bear, an icon recognized worldwide and especially in Canada, has become a symbol of the climate crisis. Its fragmented image reminds us of the slow, relentless disintegration of our environment. Meanwhile, the icebreaker ship, though small by comparison, represents the far-reaching and destructive influence our society exerts on fragile ecosystems.

Together in this piece, the fractured polar bear and the intrusive icebreaker stand as a quiet warning: even the smallest human actions can break what nature has taken millennia to build — unless we choose another way.

DISINTEGRATION

Cycle series

Soft pastel on Moleskine paper
13" x 19" (Artwork)
21" x 28" (Framed)

Embryo

The creation of life is a quiet miracle shared by every living being. From plants and insects to animals and humans, this cycle of birth and renewal is both inevitable and profoundly beautiful.

Embryo is a tribute to that fragile beginning — a visual reminder of how deeply interconnected and interdependent all life is within nature’s delicate web. It invites us to reflect on the unseen bonds that sustain us, and the responsibility we carry to protect and nurture life in all its forms.

EMBRYO

Cycle series

graphite and soft pastel on Moleskine paper
13" x 19" (Artwork)
21" x 28" (Framed)

Humpback Whale

To witness a humpback whale slip beneath our boat was to feel small in the most beautiful way — a massive, ancient being gliding past with deliberate grace, careful not to trouble us with its enormity. In Hawaiian tradition, the humpback is a guardian, a keeper of wisdom, a bridge between the earthly and the divine.

The discovery of albino humpback whales stirred my imagination — a rare, spectral glimpse of what feels like a spiritual rebirth within the species, as if nature whispers that all endings hold a beginning inside them.

This piece is an ode to that cycle — death folding into life, life into rebirth — an ethereal dance that asks us to remember how deeply we belong to the ocean’s timeless story.

HUMPBACK WHALE

Cycle series

soft pastel on Moleskine paper
13" x 19" (Artwork)
21" x 28" (Framed)

In Utero

With In Utero, I wanted to honor how nature cradles and sustains the endless cycle of life. This piece reflects the way our environment continually adapts and evolves to meet the needs of the creatures it shelters — a living network of support that allows life to flourish in all its forms.

At the same time, it mirrors the quiet miracles happening within our own bodies: the intricate, hidden systems that nurture and protect new life as it takes shape. In Utero holds both of these truths — the tender care that exists within us and the greater care that surrounds us — reminding us that creation is never isolated, but always woven into something larger and more ancient than ourselves.

folding into life, life into rebirth — an ethereal dance that asks us to remember how deeply we belong to the ocean’s timeless story.

IN UTERO

Cycle series

soft pastel on Moleskine paper
13" x 19" (Artwork)
21" x 28" (Framed)

Natural disasters have become increasingly common in recent years. We often hear about the human toll and our role in these events, yet we rarely pause to consider the cost borne by the rest of the natural world — animals, plants, insects — all paying the price for disasters that, while not directly created by our species, are undeniably amplified by the choices of individuals, corporations, industries, and governments.

Manufactured Consequences is my first piece that invites the viewer to step inside the work itself. Each animal looks straight at you, breaking the barrier between observer and observed. In their gaze, nature calls you to account — reminding us who really fuels the spark behind that devastating forest fire.

MANUFACTURED CONSEQUENCES

Cycle series

soft pastel on Moleskine paper
13" x 19" (Artwork)
21" x 28" (Framed)

Mother's Anatomy

Mother Nature, Earth-Mother, Gaia, Mama Pacha — across cultures and centuries, these names have embodied our profound bond with the natural world. They remind us that we are not separate from nature, but inseparable from it — sustained, sheltered, and shaped by its rhythms and gifts.

Mother’s Anatomy is my tribute to this ancient connection. By weaving human anatomy from elements of the natural world, I want to show that our bodies and nature’s body are one and the same — roots, veins, branches, bones — all part of a single living system.

This piece is an invitation to remember that just as nature endlessly cares for us, we have a responsibility to care for it in return — to protect, nurture, and respect the very source of our life. It asks us to see that reciprocity with the Earth is not a choice, but a necessity for our survival and our humanity.

