Jacks on Jack Daniel's, an allegory

 

9 x 12", acrylic on cradled aluminum panel

Painting #311, 2026 | Black wooden floater frame

The initial concept for this painting surfaced back in November 2015. While browsing at HomeSense, I spotted a classic set of Ball & Jacks inside a beautifully retro, cylindrical cardboard box. At the time, I envisioned a narrative about personal struggle, pairing the game with Margaret Atwood’s book Moral Disorder and an almost empty bottle of whiskey—a cautionary tale regarding dependence, gaming, substances, and losing one's way in life.

I carried that imagery in my mind for over a decade. However, a whole new narrative unfolded simply by changing the book at the center of the frame. While I retained the vibrant teal color palette inspired by the Atwood cover, the physical book transformed into George Orwell's Nineteen Eighty-Four.

The result is an allegorical piece infused with symbolism regarding the current political climate in the United States. At its core, 1984 illustrates how a nation collapses into a dystopian state when extreme nationalism and political apathy allow a totalitarian regime to erode the concept of objective truth. Orwell warned that a state can completely dominate its citizens by rewriting history, policing language, and demanding absolute, unquestioning loyalty to a leader whose manufactured cult of personality replaces all human affection. Ultimately, it is a chilling reminder of how easily democratic values vanish when a population surrenders its critical thinking to psychological manipulation.

The physical elements of the still life bring this warning into the modern day, built layer by layer:

• The Gold Jack: Out of the set of twelve metal jacks, only one is painted gold. Recognizing gold as the President of the United States' favorite color, it sits prominently atop the stacked arrangement.
• The Silver Jack: Balanced precariously on the Jack Daniel's bottle, this jack represents his administration, the right-wing media apparatus supporting his rhetoric, his enablers, and the MAGA movement.
• The Bottom Jack: Cast down against the book, this piece represents all those who oppose the current regime, whether they be American dissidents or global citizens united in solidarity.
• The Monopoly Card: The "GET OUT OF JAIL FREE" card directly references Donald Trump’s sweeping mass clemency actions, which granted sweeping pardons and commutations to individuals charged or convicted in connection with the January 6 Capitol insurrection.
• The Marble: This represents the pervasive mind games at play—denying the validity of the 2020 election, erecting barriers to restrict Black voters, and weaponizing falsehoods to reshape reality. The way the glass marble subtly distorts the surface beneath it mirrors how these strategies twist the public's perception of truth.

This political strategy relies heavily on the old saying that "if you repeat a lie often enough, people will eventually believe it." Since his return to office, we have seen systemic shifts that mirror Orwell's warnings: the breach of the United States-Mexico-Canada Agreement (USMCA) through blanket tariffs, the subsequent Canadian retaliatory restrictions on American goods (including Jack Daniel's Tennessee Whiskey), the erosion of international alliances, and executive directives aimed at altering historical narratives within federal institutions and national museums. From pulling out of global agreements to threatening the sovereignty of close allies, the guardrails of American democracy appear entirely down.

I have visited the United States upwards of 25 times. My last visit was during the summer of 2016, when my family and I ascended Mount Katahdin in Maine's Baxter State Park. I have chosen to personally boycott travel to the US ever since. While I had planned to return after the 2020 election, watching the systemic delays that prevented accountability after the insurrection convinced me to stay put.

As a Canadian, I love the United States and hope to return one day when institutional order is truly restored. In the meantime, I am deeply proud of our Prime Minister, Mark Carney, for standing as a true statesman in defense of our nation and serving as a vital voice of reason on the world stage. We must collectively remember Benjamin Franklin's timeless warning that a democracy is "a Republic, if you can keep it."

This painting is currently on view in a two-person show with Jon Wilkinson at the Fog Forest Gallery, entitled:

"Still Lives, Silent Places"

October 16 – November 6, 2026 

• Opening Reception: Friday, October 23, 2026, from 4:30 PM to 6:00 PM
• Gallery Hours: Thursdays and Fridays from 10:00 AM to 5:00 PM, or by appointment.

To acquire this painting, please contact:
Fog Forest Gallery
14 Bridge Street, Sackville, NB, Canada
(506) 536-9000
fogforestgallery.ca

The Last Cherry Blossom

 

8 x 6", acrylic on cradle aluminium panel

painting #310, 2026, black floater frame

The Cherry Blossom has gone missing. Here is a brief 101 history course in a nano minute about this most unique and iconic Canadian treat.

