About

I want to create work that feels alive & true

Lindsay’s oil paintings have been described as mysterious, sensual, and lit from within. Her lyrical line acts as a scaffolding for layers of organic forms that intertwine to create otherworldly abstracts.

Lindsay studied graphic design at the Ontario College of Art & Design and holds a Master’s in English Literature from the University of Toronto. After pursuing a career in design, she decided to prioritize her own creative work and has developed a rigorous studio practice.

Mostly self-taught, Lindsay challenges and re-invigorates her work by studying with established artists such as Iris Häussler, Marianne Mitchell, and Robert Szot.

Her art can be found in private collections in Canada and the US. She currently lives and works in the woods outside Washago, Ontario.

Artist Statement

The river I swim in, the forest behind my house, and the broken granite of the Canadian shield all inform my work. But so does the body and the question of our place in this world. Why are we here? What for? What is our place? I stand in these essential questions. And I try to consider them from as many perspectives as I can—from the immediate sensuality of the body experiencing the world, to questions of ecology and spirit.

We speak of “Nature” as if it is a place or a thing we aren’t part of. That’s always baffled me. In my work I share my understanding of body, world, and spirit as interwined and interdependent.

My forms are often related to plant life, topography, or our bodies, but I am not trying to represent a singular moment or place. I wish to depict something that moves between the internal and the external, something in constant motion. As result, my work tends to be abstract, though it often flirts with representation.

Whether I’m working with oil paint or collage, I begin with a charcoal line. Drawing forges an intimate connection between the wooden board or paper and my inner world. One line begets another in an unhurried improvisation.

As I paint I lavish a lot of attention on areas of connection and collision, blurring colour or lines to reflect impermanence, change, and possibility. I often spend as much time removing pigment as I do applying it. This allows me to create luminosity, and reflects my questioning approach. Colours blur across definite lines—the known and the unknown in exchange.

As for inspiration, my work feels like a self-propelling engine. I am always a little dissatisfied. The next painting inspires me. I will never arrive at my destination, but the thought that I might inch closer keeps me going.