About

In creating an exhibition for the Beaty Biodiversity Museum I chose to focus on peatland bryophytes, to highlight the richness and intricacy of mosses and liverworts. Additionally, I wanted to spark conversations about the ecology and biodiversity of these remarkable northern wetland habitats, the threats they face, and their potential role in mitigating climate change.

My academic background in botany, alongside my experience as an ecologist, has shaped my approach to art. My creative research is an extension of scientific inquiry—one that often blends direct observation with artistic exploration. My practice frequently involves examining specimens under a microscope and documenting what I observe through drawing, writing, and field sound recordings. These methods allow me to distill the complexity of nature into visual language, while also encouraging reflection on the vulnerability and resilience of the world around us.

This series began unexpectedly when a stray leaf of Sphagnum moss appeared on my microscope slide while I was studying dandelion flowers. The moss’s unusual cellular structure immediately caught my attention. What started as a singular curiosity evolved into an ongoing investigation into the captivating world of bryophytes. Each print reflects that journey—an effort to reveal the hidden beauty and ecological importance of these often-overlooked plants.

Over the years, I have been fortunate to work alongside my partner, Dr. Richard Caners, a bryologist who has dedicated his life to studying these tiny plants. Our home is filled with the trappings of his work: small brown paper bags stuffed with moss specimens, stacks of heavy bryophyte floras, and a well-used microscope station. I have often joined Richard in the field, assisting with his research. So it’s no surprise that I eventually began creating artwork about mosses with this steady undercurrent in my life.

Printmaking has been my artistic focus for over 15 years, and the process itself is as much a part of the work as the images I create. Just as scientific study involves ongoing experimentation and refinement, printmaking allows for an ongoing dialogue between materials, techniques, and ideas. The vast array of technical procedures involved in copper etching, oil-based woodcut printmaking, and mokuhanga (water-based woodblock printmaking) mirror the exploration and patience required in scientific inquiry. It’s an honour to share my creative printmaking practice with the audiences of the Beaty Biodiversity Museum. I hope visitors find inspiration in the visual language and techniques I’ve used to craft these abstract botanical prints.

I am grateful to the Beaty Biodiversity Museum for the opportunity to share this artwork about the unique worlds of printmaking and peatland bryophytes with its audiences. Thank you to Derek Tan, Dr. Karen Golinski, and Justin Ngo for their support in bringing this exhibition to life. I would also like to express my gratitude to the Canada Council for the Arts and the Alberta Foundation for the Arts for their generous support.