What initially drew you to the world of art, and how did you begin your journey as an artist?

My dad was a draftsman who liked to draw and paint in his spare time. He encouraged my interest in the arts and as a youngster I spent a lot of time sketching and painting. However, I was always frustrated by the results. I am not sure how or when I first picked up a camera but I found that I could more easily express myself with it. I began reading books on lighting and operating an SLR and also studied the masters such as Richard Avedon, Irving Penn, and Mary Ellen Mark to gain inspiration. 

The interest in photography continued as I began my career as a journalist and after 13 years or so of newspaper reporting I decided to return to school and study photography full-time. After two years at Humber College in Toronto, I worked briefly as a photojournalist but then ended up, rather by accident, in digital media where I managed editorial content, at such companies as AOL, Quebecor Media, and Microsoft. I still took pictures but for a long time it played a background role as my career and family life evolved. 

I retired during COVID and in an ironic way, the pandemic presented somewhat of an opportunity for me as a photographer because even as things were locked down I could still go out on my own and photograph landscapes. It was then I realized I had a chance at a second act in photography and began to approach galleries, enter contests, and seek publication to expand my resume. 

Can you describe your preferred medium(s) and artistic style, and what draws you to these particular forms of expression?

Photography is my preferred medium and I tend to concentrate on landscapes with a minimalist aesthetic using long exposures. Being somewhat of a minimalist in my personal life, that philosophy has translated over into my work. It may also have had something to do with my past life as a journalist where ruthlessly editing anything that did not help advance the story was crucial. In my mind at least, minimalism is a way of embracing negative space and creating a sense of peace and tranquility for the viewer.  

How do you typically find inspiration for your artwork, and are there any recurring themes or motifs in your pieces?

Water is often a recurring theme in my work, and I am drawn to it as a way of creating a sense of stillness and serenity, particularly when incorporating long exposures. I often find myself returning to the same location numerous times to look at the environment differently and with a fresh perspective as the light and cloud formations are continuously shifting and creating a new idea to explore.  

Can you discuss any significant influences or artists who have inspired your own practice?

There are many. Early in my career I was drawn to the work of editorial photographers such as James Nachtwey and Mary Ellen Mark. From a minimalist perspective, Michael Kenna and George Byrne stand out as major influences. Robert Mapplethorpe’s elegant flower series and the sense of alienation and isolation in the paintings of Edward Hopper and Canadian artist Christopher Pratt are also influences even though I rarely include human figures in my work. 

How do you approach experimentation and innovation within your art, and how important is it for you to push boundaries?

I am always striving to get technically better and learning how light behaves. There is so much to take in and be aware of, not only when shooting but also during post-production of an image in Photoshop and Lightroom. My aim is to crop inside the viewfinder of the camera and not do too much when looking at the final print. 

I was also focused on black and white for the longest time but then started to experiment with colour which requires such a different and unique way of looking at things. I am not sure if pushing boundaries is the best way to describe what I try to do. Instead it’s about staying fresh and engaged within the minimalist themes I  enjoy working with and that bring me a personal sense of fulfillment. 

Can you share a particularly memorable experience or moment in your artistic career that has impacted your perspective or trajectory?

A few years ago, I had the opportunity to visit the town of Marfa, Texas, and the Donald Judd Foundation that’s located there. I was blown away, not only by his sculptures but how they were integrated into the spaces of the buildings there. In a sense the works and the buildings that housed them became one. That simplicity and elegance, coupled with the topography of southwest Texas, really had an influence on how I started to approach my landscape work. 

How do you handle criticism or feedback about your artwork, and how does it influence your growth as an artist?

Constructive criticism or feedback can always be seen as a way to grow and develop as an artist. Of course, you may run across individuals who dismiss your work out of hand and that’s fine. The beauty of art is that it’s subjective. It doesn’t and shouldn’t please everyone. Tune out the noise and listen to those who want to help you flourish as an artist. 

What challenges do you face as an artist, and how do you overcome them?

Insecurity can help drive an artist to keep creating because you continually want to improve on the outcome. But it can also be a hindrance because art is such a personal experience that you end up never truly being satisfied with what you have achieved. I work to overcome that by continuing to be inspired by the works of others. If I feel that I am falling into a rut, it doesn’t take much with the Internet these days to search for works of others that will provide ideas and inspiration.  

Can you share any advice for emerging artists who are just beginning their artistic journey?

Be patient. Art is not a sprint. It’s more of a marathon in the sense that it takes a combination of technical knowledge and creativity to come up with something that is true to yourself. It can be frustrating to keep hearing rejection of your work but don’t let that deter you from getting it in front of an audience, if indeed that’s what you want to do. You will find someone who appreciates it and that will continue to drive the process. I am always surprised when my photographs achieve some form of recognition. It feels good but it also drives me to keep creating more and chase the muse, so to speak. 

Can you discuss the role of art education or formal training in your development as an artist?

It had a place in terms of learning the technical aspects of photography such as lighting, the proper operation of different cameras, positioning of the subject, etc. The creative aspect had to come from deep within the student. That is a lot harder, or almost impossible to teach.

But I was also lucky in the early part of my career to be mentored by a team of photojournalists who provided on-the-job training of sorts that focused more on adherence to deadlines, accuracy, and speed. That instilled a discipline in me that benefited my artistic pursuits.