In my youth, and before I lived in Canada, I attended "concert dance" performances by the visiting dance troupes of Jamaica and Cuba during Carifesta  ( A Caribbean festival for the Arts and Culture of the region)  held in Georgetown, Guyana.  In both instances I was overwhelmed; moved beyond my own expectations when I first saw the dancers moving through their choreographed paces and realized that I was looking at a marriage of "Afro- Caribbean" rhythms, and modern ballet.  Their lithe muscular bodies rendered dramatic by the changing hues of the stage lights as they danced to the beat of the music; was where I became conscious of the correlation between movement and form.   An observation that would later become the basis of many themes I would explore in my paintings.

From my study of music and classical piano, I understood that any performance that was devoid of individual spirit, would be reduced to a recital of a slavish adherence to the written notebecome dull and uninteresting.   So when I made the conscious observation that the dancers' movement exhibited a direct link between their spirits and their interpretation of the musical  composition, I drew parallels in the world around me. At present, I know there is a rhythm, a beat, a continuum of the line of visual movement in almost every form we encounter.  Whether it is the up and down of the city's architectural skyline, the layered fluid planes of the human figure, color and its relative motion, or the overhang of forest that inspires me. I am now aware that they are linked by that spirit of dynamism; of movement and form, that I find so fascinating.

It is with this sensibility that I take in my constantly changing environment as I interpret the spirit of what I have absorbed, both consciously and unconsciously, in my work.