The candy was originally conceived by the Walter M. Lowney Company, founded by an American who initially established his business in Boston, Massachusetts, in 1883. Looking to expand, Lowney established a Canadian subsidiary in the mid-1890s. In 1905, a manufacturing plant opened in Montreal's Griffintown, where the Cherry Blossom was officially mass-produced for more than half a century before production shifted to Sherbrooke, Quebec, in 1962. Other beloved candies made by Lowney included Glosette Raisins and Peanuts, Oh Henry!, and Eat-More. In 1987, Hershey acquired Lowney, and by 1989, they consolidated operations by moving to Smiths Falls—then known as the chocolate capital of Ontario. In 2008, as part of a global "supply chain realignment," Hershey shocked the town by leaving Canada entirely and moving its production line to Mexico.

The Cherry Blossom was made and sold exclusively for the Canadian domestic market and possessed a unique combination of structural traits: a lumpy mound of milk chocolate with a maraschino cherry floating inside an incredibly sweet, runny maraschino syrup, all paired with peanut and coconut bits. It held an intensely nostalgic, acquired taste that resonated deeply with generations of Canadians for more than a century.

Cherry Blossom commercial from the 1970s with a jingle that 

will probably stick in your head for the rest of the day. 

I guess nothing lasts forever. In January 2025, Hershey Canada announced the retirement of the candy, and production was immediately halted. Upon learning this, I rushed to a few stores to grab some of the remaining stock, but alas, the shelves were already bare. It wasn't long before the last remaining boxes were being resold online for astronomical profits. However, a week or two later, my wife Suzanne saw a Facebook post sharing that a small batch had been spotted right by a cash register at a Sobeys store in Dieppe. I quickly hopped in the car and was able to secure three boxes before they vanished for good.

During this final run of the Cherry Blossom, the iconic packaging had been altered by a black-and-white Health Canada warning label stating the product was high in saturated fat and sugar. Interestingly, back in September 2021, I had bought a few boxes with the explicit intention of painting them. I held several photo sessions, taking dozens of pictures with aluminum foil and Van Gogh's Almond Blossom background, but the composition never quite clicked. Thinking I had all the time in the world, I threw the empty boxes away, giving myself a reason to buy and eat more in the future. Nonetheless, those early photos served me well as reference imagery when I began a fresh photographic study this past summer using the precious final boxes I managed to acquire.

The Cherry Blossom was ultimately a victim of shrinkflation. It used to weigh 2 ounces (57g), and back then, the box was a perfect cube. When I was a teenager in the mid-1970s, it was my Mom's favorite candy. For Mother's Day, I remember going to the corner store and buying four of them—I think they cost between 15 to 25 cents each at the time. When I aligned them 2 x 2, the tops still formed a perfect square. I remember wrapping them up, making her a card with a fancy drawing, and I can still feel the smile and the kiss she gave me when she unwrapped them.

By 1990, when Hershey reduced the weight to 45g, they didn't just scale the chocolate dome down evenly; they flattened the candy slightly and altered the packaging cardstock to a shallower template to save on shipping volume and shelf space. Because the front face of the box was kept square to preserve the classic graphics on store shelves, the box became much narrower from front to back. With this structural refit, the dome-shaped chocolate no longer sat perfectly upright on its base, but tilted sideways. Worst of all, the original recipe had also been altered.

Back in 2016, Suzanne and I visited the Van Gogh Museum while spending a few days in Amsterdam. While photography was not allowed inside, I bought a jumbo postcard of Almond Blossom, which he painted in February 1890. I experienced a true "coup de coeur" the moment I saw this masterpiece in person. I loved it so much that I even bought two espresso cups and saucers featuring the Almond Blossom motif.

Van Gogh's masterwork was created during the exact same decade that Lowney introduced the Cherry Blossom to Canada. Almond Blossom was a gift for Vincent's brother Theo and sister-in-law Johanna, who had just welcomed a baby son, Vincent Willem. In the letter announcing the arrival, Theo wrote: ‘As we told you, we’ll name him after you, and I’m making the wish that he may be as determined and as courageous as you.’ Unsurprisingly, it was this work that remained closest to the hearts of the Van Gogh family, and Vincent Willem went on to found the Van Gogh Museum. Inspired by Japanese prints, Van Gogh painted those blossoming branches to celebrate the birth of his nephew, turning them into a universal symbol of new life and fresh beginnings.

