This is easier than 'About'. 
Some notes on my history and practice.

I once had a shadowy relationship with erudition which slips further into those shadows with times passing. ‘Masses in light’ attempts to tie up a discursive practice. I wonder if I might be best described as an essayist.

I was 18 from a small town when I graduated from grade 13 and was told by my mother that I should go to university. I came to Carleton University as science student and for some reason insinuated myself in the School of Architecture and the School of Journalism, in anthropology and the stories we tell ourselves, and what we tell the stories with. It would not have occurred to me, nor likely that I would have been successful in trying to enter an ‘art’ school. The School of Journalism, through the Audio Visual Department had a television studio and an animation camera and Helga in Journalism would teach on a flat bed 16mm editor if you were interested. The School of Architecture had large darkroom as did the Student association. I was employed in the Audio Visual Department, employed as a teaching assistant in the School of Journalism, and employed as the darkroom manager by the Student Association. The student association had what we would call today, a ‘maker space’ with wood working, and silk screening.
I can’t claim to be an autodidact, too many teachers and peers have pointed a way froward, but much is made of the formal 'Art Education' which I can not claim. After Carleton I continued with 5x7inch B&W landscape contact prints culminating in a Ontario Arts Council grant to mount a show of work in 1980. It is this support, for which I was grateful, but it seemed to me that to finance my investigations a choice between an academic life of semiotics and structuralism or commercial practice was necessary. At this time I worked doing ‘industrial’ films shooting a slow 16mm film, 35mm transparencies, and recording sound, working from coast to coast to coast. It is this work that gave me a unique stills portfolio of transparencies that would get me advertising and design firms commercial clients. It is these two tracts that weave in and out of a life as a’maker,’ art and commerce. 
 I continued to experiment and make pieces for clients, friends and family. These alternative techniques led to corporate commissions. We counted and had work in more than seventy annual reports. I have also volunteered my services for various charitable and some dance organizations that allowed me to experiment with various processes and solutions, many final products were scanned and used in ‘posters’ or other ‘halftone screen’ products, made on four to eight colour presses; conventional offset printing.
I have work in private hands around the first world. I did not seek the approbation of local art’s organizations. I had two and then three thousand square feet studio spaces for display and sophisticated art directors and designers to comment and sometimes purchase the work.    
- I did have a curated show with my son at the City of Ottawa Gallery 200 in 2016.
- I am not a great participant in contests but my work has been included in Communication Arts Photography annual, Applied Arts Photography Annual, the Print Digital Annual, the Advertising and Design Club of Canada, CAPIC awards, and Marketing magazine awards.
-Some of my work has been selected for the :
National CAPIC Xposé 2019 show 
Ottawa Arts Council : 'Luck' Group show 2019
Ottawa Arts Council : 'Luck' Group show 2018

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