As an engineer, technical drawing is about control—everything is measured, resolved, and decided in advance to serve a fast-paced real estate landscape that often flattens memory and architecture. Watercolor is the exact opposite. It is a space where the image cannot be fully controlled; it unfolds through time, gesture, and the organic behavior of the material itself.

 

I use watercolor to capture what escapes structure. I am drawn to the atmospheres of a city in tension between construction and erosion. Instead of reproducing a building or landscape exactly as it is designed, I paint to capture its trace, its weight, and what it makes us feel. This practice guides my eye across both our built environments and natural landscapes—moving between the geometry of the CN Tower or the historical stones of the Old Mill Bridge, to the raw, unmeasured forms of Stanley Park and Manitoulin Island.