Nature permanently regenerates and blooms, while our commercial childhood staples are not always allowed the same fate. By placing a discontinued, now-extinct consumer product right in front of Almond Blossom, it creates an artistic irony in itself. Later that same year, on July 27, 1890, at just 37 years old, Vincent van Gogh walked into a field and tragically shot himself in the chest, dying two days later.

On a brighter note, after completing this painting, I slowly ate and savoured the final Cherry Blossom I had acquired. Knowing it was the last time I would ever experience that taste made for a deeply nostalgic, bittersweet moment.

This painting is currently on view in a two-person show with Jon Wilkinson at the Fog Forest Gallery, entitled:

"Still Lives, Silent Places"

October 16 – November 6, 2026 

• Opening Reception: Friday, October 23, 2026, from 4:30 PM to 6:00 PM
• Gallery Hours: Thursdays and Fridays from 10:00 AM to 5:00 PM, or by appointment.

-SOLD

Fog Forest Gallery
14 Bridge Street, Sackville, NB, Canada
(506) 536-9000
fogforestgallery.ca

Peonies for Moira Rose, an homage to Catherine O'Hara

 

12 x 12", acrylic on gessoed aluminum panel

painting #309, 2026, black wood frame with a 1" white linen liner

I had the TV on CBC, watching something or another, when an episode of Schitt’s Creek started playing. It usually takes a lot to make me laugh out loud, but I found myself having to pause and rewind scenes because of the sheer hilarity of Moira Rose, played by the brilliant Catherine O’Hara. This was back in 2017 during the sitcom's third season. Naturally, I proceeded to immediately binge-watch the first three seasons on Netflix.

The first five episodes of season one introduced a seemingly ordinary baseline: Moira Rose as a sarcastic, spoiled, eccentric, and melodramatic matriarch. She was a former daytime soap opera actress and wig-loving fashionista trying to settle into the dismal town of Schitt’s Creek after losing the fortune that had kept her in the lap of luxury. Then, in episode 6 ("Wine and Rose") and episode 9 ("Carl’s Funeral"), her vocabulary began its grandiose transformation as did her enunciation.

It was during that first season that Catherine O’Hara’s makeup artist, Lucky Bromhead, gave her a book: Foyle’s Philavery: A Treasury of Unusual Words. Because O’Hara was a master of improvisation—stretching back to her days with The Second City and her iconic sketch comedy on SCTV—she developed the character of Moira Rose in real-time. Moira’s language became progressively more cartoony, archaic, and heavily stylized with each passing season as she leaned further into the lexicon. Remarkably, O’Hara kept the book a secret from co-creator Dan Levy and the show’s writers until season five. During seasons one through four, she would quietly rewrite her assigned dialogue on her own to weave in these unusual words before filming.

By season two, she had already elevated the character to a new level. The brilliant writing simply gave her the perfect platform to showcase her generational comedic talent. She is the main reason I stayed hooked through all six seasons, though the entire ensemble cast made the magic happen together.

 Classic Moira Rose scenes by Catherine O'Hara

from the series.

The video below, where Johnny and Moira venture out to buy a used car, might just be my all-time favorite and funniest scene. Here, O’Hara really goes all out, trying to minimize their wealth by fabricating a tragic backstory. Instead, she accidentally taps right back into Vivian Blake, the dramatic character she played on her old daytime soap opera, Sunrise Bay. Of course, Eugene Levy’s panicked replies and masterful facial expressions elevate the entire sketch.

Catherine O’Hara would go on to win six consecutive Canadian Screen Awards for the role—one for each season. The show's historic run culminated in a record-breaking night at the 2020 Emmy Awards, where Schitt’s Creek became the first comedy series ever to sweep all four main acting categories in a single year. Alongside Eugene Levy, Dan Levy, and Annie Murphy, Catherine took home the Emmy for Lead Actress, cementing the show's legacy as a cultural phenomenon with nine wins in a single night.

This painting is an homage to a great actress whom we sadly lost earlier this year in January. These peonies are a fulfillment of her request to spruce up their environment—as Moira famously asks, "Would it kill someone to plant a few peonies?" (Season 2, Episode 6 - "Moira vs. Town Council").

The Rosebud Motel Room 3 key represents the time Moira is asked to tend the front desk while Stevie is away (Season 3, Episode 8 - "Motel Review"). The canning jar holding the flowers was a Dollarama find from right before I started the painting in July, acting as a symbol of the Rose family’s current financial situation. However, I customized it for this piece, changing the raised glass letters on the front from "Home Design" to "Rose Apothecary" and altering "Since 1984" to feature a raised rose in the center.

