Issue Twenty-Four · Spring 2026
Slow writing from an Oshawa studio — on Saint Lucia, colour, the Symphony Series, and the work in between.
The Saint Lucian light follows me into Oshawa winters. Here is how it shows up on the canvas — and why I refuse to correct it.
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Three canvases are leaving the Oshawa studio this spring for the Audi Showroom and Orange Grove Plaza. A note on packing paintings for home, and the nerves of showing beside Alwyn St. Omer.
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A man, a woman, a string instrument — sometimes a child. The composition is never the same twice. Here is how the three beings find their way onto canvas, layer by layer.
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In 2016 I hung the first Symphony paintings at the Saint Lucia Jazz and Arts Festival. Ten years later, here is what that opening still teaches me about showing new work in public.
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My women are not decorative, and they are not soft. Sometimes they blur into men. A short note on who keeps showing up in the paintings, and why I stopped apologising for it.
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When the light goes grey and the tubes of acrylic feel cold, I pick up the pen. Ink is what keeps the hand honest through an Ontario winter.
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The Creole festivals don't live in photographs for me. They live in smell, song, and the exact coral of a frangipani at four in the afternoon. This is how I translate that onto canvas.
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John Robert Lee wrote poems after my paintings, and Mahanaim published the book in 2016. A decade later, I re-read it and thought about what a collaboration actually costs, and gives.
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I made the cover of issue 31 in April 2024. The published interview is the version I was ready to share. This is the footnote — the things I kept back, and why they matter now.
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