$10,000.00

The world’s great powers tell tidy stories. They cast themselves as saviours, their enemies as villains; justify destruction as necessity, cast genocide as order. Beneath their carefully constructed narratives, the truth lives on:

What was shattered does not simply vanish. The soul of a people is a seed, and the seed will have the final word.

Even in death, the oppressed become the next generation’s awakening. Our hearts ripen toward a future where old boundaries dissolve, where we no longer define ourselves by opposition, where war is regarded as a crude relic of history.

Brothers and sisters, we are not yet there. We are still caught in cycles of destruction, still trapped in the illusion of separation.

Yet, just as surely as a sprout seeks the light, consciousness will continue to grow. The tyrants, the empire-builders, the warmongers will be defeated — not by force, but by the seeds of hope we sow, nurtured by love.

The oppressors believe they are writing the final chapter, but the story does not belong to them. It belongs to the seed, to the vine, to the lovers who will rise again and again, as we always have, in ways the destroyers could never predict.

"Someday, after we have mastered the winds, the waves, the tides, and gravity, we shall harness for God the energies of love; and then, for the second time in the history of the world, man will have discovered fire."

- Teilhard de Chardin

This piece is an invitation to witness that fire already kindling within us — the awakening of consciousness, the recognition of our oneness, the inevitable turning toward renewal. It is not an elegy. It is a prophecy (William Irwin Thompson).

The story is not over. It is just beginning.

Dimensions
18"x18", 15"x15", total dimensions variable
Media
Glass beads, copper wire, upcycled cloth, acrylic
Substrate
Stretched canvas
Year
2025

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Waterfall

$1,099.00

These works confront the dissonance at the heart of Canadian identity -- no celebration of people, nature or innovation is complete without deep engagement with our failures. Created using broken glass over bold black-and-white forms, the pieces evoke both wound and window. Textured like beadwork, scar tissue or water droplets, they invite exploration of what it means to belong to a place rich in ancient wisdom and beauty, yet still in need of healing.

Made for the next generation of Canadians -- my children and others -- these pieces are an act of hope. They reflect a vision of Canada that acknowledges the past while illuminating a future built from truth, beauty and repair.

_________

Glass fragments cascade over a surface of stark black and white, evoking both movement and fracture. Created in response to Canada’s failure to provide clean water to Indigenous communities, this piece reflects both the structure of waterfalls and the flow of broken promises. Its high-contrast forms draw the eyes of children, inviting a new generation to see clearly what has been ignored.

$215 from the sale of this piece will benefit the National Centre for Truth & Reconciliation.

Dimensions
24"x24"
Year
2018
Media
Acrylic, gesso & glass
Substrate
Wrapped canvas
Profile
3/4"
Finish
Matte clear shield with UV protection.
Gloss polymer varnish with UV protection.

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Diaspora

$1,099.00

These works confront the dissonance at the heart of Canadian identity: no celebration of people, nature or innovation is complete without deep engagement with our failures. Created using broken glass over bold black-and-white forms, the pieces evoke both wound and window. Textured like beadwork, scar tissue or water droplets, they invite exploration of what it means to belong to a place rich in ancient wisdom and beauty, yet still in need of healing.

Made for the next generation of Canadians — my children and others — these pieces are an act of hope. They reflect a vision of Canada that acknowledges the past while illuminating a future built from truth, beauty and repair.

________

Pairs of streams disperse from a pressurized centre, calling forth the uncontainable grief and power of communities reclaiming voice. Created in response to the confirmation of mass children’s graves at residential school sites, this piece honours the resilience of Indigenous people whose grief and goodness, like water, resurface, reclaim and nourish the land. May it ever be so.

$215 from the sale of this piece will benefit the National Centre for Truth & Reconciliation.

Dimensions
24"x24"
Year
2022
Media
Acrylic, gesso & glass
Substrate
Wrapped canvas
Profile
3/4"
Finish
Gloss/matte polymer varnish with UV protection.