Finally, the vase rests on Foyle's Philavery, a treasury of unusual words collected by Christopher Foyle. Published in 2007, this book is now out of print. When the secret got out regarding this specific volume and its connection to the Moira Rose character, Schitt's Creek fans quickly bought up the remaining stock. Before long, third-party sellers were listing this rare book on eBay and Amazon for prices often surpassing $1,000. I ended up downloading an image from the internet and printing my own custom dust cover using my reliable Canon printer.

Standing alongside the original Rosebud Motel sign from the Schitt's Creek set (2015-2020). Current home at the CBC - Canadian Broadcasting Center, Toronto - photo from a recent visit, May 2026.

I was crushed and shocked when I learned of Catherine O’Hara’s passing, especially since the public was entirely unaware she had been ill. It felt like losing a family member or a lifelong friend. From her brilliant days at The Second City and SCTV to her unforgettable roles in Home Alone, Beetlejuice, Best in Show, and so many other masterful performances, Mrs. O’Hara will forever be remembered as an institution, a Canadian icon, and a deeply funny lady.

This painting is currently on view in a two-person show with Jon Wilkinson at the Fog Forest Gallery, entitled:

"Still Lives, Silent Places"

October 16 – November 6, 2026 

• Opening Reception: Friday, October 23, 2026, from 4:30 PM to 6:00 PM
• Gallery Hours: Thursdays and Fridays from 10:00 AM to 5:00 PM, or by appointment.

-SOLD
Fog Forest Gallery
14 Bridge Street, Sackville, NB, Canada
(506) 536-9000
fogforestgallery.ca

Held over Austen

10 x 8", acrylic on cradle aluminium panel

painting #308, 2026

black floater frame with antique bronze front

Roma moulding, made in Italy

A great film has to start with a solid screenplay. Without it, it quickly starts to unravel. Then, the magic begins when the direction, casting, cinematography, editing, score, art direction, costumes, hair, and make-up all work in unison to support the story.

One of those films is the 2005 adaptation of Pride and Prejudice, based on Jane Austen's novel published in 1813. Over 20 million copies of this classic work of English literature have been sold since it was first published. The film was directed by Joe Wright with the screenplay written by Deborah Moggach. The piano playing in the background during the opening scene immediately starts to paint a portrait of what's to come. The stellar cast, sweeping score, and visuals are arrestingly beautiful, instantly pulling you into the Georgian Era. The Director of Photography uses breathtaking camera movements to build this world—such as following a housekeeper through a room where all the Bennet girls are assembled, framing shots through windows or capturing two men lifting a white tablecloth that forms a parachute-like shape to dress a table. These minute details are seamlessly edited into the film, creating an art form unto itself. I've watched this film several times over the years and it never gets old.

I've been longing to do a painting featuring Austen's Pride and Prejudice for the longest time. However, I had to find the right book. HomeSense always has a curated selection of classic literature, where Jane Austen is a regular staple, but until last year, this specific title was a rarity. The year 2025 marked Jane Austen's 250th birthday; because of that milestone, last fall I had no less than five different editions of the book to choose from at once. 

 

       

Top photo - Jean-Luc at 25 Gay Street, Bath, where Jane Austen lived for a year following her father's death. Bottom photo - 40 Gay Street, Bath - Jane Austen Centre - May 3, 2010.

My choice landed on an edition published by the Cranford Collection, printed in England, featuring a peacock on the cover with embossed feathers detailed in gold foil. I immediately made a connection to a Robert Held vase I had acquired about a decade ago, which featured a pulled peacock feather design done in iridescent glass. It was only once I started the painting and did a bit of research that I found the backstory about its cover and realized I had hit the jackpot with this book.

Jane Austen never mentions peacocks anywhere in the original 1813 book. In fact, the famous connection between Pride & Prejudice and peacocks didn't start until 1894, when illustrator Hugh Thomson designed the highly collectible and iconic "Peacock Edition" book cover. The 2005 screenplay nods to that famous piece of Austen history by giving a line to Elizabeth Bennet (Keira Knightley) during the Meryton ball scene: "Which of the painted peacocks is Mr. Bingley?"

The original 1894 peacock edition by Thomson also included a staggering 160 pen-and-ink illustrations that were fully integrated into the story. At a time when books only contained a few images, this allowed readers to see every major encounter, adding a whimsical, humorous layer to Austen's satire and comedy of manners. This edition kicked off a style known in the publishing trade as "Cranfordization" (named after a Gaskell novel Thomson also illustrated). It set the blueprint for the modern wave of "pretty books" and decorative cloth-bound editions we see in bookstores today.

