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SCULPTURE ~ Retrospective



Work in Progress
Imelda FB Maguire

~ Pain ~

Be Not In Doubt

“Be not in doubt the power of love.

Do not pulse fear… only love.

Participate, or do not complain.

Look not at the unknown, Look not into the past.

Be here!

If you choose to look forward, project only light and love.

When you wake up, do not judge yourself.

St. Germaine.

~ Imelda Frances Burnadette Maguire ~


On the Eve. of the Millennium 2000 my 50th birthday, I found myself in recovery on the psychiatric ward at the Oshawa General Hospital. 

The Ten Illusions came to me in a gift package of inspiring uplifting notes and quotes to read and ponder upon ~ a gift from my daughter.  

Profound is this gift of wisdom delivered with true love ~

The Ten Illusions

Need Exists

Failure Exists

Disunity Exists

Insufficiency Exists

Requirement Exists

Judgment Exists

Condemnation Exists

Conditionality Exists

Superiority Exists

Ignorance Exists

Why do these things exist?

What might life be like if they indeed did not exist?

Self Portrait

                                                         ~ Self Portrait Collage ~

38 x 40 oil, paper, and leather on Masonite, 1986.

Private Collection of Hazel Westwood
Victoria Island, British Columbia.

~ The Black Self ~

 paper Mache’, 1987.

Private Collection of Artist

As I go about the day in all its forms an awareness arrives to the character and skin of my inner being.  Since as far back as I can remember, when I look into the mirror what reflects back is a fleeting glimpse of an entity that holds a story that is true to the core of my own soul.  The skin glows of brilliant burnt umber hues that are sculptured into an eternal gaze holding in a distant memory of time and life once lived.

Back Self came about through a desire to discover who I truly might be.

A study was taken from applying white craft tissue paper and carpenters glue diluted with warm water then applying torn strips of the tissue to my own face with the use of Vaseline as a release base on my skin.  The finishing patina is artist oil paint.

When I donned the mask then looked in the mirror, a regal graceful spirit looked back.  I recognized the image; however I have yet to know who the quiet being truly was or perhaps still is?

Since creating the mask, the image is no longer haunting.  I accept this aspect of self with great honor.

This is The Black Self

Direct wax modeling

Bronze Medallion
1986 -1990
Wax Relief

Happy God

~ Happy God ~

 5”h x 2.5”w x 1.5“d at high point

lost wax process, 1988.

Bronze Medallion 

Tears of joy were scored on the Happy God relief as a symbol of good wishes for long and happy life through Eternity for our planet Earth.  

The process was an experiment to understand the principles of multicasting more than one item at a time.  Once the first piece was cast the Happy God layout produced 25 Gods. 

Accomplished in the foundry of the Ontario College of Art while in the final year of Bronze Aluminum and Acrylic Casting. 

Algonquin Park
Bronze Memorial

~ Moose Head ~

  Yellowstone and Algonquin Park Souvenir

Direct wax modeling, lost wax process 1989.

Bronze Medallion 

Moose Head Medallion marked fond memories of family vacation travelling through Yellowstone National Park in a caravan heading to the west coast of BC, Victoria Island. 

Lady With Feather Hat
Happy Face

~ Lady With Feather Hat ~

Bronze Medallion
Lost wax process 1989

The triangle on the top of the medal is a Victorian lady’s hat with a swirl feather.  Her arms are folded as she scurries down the street with her little poodle lost in the sway of her bustle.

The Du Champ brothers Theory of Progression fascinated me.  All things began to reveal themselves within layers of time essence of mind and soul sprouted forth.

Intense is the search for a whisper of something tangible, touchable in a soul landscape ~~`

For some reason I could not release from mind Marcel Du Champ and his image of Lady Descending The Staircase.  Time and again the theory of progression would melt away the confusion of the unknown.  Factors of thinking reality ( as we believe we know it ) and what could very well be possible to ascend life coming from the need to survive a cruel dog eat dog dollared world. 