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Oil and Water

$1,099.00

These works confront the dissonance at the heart of Canadian identity: no celebration of people, nature or innovation is complete without deep engagement with our failures. Created using broken glass over bold black-and-white forms, the pieces evoke both wound and window. Textured like beadwork, scar tissue or water droplets, they invite exploration of what it means to belong to a place rich in ancient wisdom and beauty, yet still in need of healing.

Made for the next generation of Canadians — my children and others — these pieces are an act of hope. They reflect a vision of Canada that acknowledges the past while illuminating a future built from truth, beauty and repair.

_________

This tension-field explores the ongoing Canadian dilemma: balancing ecological stewardship and economic responsibility. Through concentric, intersecting curves, the piece shows the uneasy harmony between these forces that resist blending. The mosaic texture underscores the fractures in our national narrative — and the opportunity to rebuild something intentional from the pieces.

$215 from the sale of this piece will benefit the National Centre for Truth & Reconciliation.

Dimensions
24"x24"
Year
2021
Media
Acrylic, gesso & glass
Substrate
Wrapped canvas
Profile
3/4"
Finish
Gloss polymer varnish with UV protection.

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Mangrove

$1,099.00

This piece was inspired by images of people on rafts, ducking under mangrove branches as they crossed the Naf River, fleeing Myanmar for the refugee camps of Bangladesh.

The Naf, which empties into the Bay of Bengal in the Indian Ocean, is a mixture of fresh- and saltwater. There, mangrove trees are able to thrive.

This is a piece about the human spirit; about resilience. So I'm adding it to my collection for the National Centre for Truth & Reconciliation. $215 from its sale will benefit this good work.

Dimensions
24"x24"
Year
2018
Media
Acrylic, moulding paste, gesso & glass
Substrate
Wrapped canvas
Profile
3/4"
Finish
Matte clear shield with UV protection.
Gloss polymer varnish with UV protection.

(Tap image preview to view full artwork)

Ball's Bridge

$5,472.00

They tell me you're an historic landmark.

They warn me things will never be the same.

Today, we'll float underneath you,

Or sit upon your shore and think;

Tonight, we might light candles and dance with you again,

Like always.

Just like you'll always be here.

Just like you've always been.

https://littlelakesroad.org

https://historicbridges.org/bridges/browser/?bridgebrowser=ontario/balls/

These Bridges & Fences are my exploration into the interplay of the objects we've built with the natural world that holds them.

Here, Nature is depicted by loosely-applied, textural, riotous colour. The colour is the first thing: it arrests the attention and makes us want to linger. But the texture is the other thing: it requires that a lot of work be put into painting anything of value atop it. I really had to watch my step.

Dimensions
48"x60"
Media
Acrylic
Substrate
Wrapped canvas
Profile
1 1/2"
Year
2023
Finish
Matte polymer varnish with UV protection
Frame
Float frame, 1/2" wide, cut from thoughtfully-culled elm, milk-painted black

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Highway 21 North

$1,710.00

Remember your favourite sledding spot, under the highway overpass, beside the train tracks? Remember the graffiti? It's all still there. You can still fall really hard and fast and fun there.

These Bridges & Fences are my exploration into the interplay of the objects we've built with the natural world that holds them.

Here, Nature is depicted by loosely-applied, textural, riotous colour. The colour is the first thing: it arrests the attention and makes us want to linger. But the texture is the other thing: it requires that a lot of work be put into painting anything of value atop it. I really had to watch my step.

Dimensions
30"x30"
Media
Acrylic
Substrate
Wrapped canvas
Profile
3/4"
Year
2022
Finish
Matte polymer varnish with UV protection
Frame
Float frame, 1/2" wide, cut from thoughtfully-culled elm, milk-painted black

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Dam at Arva Flour Mill

$0.00

This little dam at this little mill, though fully functional, is no longer in use. You see, when the pandemic hit and so many people learned to bake bread, making flour a scarce commodity, the Arva Flour Mill couldn’t keep stock on its shelves. The owner wisely added the capacity to power the mill with normal, old electricity.