I listened to the audiobook on YouTube while I was painting. It is brilliantly read by Karen Savage, who wonderfully changes her voice while reading the lines of Mrs. Bennet and Mr. Collins. Click HERE to listen. The popularity of Austen's work is far-reaching; this 10+ hour audio track has 7.7 million views and counting. The 2005 film remains faithful to the storyline but cuts long passages focusing on the courtship between Elizabeth's sister Lydia and George Wickham, which was fine with me. Jane Austen's writings have so much staying power that a new adaptation of Sense and Sensibility opens in theaters today, October 16, 2026, while a new 6-part miniseries of Pride and Prejudice is slated to release on Netflix on December 3 of this year. Period dramas remain alive and well for the Austenites.

I do have a soft spot for Jane Austen for another reason. Since my mother's name is Emma, I did a painting entitled, "Tea with Emma" back in 2010 to honor the author and my mom. (Acrylic on hardboard, 12 x 12'', 2010, #186) -Private collection

 ------------

 Robert Held (b. 1943) is a pioneering American-born Canadian glass artist celebrated for his masterfully crafted blown glass and iridescent finishes inspired by classic masters. Born in Santa Ana, California, Held studied ceramics at the University of Southern California before moving to Canada. Upon graduating, Robert was offered a position as Head of Ceramics at a college being built in Ontario. He accepted the position, becoming the youngest department head at the Sheridan College School of Design. In 1968, he established the country's first college-level hot glass program, also at Sheridan College. Over a legendary career spanning more than 50 years—operating prominent studios in Calgary, later in Vancouver, and finally in Parksville, British Columbia—his art glass has found a home in prestigious collections worldwide, including the Royal Ontario Museum and the Smithsonian Institution

Robert Held in his studio, Parkville, BC - 2015

Shaw TV, Nanaimo, BC

 This is the third time that I have painted one of his stunning vases, with previous pieces completed in 2010 and 2011.

Held over Klimt

12 x 9", acrylic on gessoed hardboard, 2011, #199

Private collection

Held over Monet

12 x 9", acrylic on gessoed hardboard, 2010, #183

Private collection

In 2013, he decided to retire and close his studio located in Vancouver. Upon learning this, that same summer while on PEI, we visited the Dunes Studio & Gallery Café in Brackley Beach, where I acquired two more pieces, including the vase featured in this painting. I later learned that being idle was impossible for him, so he went on to set up a new studio in Parksville, BC. During the pandemic, I acquired a fifth vase adorned with lily pads from his online shop. I treasure them all. In 2024, it was announced that due to health issues, he officially retired from glass blowing at the age of 81. However, he continues to produce art in with vibrant alcohol ink paintings.

The vase in this painting features the "pulled feather" art glass technique, which was popularized and heavily developed by Louis Comfort Tiffany and his team at Tiffany Studios during the late 19th century as part of their signature Favrile glass line. While Tiffany and early 20th-century American glasshouses invented the style, Held adopted and mastered these classical Art Nouveau techniques to create his own highly successful modern interpretations. Since the term "Favrile glass" is a proprietary trademark coined by Louis Comfort Tiffany for his own company, other makers use "iridescent art glass" to describe this stunning style.

By superimposing the pulled-feather glass design over the iconic peacock cover, the painting brings these two masterworks into a single frame—a visual harmony fittingly captured in the piece's title: "Held over Austen."

This painting will be part of my two-person show with Jon Wilkinson entitled:
"Still Lives, Silent Places"
held at the Fog Forest Gallery from October 16 - November 6, 2026.

Opening reception: October 23, 2026, from 4:30 to 6:00 PM.
Gallery hours: Thursdays and Fridays from 10:00 AM to 5:00 PM, or by appointment.

To acquire this painting, please contact the gallery:
Fog Forest Gallery
14 Bridge Street
Sackville, NB, Canada
(506) 536-9000
Website: https://www.fogforestgallery.ca/

This painting will be part of my two-person show with Jon Wilkinson entitled- 

''Still Lives  Silent Places'' 

held at the Fog Forest Gallery 

from October 16 - November 6, 2026.
Opening reception - Oct. 23, 2026 - from 4:30 to 6pm

Gallery hours - Thursdays and Fridays from 10 am to 5 pm or by appointment. 