Nude Descending The Staircase
 by Marcel Duchamp.

He states that by detaching art from aesthetics, Duchamp set it spinning on a different course who first uses mechanical imagery to represent the female body;  Duchamp who first makes a transparent work of art; and Duchamp who begins to think outside the realms of the visual to make art with language.

Obvious to me was that Duchamp was toying with how every single moment in life, everything changes and will never be the same again.

The production of progression and the Duchamp Theory as seen in the Nude Descending a Staircase, brings one to think about what we see when we observe play cards flicker images that appear moving just like they do in a film strip; or when we listen to the progression of notes either by a composer of music a clearer understanding might be had, or perhaps we can have a clearer picture by listening to the sounds that come from the noises now being heard in space from the planets?  Could it be in space progress is the same way?

Does not one thought simply lead to the next and then one moment to the next,  perhaps one life experience to the next?  Might some of those lives not be here in this timeline on earth through the body we now inhabit?

Lady With Feather is my humble attempt to understand and perhaps achieve the Progression Theory by Marcel DuchampWhere would this investigation of thought progression take us in the attempt to express what is definitely not clearly understood in regards to expressive art?

To this day Art History Class with Jane Castel, Art Historian for OCA 1986-1990 filters the view of awakening the conscious mind to the two worlds of inside and out in a beautiful positive way.

Happy Face

~ Happy Face ~

The flip side of Happy Face is the upside down of the Victorian Lady with a feather.  As I was tooling the piece I was mindful to ensure that the happy face image would surely be present resulting in two images for one casting.

I remember an old gypsy lady, a friend of to my Goggy coming to the door to sell her wares;

Two For The Price of One

The Hand of Christ

~ Hand of Christ ~ 

 Modeled in wax , cast in bronze 1987.

Apologies for not showing the original photo unedited, seems by accident that 
when trying out the new computer and Picasso editing that the original images were lost from failing to press save.

Grandad Briggs

~ Grandad Briggs ~

Ebenezer 1988 
In Praise of the Finest

Bronze Medallion

Private Collection of the Briggs Family

Grandad Briggs Medallion won the Dora De Pedery Hunt Award in 1989 presented at Ontario College of Art Foundry Awards.

The story of  Grandad Briggs as was told to me by Jean Meade my sister in law through the sharing of the tale taken from an old photo of Granddad when he was in his 30’s.  He was on stage in a play performing as an intoxicated husband, trying to repair a hole in his pants. 

The image on the medal is Granddad desperately trying to threadle the needle, to get a most mundane job done.

A photo of the actual bronze medal was not available at this time, nor was the Dora De Pédery Hunt Award.

The following two reliefs are original Dora De Pédery Hunt medals added as compensation.

Dora de Pédery-Hunt

Born in Budapest, Hungary, Dora de Pédery-Hunt studied at the Royal School for Applied Art, Budapest, 1937-43, where she graduated with her Master of Fine Arts, winning numerous scholarships and prizes. She came to Canada in 1948 and settled in Toronto where she practiced sculpture and design. 

Her sculpture is realistic but simplified.

She worked in a variety of mediums including clay, wood, bronze and plastics. Her commissions include medals, coins, graphics, illustrations, Christmas cards.

Every day we carry a piece of Canadiana created by Dora de Pédery-Hunt in the form of Canadian coinage   bearing the portrait of Queen Elizabeth II. She completed works for the Chapels of Notre Dame Academy at Watertown, Ontario, and the Northern Commercial and Technical School, Toronto. 

Christ (Christus), Dora De Pédery Hunt Medal relief 70mm Bronze, 1963.

The Guardian Angel, Dora De PÉDERY Hunt, Silver Argent 65 mm, 1964.

She lectured internationally for galleries and other groups and taught for many years at the Ontario College of Art. Two of her portraits of Dr. Frances Loring are in the collection of the National Gallery of Canada, one of artificial stone, the other of bronze.