An opportunist of a beaver moved right in and dammed the site herself.

So now it’s her dam flour mill.

https://www.arvaflourmill.com/

Dimensions
24"x24"
Media
Acrylic
Substrate
Wrapped canvas
Profile
3/4"
Year
2023
Finish
Matte polymer varnish with UV protection
Frame
Float frame, 1/2" wide, cut from thoughtfully-culled elm, milk-painted black

(Tap image preview to view full artwork)

Footbridge Over Naftels

$1,092.00

bridges,

friends,

together across living places,

unknowable spaces

These Bridges & Fences are my exploration into the interplay of the objects we've built with the natural world that holds them.

Here, Nature is depicted by loosely-applied, textural, riotous colour. The colour is the first thing: it arrests the attention and makes us want to linger. But the texture is the other thing: it requires that a lot of work be put into painting anything of value atop it. I really had to watch my step.

Dimensions
24"x24"
Media
Acrylic
Substrate
Wrapped canvas
Profile
3/4"
Year
2022
Finish
Matte polymer varnish with UV protection
Frame
Float frame, 1/2" wide, cut from thoughtfully-culled elm, milk-painted black

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Harbour Grass

$748.00

My beach: an unnatural wonder. An industrial harbour. Freshly-planted dune grass, protected from the wind by snow fencing, to protect the boardwalk from sand.

The major attraction of this small town, drawing city-dwellers all summer long. Only place in town with parking meters. Smells like barbecue. Sounds like reggae.

My beach? Their beach? Our beach? An unnatural wonder, rimming a wild Great Lake.

That lake: neither mine, nor theirs. Not even ours.

These Bridges & Fences are my exploration into the interplay of the objects we've built with the natural world that holds them.

Here, Nature is depicted by loosely-applied, textural, riotous colour. The colour is the first thing: it arrests the attention and makes us want to linger. But the texture is the other thing: it requires that a lot of work be put into painting anything of value atop it. I really had to watch my step.

Dimensions
20"x20"
Media
Acrylic
Substrate
Wrapped canvas
Profile
3/4"
Year
2022
Finish
Matte polymer varnish with UV protection
Frame
Float frame, 1/2" wide, cut from thoughtfully-culled elm, milk-painted black

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Maitland Woods Boardwalk

$0.00

Here,

ever so quietly,

I have adored:

turtles

muskrats

bunnies

hummingbirds

cardinals

chickadees

and every sort of bee.

But when I've asked them to stay,

they've only hurried away.

These Bridges & Fences are my exploration into the interplay of the objects we've built with the natural world that holds them.

Here, Nature is depicted by loosely-applied, textural, riotous colour. The colour is the first thing: it arrests the attention and makes us want to linger. But the texture is the other thing: it requires that a lot of work be put into painting anything of value atop it. I really had to watch my step.

Dimensions
16"x16"
Media
Acrylic
Substrate
Wrapped canvas
Profile
3/4"
Year
2023
Finish
Matte polymer varnish with UV protection
Frame
Float frame, 1/2" wide, cut from thoughtfully-culled elm, milk-painted black

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Waterloo & St. Vincent

$0.00

Waterloo & St. Vincent

Dear unknown gardener;

Thanks for growing this.

Love,

- Bethany.

These Bridges & Fences are my exploration into the interplay of the objects we've built with the natural world that holds them.

Here, Nature is depicted by loosely-applied, textural, riotous colour. The colour is the first thing: it arrests the attention and makes us want to linger. But the texture is the other thing: it requires that a lot of work be put into painting anything of value atop it. I really had to watch my step.

