Can you tell us a little bit about your practice, what mediums are you working with and what are some of the main themes in your work? 

I’ve always imagined my practice comprised of tributaries that flow into one greater river. My sculpture work intersects with architecture and botany. The wood pieces draw references from those worlds, and then I have the grafted cacti, which I consider to be a kind of living sculpture. So those are the two main streams, I also have a history in painting/picture making and have recently been developing a couple series of sculptural wall works: the theme of which is the intertidal zones of the river delta near my studio. The architectures and landscaping serve their purpose and create context for the work.

What drew you to creating this type of work? 

I find that art is often building on the last piece so that’s quite a long story, but for brevity most of this work can be traced back to residency at 2727 California st (Berkeley) in 2019 where I spent two months researching and experimenting with the sculptural potential of grafting cacti. When I returned to Canada they needed a home and so I made the greenhouse, it was shortly after that I picked up a chainsaw.

Can you talk about the contrast between the work you do with cactus and the wood working? 

Having these two streams allows me to follow my intuition of the day, the wood sculpture is loud and physically demanding. By contrast, the grafting work is quiet and contemplative, so often I start and end my days in the greenhouse with the heavier work in between, but is always nice to have the choice at any given time, it allows me to keep moving.

What are you currently feeling inspired by? 

The farm is a constant source of inspiration for me, I have everything I need right here, all the tools, materials, time, and space I need. What more could one ask for?

Your home and studio seem to be an important part to your practice, can you tell us about this space and how it has evolved? 

I found this place at the tale end of an itinerant period in my life which had me without a permanent house or studio. I decided to cast my net a bit broader then east Vancouver and ended up out here, which is a retired antennae farm formerly operated by BCtel. The main building was constructed in the 40’s and has an institutional modernist quality to it. Originally it felt a little odd or antisocial to move away from my friends, I had to frame it for myself as an experiment in peripheral living, but I was quick to learn I really enjoy being out here. It’s largely due to the nature of the situation, I was basically given a carte blanche to do whatever I want, and what I’ve always wanted to do is build worlds.

What are your future goals for the space? 

I conceive of the whole farm project as a kind of complete artwork (Gesamtkunstverk) which includes the residence, workshop, auxiliary buildings, and adjacent landscape. I’m trying to live a life led by poetry: the essence of which is understood as a kind of value or guiding principle. So I get up everyday and work towards that. Ultimately I’m looking forward to sharing all of this with the community once that’s possible. I’m working on a walking tour that I hope will synthesize everything and serve as a sort of thesis. 

What Birkenstocks are you wearing and why did you choose this pair? 

I’m wearing the Super-Birki which are just charmingly odd and awkward enough to offer a good contrast while still being practical for being in the garden and kicking them on and off.