Born in Budapest on Nov. 16, 1913.

Dora died of colorectal cancer while residing in the palliative care unit of St. Michael’s Hospital in Toronto on Sept. 29, 2008.
Ms. De Pédery Hunt, who was 94, is survived by a niece, two nephews and extended family.

A Celebration of her life is planned for the Arts and Letters Club in Toronto on what would have been her 95th Birthday, Nov. 16, 2008.

1913 - 2008

Spell bound I was with Dora’s beautiful spirit so full of life, always so very happy, always sharing her latest work and thoughts that brought her new creative energy to manifest.  Always Dora was eager to inspire another to reveal their own greatness within themselves, through her brilliant open mind and innocent soul.

Man After Enlightenment

~ Man After Enlightenment ~

 12”w 16”L 3.5”d

 Bronze Relief,  1987

Direct Carving



 Inside ~ 

Plaster carving
 5.5”h 4”W 3 d”, 1985.

Inside evolved from casting a block of plaster in an empty pail;  when cured, the plaster lent itself quite nicely as a medium for carving.

What was more enjoyable than the finished product was the shadow that was cast on the wall.  Hooked I was.

Sculpture began to change completely the view of the whole world within.  Now there was an understanding of the depth, dimension, which resulted in great awareness to add to color and shadow while painting as well.

Michelangelo David
Mold making and Casting

Ontario College of Art and Design Commission for the OCA Sculpture Class, foundation from the Gallery muse du Louvre, Paris,  Study for Students in Reproduction and Casting.

Reproduction of Michelangelo David
 modeled in clay cast in plaster, 1988.

The Michelangelo reliefs of the infamous David were a commission project for the Ontario College of Art and Design through the Art Gallery of Ontario in 1989 by the Royal Commission of the Gallery Musee du Louvre in Paris France.  It was the intent of the college to have the reproductions modeled by the students not only for the grand scale of the exercise but also to aid in the assistance of the mold making of the original ‘David’ sections.

While sculpting the nose, I was working from an original cast of the ‘David’ rubber mold plaster cast.  When I placed my fingers inside the nostrils, there was the unmistakable feel of the original fingerprints of the sculptor.  I inquired to my instructor who was David Pelletier at that time if what I was feeling could very well be those prints of the great master sculptor Michelangelo?

He smiled and said;  “ well it very well could be, who would know? ”

I never did manage to complete the final finishing on the ear  

OCAD Publication of original Michelangelo of Florence Galleria of Academia

THE MONK ~ 1993

~ Monk ~ Father Time

Paper Mache', cement, wire lathe, spray foam insulation
 2' 10'w x 5' x 1' 8” d ,  1993

Construction of Monk is modeled from Paper Mache` onto wire lathe with steel armature. The cavity was then filled and sealed with fiberglass foam covered then in epoxy.  Monk braved several years of Northern Canada inclement weather.

The piece was designed and created to hold the Minden Melbryan House Picture Framing and Fine Art logo that hung from a bowed bow supporting an amber baroque lantern illuminating also a traffic safety sign to slow down ~ driveway and crossing ahead.

Sorry to say there is not a photo of the Melbryan House installation of Monk.  In 1997 The Monk was relocated to Buckhorn, Ontario where he was tooled with cement.  He resides on 11 acres with two natural fed spring ponds where he stands as a friend and guardian to all the little woodland creatures as well as those who come by for a wee rest to heal in nature.


Study # 2 Guardian of the Children ~ 1986

~ Mother and Child ~

Study #2
cement fondue with oil patina and wax finish
10”H x 7”D x 6”W,  1986

Artist Proof

There will always be a never ending search for a cosmic form to represent safety and nurture for a child who hungers for food to sustain his growing body as well as for a safe shelter from the raging storm outside of the inner self conscious mind.