Dimensions
12"x12"
Media
Acrylic
Substrate
Wrapped canvas
Profile
3/4"
Year
2022
Finish
Matte polymer varnish with UV protection

(Tap image preview to view full artwork)

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It Takes My Breath

$0.00

25% of the sale of this artwork will support:

- Watermelon Relief (@watermelonrelief), a Palestinian father and cook living in Gaza who buys groceries, cooks them up in big pots and feeds the children who are living in tents.

- Standing Together (www.standing-together.org), a grassroots movement of Jews and Palestinians living in Israel, rooted in pluralism and inclusivity; working for peaceful negotiation, human rights for all, and ultimately, PEACE. Currently in action protecting aid trucks into Gaza and protesting for ceasefire.

Love is Gonna Break Through

by Chris Rice

Hear a newborn baby cry;

Hear the farmers pray for rain;

One more soldier gives his life;

A homeless man begs for change.

But change won't come easily--

What does this have to do with me?

And my heart pounds with the thunder;

And I stop and wonder,

What should we do with life's surprises?

Every day the sun rises on us.

Like a swingset in a graveyard,

Like a bloom in the desert sand--

Look at my trembling hands--

'Cause it hits me like lightning that love must keep fighting

And somehow, every time,

Love is gonna break through

World inside a clear, blue sky

Teeming with humanity;

Tears and laughter intertwine our

Comedies and Tragedies;

And History is a runaway--

But not so far that Love can't find and save

And my heart pounds with the thunder

And I stop and wonder,

What should we do with life's surprises?

Every day the sun rises on us.

Like a swingset in a graveyard,

Like a bloom in the desert sand--

Look at my trembling hands--

'Cause it hits me like lightning that love must keep fighting

And somehow, every time,

Love is gonna break through

It takes my breath

It's come to this:

We all bleed red;

We can't resist

The changing wind

The roaring tide

Come on, get on the winning side

Love is gonna break through

And my heart pounds with the thunder

And I stop and wonder,

What should we do with life's surprises?

Every day the sun rises on us.

Like a swingset in a graveyard,

Like a bloom in the desert sand--

Look at my trembling hands--

'Cause it hits me like lightning that love must keep fighting

And somehow, every time,

Love is gonna break through

Dimensions
10"x8"
Year
2024
Media
Acrylic, tumbled glass and Arabic pottery
Substrate
Wrapped canvas
Profile
3/4"
Finish
Satin & gloss UV varnish

(Tap image preview to view full artwork)

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We All Bleed Red

$0.00

25% of the sale of this artwork will support:

- Watermelon Relief (@watermelonrelief), a Palestinian father and cook living in Gaza who buys groceries, cooks them up in big pots and feeds the children who are living in tents.

- Standing Together (www.standing-together.org), a grassroots movement of Jews and Palestinians living in Israel, rooted in pluralism and inclusivity; working for peaceful negotiation, human rights for all, and ultimately, PEACE. Currently in action protecting aid trucks into Gaza and protesting for ceasefire.

Hope Will Be the Death of Me

on the shore, Hope finds my hand.

"are we okay?"

"i don't feel okay," i say. "are you bleeding?"

we wait here twelve whole months—

but the waves never stop rolling in:

smashed pottery and medical supplies and cameras,

bits of kitchens and classrooms and home streets,

pieces of children and mothers and men.

thoughts and prayers/debates and debacles.

it’s Us Or Them!

Or — never And.

never We.

We are drowning,

Us and Them,

but hiel the conquering messiah;

long live the empire.

"i’ll survive," Hope finally responds,

taking off her clothes, then mine.

we are shivering,

for it is October again.

slowly,

Hope step-step-steps into the water.

she is thin, but strong.

i do not let go of her hand.

Hope bends my knees, taking care

to fill my ears,

then my mouth.

i tip my face up, toward hers.

Hope holds me down.

it is getting too dark to see;

i am growing too cold to feel.

i gasp, then relax.

“i thought i’d lost you.”