To acquire this painting, please contact the gallery. 
Fog Forest Gallery
14 Bridge Street
Sackville, NB, Canada
(506) 536-9000
website- https://www.fogforestgallery.ca/

Canadian Maple Syrup Flask

14 x 11", acrylic on cradle aluminium panel

painting #307, 2026, black floater frame

In May of 2023, Suzanne and I spent a weekend in Thunder Bay, Ontario. We flew there specifically so I could take part in the Fire Fighters 10-Mile Road Race, which was founded in 1910. Along with the Around the Bay 30 km Road Race in Hamilton, ON (1894) and the Tely 10-Mile Road Race in St. John's, NL (1922), it stands as one of the three oldest annual road races in Canada. I’ve now had the pleasure of running all three.

While in Thunder Bay, we visited the Terry Fox Monument. The memorial statue marks the place where Fox was forced to stop his Marathon of Hope on August 31, 1980. It is located approximately four kilometers west of the exact spot where he ended his run, which is marked by a road sign. 

We also visited Fort William Historical Park, which, starting in 1815, served as the inland headquarters of the North West Company—the largest fur-trading enterprise of its time, with posts stretching across North America. While peeking inside their gift shop, I spotted a row of pure maple syrup in flask bottles, produced by a local enterprise from Northern Ontario maples. I was instantly smitten by the graphics of the red label and fascinated that the syrup came in a bottle shape most often associated with hard liquor. I knew right away that I wanted to paint it. However, because we were traveling light with only carry-on luggage, airline restrictions prevented us from bringing fluids over 100ml on the plane. Instead, we had our fill of maple syrup the next morning at our hotel, which featured a waffle maker at the complimentary breakfast.

This past winter, while not the best for accumulation, still allowed me to cross-country ski some 500 km before the snow melted. I did the photo study for this painting on a footbridge along the Porc-Épic trail at Centennial Park in Moncton. I waited for an overnight snowfall so the trees would have a fresh dusting of snow. Many of those trees are slanted and being uprooted, victims of severe bank erosion along Jonathan Creek.

When I started the painting in late March, I decided to send an email to the maple syrup producer to ask for permission to reproduce their label. Perhaps they thought the request was some kind of hoax, because I never heard back. By June, the entire painting was finished except for the label. Against my better judgment, I decided to try ChatGPT to act as a studio assistant for the very first time. I uploaded my original reference photograph and asked it to design a brand-new label based on specific instructions: "Pure Canadian Maple Syrup, 200ml, featuring a rustic sugar shack, a maple tree with a sap pail, and a large red maple leaf—all rendered in sepia tones with retro red lettering." To be completely honest, I was blown away by the two options it generated. I felt the AI design was actually superior to the original commercial label I had initially intended to paint. However, I did make a few changes to simplify it a bit.

I know that using AI in fine art can spark debate, and some might view it as a shortcut. However, I see it as a modern evolution of an age-old tradition. For centuries, master artists—from the Renaissance workshops to modern icons like Jeff Koons, Damien Hirst, Andy Warhol and Dale Chihuly—have employed studio assistants to help bring their visions to life. In this instance, my assistant just happened to be digital.

Furthermore, as a hyperrealist painter, I am no stranger to the misconception that my work is merely "copying." But if capturing this level of depth were that easy, everyone would be doing it. The AI gave me a flat blueprint for a label, but a computer cannot paint. It cannot layer acrylics on an aluminum panel, it cannot replicate the human eye's understanding of winter light, and it cannot feel the texture of the New Brunswick snow. Translating that digital concept into paint required thousands of deliberate, skilled brushstrokes. The concept may have had a digital assistant, but the artistry is entirely human.

With the political turmoil and rhetoric making headlines south of the border—ranging from proposed tariffs to casual threats of Canada becoming the "51st state"—this imagery stands proud as a defiant symbol of Canadian identity. After all, Canada produces approximately 75% of the world's maple syrup.

This painting will be part of my two-person show with Jon Wilkinson entitled- 

''Still Lives  Silent Places'' 

held at the Fog Forest Gallery 

from October 16 - November 6, 2026.
Opening reception - Oct. 23, 2026 - from 4:30 to 6pm

Gallery hours - Thursdays and Fridays from 10 am to 5 pm or by appointment. 

To acquire this painting, please contact the gallery. 
Fog Forest Gallery
14 Bridge Street
Sackville, NB, Canada
(506) 536-9000
website- https://www.fogforestgallery.ca/