Without peace a soul can never ascend.

Man in a Cage ~ 1997

Man in a Cage

 13.5 H 7” W 9” D

Modeled in clay cast in cement oil patina,  1997

Artist Proof

Man in a Cage

The barriers to our own destiny are the ones we put there ourselves.

When designing and working out the clay model for this piece, the bars of a cage were perceived to be in place; keeping the image locked within his own frame of mind.  Man when finished was presented in a willow cage with a leather cord hanging loosely on the latch of the door into the cage. 

Had the soul not been so concerned about his loss of freedom, he would have easily seen that by pulling on the leather cord, the door would slowly but surely open.

This leaves one in thought about how we imprison our self with our own narrow thinking.

Intend to Keep an Open Mind.

Almost There 2003

~ Almost There ~

 direct cement on wire lathe
17  h x 12 w x 6 d, 2003

Artist Proof

Almost There works out the images within mind that simply imply either the departure or return of soul from beyond our personal reality on the earth plane. 

Spiritual evolution happens on both sides of the veil.  To come back to human form is a physical journey.  To leave human form one is in a state of neither here`~ nor there`~.

Almost There brings conscious mind to be mindful that we walk a fine line of illusion and reality.  The point was expressed by the sharp negative shapes in the working of the design.

Intention here was to leave the viewer contemplating about the departing or achieving factor of either world while comparing his own to both.

Soul Study #3.

~ Soul~

 Study # 3

 25.5”h x 10.5”w x 15”h,
Finishing cement on wire lathe with artist oil patina


Artist Proof Memorial

Soul Study # 4

~ Soul ~

 Study # 4
 22” h x 9.5 w x 10 x 5 h finishing cement on wire lathe armature, 2003.

Artist Proof Memorial


~ Pain ~

 Driftwood, wire lathe and cement
78”L x 21”H x 13” w, 2003.

A work in Progress

Coming back, going into, or being in mental anguish of any kind always accompany a form of physically expressed pain and suffering.

The sculpture Pain came about during one of those periods in life where unhealthy mental attitude manifested great physical suffering. 

 During a walk on a lonely stretch of beach on Lake Ontario in the late fall of 2003, I came upon a piece of driftwood that looked like a painful creature with its arm branched out to point the way back to where it had come from; or perhaps it was pointing to the direction of where I had come from.  Debris was wrapped about the broken and gnarled branches. Ominous it was indeed.

Then another thought entered the mind that perhaps the image was actually beckoning to come ahead instead of return?

How like suffering was that, pure mad confusion?

I worked it with wire lathe and then sculpted the finish with Portland cement with the new intention to add a water creature element to the piece since it came from the water.  The final result is part land, part sea, part human, complete nature.

Elements of pain, suffering and freedom fusing together continue to speak.

There is nothing like a long walk on a deserted stretch of beach, aware of what nature has petrified into a solid mass of still recognizable something; the setting free of ones thoughts outside of worldly stress right into the land of creative thinking overflowing with wonder and personal healing, whatever that might be to another.

I hunger for a deeper spirituality, a deeper connection to live in the richness of a personal relationship with God.  I have always believed that the soul thrives in 
infinite capacity.

Through hurried rush to accomplish and live life to the fullest, one stands to be lost to the most precious moments of all ~ Godly moments.


The Evolution of  ~ Christ ~

Since the days of early Ancient Egypt we have searched for our purpose and paved our way with myths and symbols that bury our futures even deeper.  There comes a point when one sits with their own truths and begins to sift through personal experiences in order to find a reason a purpose, or a legacy that belongs to the self alone.

April 06, 1989

Psalm 143:5 -10 (NIV)

I remember the days of long ago;
I meditate on all your works and consider what your hands have done.

I spread out my hands to you’
My soul thirsts for you like a parched land.

Answer me quickly, O Lord’
My spirit fails.
Do not hide your face from me or I will be like those who go down to the pit.

