An exhibition where art and rememberance collide.
Our November-December exhibition, Material Memory, explores emotion, expression, and the sense of belonging through abstract and landscape works with sparks of colour and forms that will stay in the memory of anyone who appreciates it.
Meet the artists who brought this exhibit to life and get to know their stories.
1. Nature is very present in your work. Could you tell us a bit about how you discovered your passion for nature, and as you mentioned, “it's quiet strength,” and decided to incorporate it into your art?
Since the pandemic began, I started taking daily walks, something that became a quiet part of my life. At first, it was just a way to move and clear my mind, but over time, I began to notice the small details around me. I saw how trees, flowers, and mountains endure through rain, snow, and storms. They wait patiently, and then when the time comes, it bursts with a powerful, almost overwhelming energy. Watching this felt like witnessing a truth about life itself. It reminded me that we, too, endure, we flourish with full strength, and then we must return to stillness, ready for the next cycle. In my paintings, the flowers, trees, and mountains represent ourselves, and I try to capture that drive to live fully, the joy of blooming, and the quiet acceptance of returning to rest.
2. What is the main feeling you want to transmit through your work to its viewers?
I hope my work conveys a calm but active energy. Even when it seems still, there is always movement, like light shifting or plants growing. When I paint, I use varied rhythms with dripping techniques, fast and slow brushstrokes, and scraping layers. Through these gestures, I try to show the life force that flows through nature and invite viewers to feel that energy within stillness.
3. Would you say that this exhibition’s name, “Material Memory,” fits with your art style?
Yes, it fits well. Each layer and texture shows traces of touch, time, and attention. Materials seem to remember the gestures and moments put into them. What appears still on the surface holds quiet movement and life, reflecting both the process and the energy behind the work.
1. In your collection for this show, you can see that in a few pieces, you work evenly with abstract and landscape. How did you find this balance during your creative process?
Currently, I am trying to give space to the inherent character and possibilities of the mediums and marks and tools so I can “draw” (groan) the best from them to express myself. In this way, almost all my paintings start out as pure abstracts. But as I discover the sections that I like and want to keep, they usually speak to me of organic textures and objects. Organic qualities feel akin to connection and appreciation, to depth, warm personal memory, and intrigue. And so, the painting forms, and quite often into an abstract landscape.
2. Do you believe that your previous work in the film industry helped you to trust even more in your artistic intuition for the creation of your pieces?
You bet. I worked (and played) mostly in theatre, actually. I now realize that all my creative pursuits inform each other. The process of allowing yourself to go down through the layers of the expected and into spontaneous and authentic ideas, however crazy-seeming, is the same investigation. And you best accept that you can’t fully control what others see and interpret. That’s their part. An early lesson in this was a theatre exercise. One by one, we were to go on the stage, sit in a chair for 5 minutes, relax, and do nothing in particular. Then our classmates, the audience, could say afterwards what they saw, “the story” they started to imagine just looking at you. Lesson: you might as well relax, “be” you and, in your personal art, create what feels pleasingly right to you!
3. You mentioned that your artistic journey always starts with a “what if?” question. Could you explain to us the importance this has on your creative process?
If I start a painting with “what if I tried this…” then I feel curious, kind of excited because I’m experimenting and letting the outcome be new, unknown. Then I don’t hinder the immediacy of what I’m creating. If I have an exact vision of what I “think” the painting should look like, I’m likely to be disappointed, because the painting will feel non dynamic, rigid. It can’t match the magic of what I think I see in my head! My painting must develop physically! Ideas and inspiration come from all over. I’m happiest playing, being in the moment and trusting my eye and intuition to guide me until that final phase where left brain discernment comes in more. The subject, or composition, emerges from this process and only then can I fine-tune it. Of course, I think that you’re happier surprising yourself when painting realistically also.
1. What/Who was your biggest inspiration when painting the artwork for this show?
My inspiration came from the rhythm of the seasons and the small wonders found within them—flowers in bloom, bees at work, dragonflies hovering, and songbirds that animate our Canadian landscapes. These paintings celebrate the harmony between flora and fauna, and the quiet magic of everyday nature. I’m drawn to capturing fleeting moments of beauty that remind us how interconnected and sustaining these small worlds truly are.
2. Did your previous job as an educator reflect in any way on your paintings?
Yes—indirectly, but profoundly. As a teacher and principal, I learned to look closely at each student’s individuality—their strengths, curiosities, and unique spirit. That same attentiveness now guides my painting. I approach each subject, whether a flower, bird, or landscape, with a sense of discovery and respect for its distinct character. Teaching taught me to see beyond the surface, and painting allows me to celebrate that beauty in visual form.