MOTHER'S ANATOMY

Cycle series

soft pastel on Arches watercolour paper
22" x 28" (Artwork)
30" x 36" (Framed)

Medeina

“Medeina or Medeinė (from medis, ‘tree,’ and medė, ‘forest’), often considered synonymous with Žvorūnė or Žvorūna (from žvėris, ‘beast’), is one of the principal deities in Lithuanian mythology, closely related to the Latvian Meža Māte. She is the guardian of forests, trees, and wild animals. Her sacred animal is the hare.” — Wikipedia

I chose Medeina as a timeless symbol of the supernatural protector — the spirit who watches over the wild. Here, she weeps, feeling powerless to save her sacred animal, the hare, while her loyal guardians stand watch. The threat wrought by human hands is incomprehensible even to a forest goddess — a danger no myth prepared her to face.

The Stelmužė Oak in Lithuania — one of the world’s oldest trees, estimated to be 1,500 to 2,000 years old — owes its survival in part to the devoted care of generations. Declared a natural monument in 1960, this ancient oak stands as a powerful symbol of what we can protect when we choose to stand with nature, not against it.

Through this piece, I invite you to reflect on the strength and stewardship we hold in our hands — and what wonders we can preserve when we remember that we, too, are guardians.

MEDEINA

Cycle series

Soft pastel on Moleskine paper
13" x 19" (Artwork)
21" x 28" (Framed)

Snow Leopard

Nature weaves an unstoppable cycle where life, death, and rebirth are bound together in an endless dance. In this cycle, death is never an end but a quiet transformation — nourishing the soil, feeding new growth, and giving rise to fresh beginnings. This is how the Earth sustains and renews itself, generation after generation.

The snow leopard, elusive and resilient, embodies this delicate balance. Dwelling high in the remote mountains, it is a symbol of nature’s fierce beauty and its fragility. As both predator and guardian, the snow leopard reminds us that every creature has a role in this indomitable cycle — and that when we disrupt even the smallest part, the whole is put at risk.

This piece invites you to reflect on that ancient truth: that life feeds life, that endings nourish beginnings, and that we, too, are threads in this vast, unbroken web.

SNOW LEOPARD

Cycle series

Soft pastel on Moleskine paper
13" x 19" (Artwork)
21" x 28" (Framed)

Tree of Life

“The concept of a Tree of Life is a widespread archetype in the world’s mythologies, closely linked to the idea of the sacred tree more broadly, and deeply rooted in religious and philosophical traditions.”
— Wikipedia, 2017

Across cultures and continents, the image of a great tree stands as a universal symbol of the cycle of life, growth, and renewal. We find it in Norse mythology as Yggdrasil, the immense ash tree connecting the nine worlds. In ancient Persia, the Gaokerena world tree offered healing and immortality. Ancient Egyptians revered the acacia tree of Iusaaset as the source of all life. In Judaism, the Etz Chaim — the Tree of Life — is a symbol of wisdom and divine connection. Buddhists honor the Bodhi tree, under which the Buddha attained enlightenment. Christianity speaks of the Tree of Life in Eden as a sign of eternal life and divine promise. Even the Iroquois creation story, The World on the Turtle’s Back, tells of a piece of bark from the Tree of Life that seeded a whole world into existence.

This enduring motif reminds us that life is not linear but cyclical — deeply rooted, endlessly branching, and sustained through the sacred balance between life, death, and rebirth.

TREE OF LIFE

Cycle series

soft pastel on Arches watercolour paper
22" x 28" (Artwork)
30" x 36" (Framed)

Rooted

This is the first piece in the series to include a human figure — an intentional choice to explore our unique place within the natural world. Though we are part of the animal kingdom, our evolution and the vast scale of our impact set us apart. Because our actions shape the environment more than any other species, our responsibility to care for it is equally profound.

In this work, I wanted to express that connection and responsibility visually: the human figure stands rooted in nature, as animals emerge from the tangled roots around him. It’s a reminder that we are not separate from the living world, but deeply entwined with it — and that what we nurture, neglect, or destroy ripples far beyond ourselves.

MOTHER'S ANATOMY

Cycle series

soft pastel on Arches watercolour paper
22" x 28" (Artwork)
30" x 36" (Framed)

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