Let the morning bring me word of your unfailing love,
For I have put my trust in you.

Show me the way I should go.

 “Forgive them Father, for they know not what they do.”
Psalm 22

~ Christ ~

 Bronze Relief, Lost wax process
 Natural patina
 33”H 19”L 8”D


Artist Proof


March of 1990 I was given an assignment at the Ontario College of Art to create a design for a sculpture that would represent the most profound moment in my life.

During the thought process for this assignment, there was a night when the dark shadows seem to encompass my whole reality of life leaving me to question my own worth as a human being.  I opened the Bible to find some peace as to my own truths.  The following is the beginning of the Bronze Christ Memorial.

Psalm 22:14,

I am poured out like water and all of my bones are out of joint.  My heart is like wax, it is melted within my breast.

My strength is dried up like a potsherd, and my tongue cleaves to my jaws; thou dost lay me in the jaws of death.

Yea dogs are round about me: a company of wildoers encircle me’ they have pieced my hands and my feet.

I can count all my bones; they stare and gloat over me;
The divide my garments among them and for my raiment they cast lots

Psalm 14-18 is David’s prophecy which was 1,000 years before Christ.  David was in the midst of self-torment and anguish when he wrote these words.

I thought deeply of Christ on the cross and how it must have felt for him as he looked out at the jeering, mocking, merciless multitude.  David’s words “they stare and gloat over me,” and “Why hast thou forsaken me?” prompted me to read the words of Christ again and again.

Christ could have performed a miracle and ended this lesson to mankind, but, he did not.  Christ said;
“Forgive them Father, for they know not what they do”

This Bible passage began the thought process for the Christ design to see it manifested as a bronze memorial for the OCAD assignment.

I felt that the strength of the piece should be on a holding ground with a more direct reference to spirituality.  By removing the traditional image of the cross, the proving point that would be seen in the imminent departure was much more of a challenge.  In my mind’s eye, the strong human imagery should be insignificant, yet there.  I continually pondered over whether the proving point focus would be of the moment of death, collapse or acceptance of what was to be?

Using the Duchamp brother’s theory or progression I began the bodily interpretations with the use of four separate bodies layering in a time lapsed state.

Three Duchamp brothers, left to rightMarcel DuchampJacques Villon, and Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Pateaux France, 1914, (Smithsonian Institution collections.)

The hand of Christ , Artist sketch book,  1986           

Drawings for the Christ Figure, Artist sketch books, 1986

Drawings for the Christ Figure ~ Artist sketch books, 1989

Side view of the Christ figure,  demonstrating layers of progression, Bronze, 1989

My thought was that the body must feel as naked within as it does without, thin, narrow, nothing left physically or spiritually.

 The casting flaw hole under the ribs at the point of the red arrow marker.
Oops, seems I have lost the red marker, half way between the last rib on the left about 1" down. and 1" up from the pelvic bone.

During the sand cast molding process I was remiss to place a vent at the high point of the ribs to enable the intense heat of the bronze to escape.  Upon removal of the cast I was most humbled to see a casting error which was presented as a hole under the right hand side of the last rib.

I chose to receive this as a personal memorial gift from the heavens.

Right hand of Christ Figure, 1990

Left hand of Christ Figure, 1990

To accommodate the viewer with the removal of the physical image as we know it, the most likely expression would be in presenting an atmosphere of obvious physical narrowness that one may sense during the painful moment of departure.  Perhaps that moment was actually a peaceful moment of passing, a moment of great clarity and wholeness?

The intention was to leave the viewer with more than one body, one image that would represent the transition of progression,  from life to death and to the beyond.  

This was to be achieved by creating four layers or bodies.  The last of the four bodies or the top body,  is experiencing complete detachment of the senses proportioned with the expression of empty, spiritless, almost not there.  This was to be evident when the top head falls heavily on the breast plate unsupported by the strength of the legs and weakened chest as the legs splay open in complete collapse.