3. Do you think there’s a difference between when you connect with art at a young age from when you connect later in life, like in your case, when you reconnected with art after retirement?
Yes, absolutely. When I was young, drawing and painting was pure joy and escape—I would lose track of time, much as I do now. But returning to art later in life carries deeper meaning. My passion for creating has intensified; painting now feels essential, both grounding and fulfilling. It has become vital to my well-being. I’m more aware of my “why”—to find peace, to learn endlessly, and to leave a small mark on the world through beauty and colour that might uplift others.
4. What’s the main feeling you want to convey through your artwork for this exhibition?
The world feels increasingly fast, demanding, and uncertain. Through my art, I hope to offer a quiet pause—a moment to breathe and reconnect with beauty. I want viewers to slow down, to notice the gentleness that still surrounds us in nature, and to feel joy, calm, and hope. My paintings are reminders that peace can be found in the simplest moments, if we allow ourselves the time to truly see.
1. What advice would you give to other painters who are learning how to paint by themselves, like you did?
When I first started painting seriously, I made as much work as I could across a wide range of sizes, just to see what my hands and heart were drawn to. Whenever a new technique caught my interest, I gave myself a period of focused exploration, 30 days, 100 days, not as a rigid rule but as a container for deepening. One of my most formative projects was meant to be 100 days of collage, but I ended up immersed in it for over 200. That kind of curiosity-led commitment taught me more than any structured course could. So my advice: follow the spark. And then stay long enough to let it become something meaningful. That’s how you build a practice with depth.
2. Give us an insight into the creation of your artwork for this exhibition. What were the challenges and struggles? What were the gains and compensations?
This series was initially inspired by Josef Albers and his colour interaction studies, but as I worked, it evolved into something much more personal. Each piece became a visual mosaic of identity, an exploration of how we carry all our experiences, passions, and quiet selves within us. The challenge was in the nuance: how much of a tonal shift would evoke emotion without overpowering the composition? When does a small variation speak louder than a saturated hue? The line work also asked me to let go. Early on, I wanted the edges to be clean and controlled, but as the series progressed, I began to see those imperfect lines as records of my own energy. Some were focused and calm, others scattered or quick. And that variation became essential, it mirrored the emotional landscape the work is meant to hold.
3. In your artist statement, you speak about having the concept of a “bird’s eye view” perspective on your paintings. Could you delve deeper into what this means to you? Which art of your collection from this exhibition would you say represents it better?
That aerial view invites us to see life as a layered whole, not just in fragments. So often we get caught in the immediacy of what’s not working, or what needs fixing, and we miss the wider arc of who we are becoming. The bird’s eye view reminds us that each experience, even the ones we set aside or never fully pursued, contributes to our perspective. In this collection, Unvisited Places captures that spirit best. It speaks to the parts of ourselves we’ve shelved or forgotten in the name of productivity. It asks: What beauty might return if we gave ourselves time to wander again? What ideas might surface if we stopped to sketch, to pause, to notice?
4. What comes to your mind when you think of the title of this exhibition, ‘Material Memory’, and how does it resonate with your showcased artwork?
To me, Material Memory is the recognition that every color, every mark, every surface holds a trace of something lived. My work often starts from the body, from emotion, and then moves into material form. In this series, the subtle shifts in hue and the repetition of imperfect lines feel like artifacts of that process. They hold the memory of who I was when I made them. Each piece in Borders Not Limits is both structure and feeling, precision and residue. They are built layer by layer, and each decision, even the ones that were painted over, still lives in the final work. That, to me, is material memory: not just what is visible, but what’s been felt, shaped, erased, and remembered.
1. You mentioned that the series in this exhibit is a representation of your journey from South Africa to Canada. Could you give a little walkthrough on your process to create these pieces?
Moving from South Africa to Canada had its challenges, but through this series, I've been able to reconnect with the positive memories found in nature. My creative process involves mixed media. I use acrylics and incorporate inks and markers. I typically block in my main subject before moving on to oils, which I use to refine and complete the piece. I love blending abstract elements with realism.
2. Did your previous experience in photography help you in any way to create your pieces? Could you give us a little background on your exchange from the cameras to the paintbrush?
Photography captures real-world moments and perspectives that are definitely helpful in the artistic process. Both mediums explore light, form and composition to tell stories and convey meaning visually. Photography has itself evolved as an art form - blending technical skill with artistic vision. I find that Visual Art allows me to be more creative. I will always use my camera though!