Dimensions
10"x8"
Year
2024
Media
Acrylic, tumbled glass and Arabic pottery
Substrate
Wrapped canvas
Profile
3/4"
Finish
Satin & gloss UV varnish

(Tap image preview to view full artwork)

The Changing Wind

$249.00

25% of the sale of this artwork will support:

- Watermelon Relief (@watermelonrelief), a Palestinian father and cook living in Gaza who buys groceries, cooks them up in big pots and feeds the children who are living in tents.

- Standing Together (www.standing-together.org), a grassroots movement of Jews and Palestinians living in Israel, rooted in pluralism and inclusivity; working for peaceful negotiation, human rights for all, and ultimately, PEACE. Currently in action protecting aid trucks into Gaza and protesting for ceasefire.

Hope Will Be the Death of Me

on the shore, Hope finds my hand.

"are we okay?"

"i don't feel okay," i say. "are you bleeding?"

we wait here twelve whole months—

but the waves never stop rolling in:

smashed pottery and medical supplies and cameras,

bits of kitchens and classrooms and home streets,

pieces of children and mothers and men.

thoughts and prayers/debates and debacles.

it’s Us Or Them!

Or — never And.

never We.

We are drowning,

Us and Them,

but hiel the conquering messiah;

long live the empire.

"i’ll survive," Hope finally responds,

taking off her clothes, then mine.

we are shivering,

for it is October again.

slowly,

Hope step-step-steps into the water.

she is thin, but strong.

i do not let go of her hand.

Hope bends my knees, taking care

to fill my ears,

then my mouth.

i tip my face up, toward hers.

Hope holds me down.

it is getting too dark to see;

i am growing too cold to feel.

i gasp, then relax.

“i thought i’d lost you.”

Dimensions
10"x8"
Year
2024
Media
Acrylic, tumbled glass and Arabic pottery
Substrate
Wrapped canvas
Profile
3/4"
Finish
Satin & gloss UV varnish

(Tap image preview to view full artwork)

Sold out

It's Come to This

$0.00

25% of the sale of this artwork will support:

- Watermelon Relief (@watermelonrelief), a Palestinian father and cook living in Gaza who buys groceries, cooks them up in big pots and feeds the children who are living in tents.

- Standing Together (www.standing-together.org), a grassroots movement of Jews and Palestinians living in Israel, rooted in pluralism and inclusivity; working for peaceful negotiation, human rights for all, and ultimately, PEACE. Currently in action protecting aid trucks into Gaza and protesting for ceasefire.

Hope Will Be the Death of Me

on the shore, Hope finds my hand.

"are we okay?"

"i don't feel okay," i say. "are you bleeding?"

we wait here twelve whole months—

but the waves never stop rolling in:

smashed pottery and medical supplies and cameras,

bits of kitchens and classrooms and home streets,

pieces of children and mothers and men.

thoughts and prayers/debates and debacles.

it’s Us Or Them!

Or — never And.

never We.

We are drowning,

Us and Them,

but hiel the conquering messiah;

long live the empire.

"i’ll survive," Hope finally responds,

taking off her clothes, then mine.

we are shivering,

for it is October again.

slowly,

Hope step-step-steps into the water.

she is thin, but strong.

i do not let go of her hand.

Hope bends my knees, taking care

to fill my ears,

then my mouth.

i tip my face up, toward hers.

Hope holds me down.

it is getting too dark to see;

i am growing too cold to feel.

i gasp, then relax.

“i thought i’d lost you.”

Dimensions
10"x8"
Year
2024
Media
Acrylic, tumbled glass and Arabic pottery
Substrate
Wrapped canvas
Profile
3/4"
Finish
Satin & gloss UV varnish

(Tap image preview to view full artwork)

You Can't Resist

$249.00

25% of the sale of this artwork will support:

- Watermelon Relief (@watermelonrelief), a Palestinian father and cook living in Gaza who buys groceries, cooks them up in big pots and feeds the children who are living in tents.