The intention was to produce the exact point of beyond, the other side of soul departure from physical body.  My focus on that thought specifically was lost in the use of casting with a material substance such as bronze that was not diaphanous and speaks much of a grounding earth substance with much weight.  We cannot see with the naked eye that which is beyond the physical world.

The Christ was worked out using rolled 1.5” slab of wax.  It was then cut into strips for the assembly of the structure and body of Christ.  Once assembled the use of a torch to melt the wax brought forward the body of Christ instantaneously from the melted and burnt particles of wax.  The melting of the wax also aided the visual desire of thinness and round body shaped limbs, similar to the actual structure of human bone

~ Christ ~

Capturing the departure of the soul from the body, was not achievable in this instance.  However the weight and composition of the bodily gesture is implying soul less, yet pain and suffering of death by being nailed to a cross remains; keeping the iconic statement here of the body being left on this earth plane although the spirit itself has risen out of the body.

After death, there is no longer suffering.

So Be It, lesson learned.

1989 -1990

The Awakening Self

We are all One

Flame drawings became the study for the ~ SOUL~

The following sketches... it's ~*OK *~ breathe...  you have been so very patient,  I chose only a few to demonstrate it does not matter how bad a drawing is, things can still manifest.

Flame drawing  #9  1989

Sketches for SOUL #2, sculpture and base studies, Artist sketchbook, 1988 - 1990. 


~ Soul ~

 Study # 2

 27”H x 8”W x 13.5”D
 Cast aluminum natural patina on acrylic base, 1987-1990.

Artist Proof Memorial

Soul is a direct expression of material man coming alive to conscious awareness of the awakening of self and the Supreme Creator.

The final facial image implies a sense of contentment, serenity, and peace that is found when one discovers and accepts the universal truth absent of any worldly bias.

It is all there ~*within*~ rich and fertile, fresh fruit from HIS garden

Wait awhile when you are there in that place of peace and bliss and see.

Soul #2, Athol St.Studio photo taken 2006.

I have included this picture of soul 2, taken in the Athol St. Studio, to stress the simplicity of the actual base design as an acrylic cylinder, leaving the soul to be expressed with minimal attention being paid to the base.  

The pigment tone of the base would be better presented in a much less dense and lighter selection of pigment value, which in this case truly keeps the figure grounded on a small patch of earth, not what was intended here at all.

Born free we all are ~*Freedom*~ the Grand Creators Gift to humanity.

Soul # 3

Soul ~

 Study 3

 27”H.8”W.13.5”D,  1987-1990
Bronze and Acrylic

Artist proof

The casting of Soul in bronze and acrylic on its side, without the cylinder base, related a completely different expression not unlike that of a sea mammal coming up to expel or grasp for air.  There are human qualities that can be seen in the backward projection of the head and expressive turn of the neck features.  

The casting in bronze brought back an obvious earth quality rather than those of a kind of etherical inference that was more apparent in the aluminum casting.
When casting the bronze and acrylic together in the same mold, the cooling time differed therefore resulting in an obvious crack across the acrylic breast over the heart chakra   After chiseling and chipping into the smooth intended finish in an attempt to correct the crack, the textured acrylic became an interesting component of rock or earth, which added to the mystery of mammal or, earth being.

Both views of Soul, although the same yet different from one another, share the search for the awakened conscious of mankind,  there is something more powerful than the actual thought of self, should one decide to know then discover their own beautiful truth within.  

The casting cost estimate of Soul by Artcast inc. is approximately $10,000.00 Cad., for the first casting.  Additional castings are much less and of course these are prices from Artcast Ontario in 1997.

This costing information is shared purely for public interest so that one might have an idea as to some kind of monetary estimate in today's market at these sizes for casting, also the quote for casting here would be without artist design fee.