3. Given your experience now, what advice would you give to your younger self who used to illustrate her handwritten books?
Advice that I would give my younger self? Don't hesitate. Own your dreams and take responsibility for bringing them to life. Keep creating and stay true to your passion.
1. Your art in this show uses different types of materials. How was your process to find your art style?
The pieces in this show began with the Audrey Hepburn piece which started out as a single medium acrylic painting. By chance at an estate sale I came across a collection of movie memorabilia from Breakfast at Tiffany’s. The daughter of the original owner explained to me the meaning that the items had to her mother. This inspired me to include elements from that collection (images, script, set photos) into my piece. This then lead me to include other media (oil pastel), images, and typography, to further develop the depth of the piece.
2. What did you learn from your other experiences that inspired you to create art?
The greatest lesson that I’ve learned is that a piece is never finished. Even when it is hung in a gallery or in someone’s home, the meaning and story that people add to the piece continues to give the work life.
3. You mentioned that your passion for pop culture and vintage styles made you create one-of-a-kind artworks. Would you say that using these important figures in your art creates a certain ‘Material Memory’ for you?
The subject of my current works are idols and the importance that we put on them in our lives. These images give the viewer an opportunity to pause and remember when - when they heard a song, saw a movie, or viewed a piece of art - and in that way the art itself revives a memory in you. That memory carries with it intense feelings, something we hear, or see, or smell. The art becomes the material of your memory.
1. Would you say that the title, “Material Memory”, resonates with your art and painting style?
Yes, the title of this exhibit very much resonates with my artwork, as well as with my painting style. Most of the time, I will notice a beautiful nature scene that I would snap a picture of with my phone camera so that I can save it for later and perhaps paint a landscape piece inspired by my photo. The issue, however, would be that the phone cameras do not always capture what the human eye perceives in real time. I believe the human eye is so powerful that it is able to capture the look of reality and to attach a specific memory to that beauty it sees. For me, bright colours is how I view life all around me. Colors define the beauty of any moment in time that I experience or have kept in my many memories of life. You will see that I incorporate more saturation and vibrancy to my landscape paintings, trying my best to capture the real moment as best as I can on the canvas. I want to show others what beauty and brilliancy I have seen and experienced, that they may be inspired to live life, keeping their memories of adventures alive and bright as well.
2. Would you say that avoiding the use of a palette makes your experience of painting more interesting, as you have the uncertainty of the final result?
Absolutely! For me, the idea of ditching the palette arose first from the conclusion that I was wasting good paint. I have worked with acrylics, so by the time I continued painting a piece later on in the day or the next day, the paint I mixed together would already dry up. It became frustrating, and I wasn’t about to spend money and time on specific art materials or methods to keep the paint remaining wet. So I decided early in my painting journey to get rid of the palette, and to just apply paint right onto the canvas. Ever since I’ve made this change in my painting process, I have found that I not only save a lot of usable paint, but I also trained myself as an artist to learn what specific colour combinations I get from mixing different colors without the worry of messing up my canvas. That’s how I am as a person in general as well as in my art: make the best of what I have, and I learn to adapt and grow from my skills every time. Yes, there is most definitely the uncertainty of not knowing how my painting will turn out from using this method, but with every masterpiece I have created, my art has become even better than my initial vision of the painting.
3. What materials/methods do you use to create the contrast and details of your paintings? What’s the process?
I am inspired by the Dutch painter Rembrandt for his use of highlights that pop out of some of his darker works of art. I work in a similar way. I paint from dark to light, I paint with bright and fun colors, and then I will add the highlights towards the end to bring to life the subjects or focal points of my paintings. In terms of creating a realistic landscape painting, I work sections at a time, from the farthest point in a scenery painting to the closest point of perception. With each section I work on, it looks like I’m painting weirdly-colored lines and shapes, but once I take a step further back, I see the bigger picture. I see and understand how every little line and dot and shape pieced together to become a landscape painting brought to life! The other unique touch I add to some of my landscape paintings is a section of clouds where I will incorporate either a bright sun shining on the waters, or a silver lining behind the clouds – demonstrating a symbol of hope among a world that appears dark and depressing, but also colorful and alive if you look closer. I want to speak of that hope and comfort and that good news to people through my art, which is why I incorporate a lot of these methods into a masterpiece I have experienced in my life.
Come meet all these artists in person at our Opening Reception on November 13th, from 6 pm to 9 pm.
Visit Material Memory, from November 4th to December 16th, only at Twist Gallery.
Step into the memory.
You don’t wanna miss it!