Collected
I’ve started collecting paintings and objects from second hand stores, garage sales, and rummage sales. I see my collecting as a temporary waystation for handmade and artist-made items that have lost their original context but not their meaning. These objects—wooden toys, pottery, paintings, and artifacts—are held for a time, appreciated for their care and intention, and then allowed to continue on to new homes.
Each piece is part of an ongoing story. My role is not to collect permanently, but to witness, preserve, and pass along.
E. Robinson
Two wood-panel landscapes by E. Robinson, each named and rooted in the Fraser Canyon. Steamboat Rock and Mt. Skihist, painted with weight, texture, and a clear commitment to place.
E. Hogg
Signed E. Hogg and otherwise undocumented, this modest landscape captures a place known through daily life. A fragment of regional painting history that survives without a name attached to it.
D.A. McCullagh
Working life, rendered quietly in paint.
H. Belley
I don’t know exactly where this landscape was painted, only that it’s signed H. Belley. A small cabin sits beneath towering rock faces, held in place by paint and memory. I came across it by chance, and kept it because it feels rooted—made by someone who spent time looking.
E. MacLeod
A small, unsigned-in-every-way-but-name landscape by E. MacLeod. A lake, distant hills, and a restrained palette that rewards slow looking.
Eglantina Perlorea Swartz
A small Alberta landscape, dated June 9, 1968. A name, a place, and a painting that endured.
Percy Henry Edgar Henson
Painted as a demonstration in 1970, this view of Medicine Lake captures a moment of teaching as much as a place. A working painting, made to be shared.
Hazel Miller Church
A winter sugar shack, a thawing stream, and a painter whose story survives only through the work itself. Sugar Shack is a reminder that not all meaningful art leaves a paper trail.