Tetragrammaton - The Most Sacred Knowledge On Our Planet - Nassim Haremin

Pyramid and Rock

1987 - 1990

~ Pyramid and Rock ~


Lost wax process
 11.5”H x 8.5”H x 9”D, 1987-1990

Artist Proof Memorial

The pyramid has always been a very powerful symbol to man.

It represents to us the reincarnation of our soul, our rebirth back to earth.  Since the days of early Egypt we have searched for our purpose in life and have paved our way through myth and symbols that bury our futures even deeper.  We all think continuously about life, death and then infinity. The symbol of the great pyramids has always held this fascination for me.

The top of Pyramid as it reaches up to point to the sky, represents the sense of harmony and unity that we have achieved through our life of earth experience and as well our relationship to the environment of which we aspire to have perfect once again.  The rock symbol reminds us that we are of the earth, there fore to the earth the body must return; or not.

Connected together the Pyramid and rock is a symbol of life on earth and our completed achievement here on beautiful blue planet.

A Divine contract was signed for us to come back to earth to complete our living lessons; to the good of all humankind.  At the end of our life contract on earth, the soul returns to Divine source until the time comes when our same soul comes back to earth again, to fulfill yet, another personal life cycle with all it's lessons of the heart.

Pyramid and Rock speaks of all the knowing in strength, courage, humility, kindness and of course the level of understanding unconditional love on earth we have achieved during each one of these life times that we will remember one day.


Guardian of The Children


~ Guardian of The Children ~

19”H x 8”W x 7”D,  1988-1990

Bronze Memorial
 Artist Proof

Guardian of the Children was designed and created to offer some sense of solace and peace to those who would like to remember their loved one with an image that implies the heart of an innocent being held safely in the arms of a loving and tender Timeless Guardian delivering a powerful sense of protection and care beyond earthly dimension.

Even if one them self  has lost a child, to bring comfort to another leaves a gaping silence, with only our open arms full of love to hold one another when the world falls apart, leaving in it's wake a broken heart that only timeless moments can heal.  It is indeed in the sharing of our story, that Peace will once again reign in our life.

Often words fall short to adequately express the sympathy one feels for another in these matters of the heart sharing. 

There simply can not be anything more difficult to bear than the loss of an  innocent child. Guardian of The Children is a small measure of comfort intended for those left to deal with the great burden of sadness that remains and felt in the weight of the heavy heart.

During my recovery of the Millennium period gathering grace and repose through the gift of healing time on the 3G wing of Lakeridge Health, I approached The Ontario Disability Employment Support System for assistance to begin again a new business in the hope of becoming successfully independent as a full stream working class artist.  It was an honor to meet my support worker Kathy Winfield who had no idea who I was, or what I was capable of accomplishing.

To be quite frank here, neither did I.

Wrapped in a piece of sample red velvet fabric, stuffed inside of an old navy crocheted purse with a wooden bar handle, was the bronze Mother and Child Artist Proof Marquette that was cast during my last year at the Ontario College of Art and Design.

With this thought in mind, and my old bag clutched tight to my breast, I approached Kathy Winfield with my heart on my sleeve.

God Bless the caring and loving humanitarians of our world.

Kathy immediately set me up for an interview with Watten Employment Services of Whitby Ontario.  Through this appointment I met business adviser Dougald McDonald who began sifting through my jumbled brain to see if there was  a new business plan to be had, and so was born Timeless Expression,  Celebrate Life and Love.

Never before had I ever worked on a computer, never mind the thought of ever having one of my own, however it is that very reality through the help of the Ontario Government Support and the Ontario Health Care system that I am able write this blog and offer the body of work to our beautiful diverse world. 

That we are here, in this moment together, sharing a dream of delivering hope to the hungry children of the world leaves me on my knees, humble, eternally grateful to you the reader for taking the time to peruse this retrospective of creative mind.

Large we are indeed, in this fullness of  living life, large we are.


Where do we go from here?

Let's wait awhile and see.

Work in Progress

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