- Standing Together (www.standing-together.org), a grassroots movement of Jews and Palestinians living in Israel, rooted in pluralism and inclusivity; working for peaceful negotiation, human rights for all, and ultimately, PEACE. Currently in action protecting aid trucks into Gaza and protesting for ceasefire.

Hope Will Be the Death of Me

on the shore, Hope finds my hand.

"are we okay?"

"i don't feel okay," i say. "are you bleeding?"

we wait here twelve whole months—

but the waves never stop rolling in:

smashed pottery and medical supplies and cameras,

bits of kitchens and classrooms and home streets,

pieces of children and mothers and men.

thoughts and prayers/debates and debacles.

it’s Us Or Them!

Or — never And.

never We.

We are drowning,

Us and Them,

but hiel the conquering messiah;

long live the empire.

"i’ll survive," Hope finally responds,

taking off her clothes, then mine.

we are shivering,

for it is October again.

slowly,

Hope step-step-steps into the water.

she is thin, but strong.

i do not let go of her hand.

Hope bends my knees, taking care

to fill my ears,

then my mouth.

i tip my face up, toward hers.

Hope holds me down.

it is getting too dark to see;

i am growing too cold to feel.

i gasp, then relax.

“i thought i’d lost you.”

Dimensions
10"x8"
Year
2024
Media
Acrylic, tumbled glass and Arabic pottery
Substrate
Wrapped canvas
Profile
3/4"
Finish
Satin & gloss UV varnish

(Tap image preview to view full artwork)

Sold out

The Roaring Tide

$0.00

25% of the sale of this artwork will support:

- Watermelon Relief (@watermelonrelief), a Palestinian father and cook living in Gaza who buys groceries, cooks them up in big pots and feeds the children who are living in tents.

- Standing Together (www.standing-together.org), a grassroots movement of Jews and Palestinians living in Israel, rooted in pluralism and inclusivity; working for peaceful negotiation, human rights for all, and ultimately, PEACE. Currently in action protecting aid trucks into Gaza and protesting for ceasefire.

Hope Will Be the Death of Me

on the shore, Hope finds my hand.

"are we okay?"

"i don't feel okay," i say. "are you bleeding?"

we wait here twelve whole months—

but the waves never stop rolling in:

smashed pottery and medical supplies and cameras,

bits of kitchens and classrooms and home streets,

pieces of children and mothers and men.

thoughts and prayers/debates and debacles.

it’s Us Or Them!

Or — never And.

never We.

We are drowning,

Us and Them,

but hiel the conquering messiah;

long live the empire.

"i’ll survive," Hope finally responds,

taking off her clothes, then mine.

we are shivering,

for it is October again.

slowly,

Hope step-step-steps into the water.

she is thin, but strong.

i do not let go of her hand.

Hope bends my knees, taking care

to fill my ears,

then my mouth.

i tip my face up, toward hers.

Hope holds me down.

it is getting too dark to see;

i am growing too cold to feel.

i gasp, then relax.

“i thought i’d lost you.”

Dimensions
10"x8"
Year
2024
Media
Acrylic, tumbled glass and Arabic pottery
Substrate
Wrapped canvas
Profile
3/4"
Finish
Satin & gloss UV varnish

(Tap image preview to view full artwork)

Sold out

Come On, Get On the Winning Side

$0.00

25% of the sale of this artwork will support:

- Watermelon Relief (@watermelonrelief), a Palestinian father and cook living in Gaza who buys groceries, cooks them up in big pots and feeds the children who are living in tents.

- Standing Together (www.standing-together.org), a grassroots movement of Jews and Palestinians living in Israel, rooted in pluralism and inclusivity; working for peaceful negotiation, human rights for all, and ultimately, PEACE. Currently in action protecting aid trucks into Gaza and protesting for ceasefire.

Hope Will Be the Death of Me

on the shore, Hope finds my hand.

"are we okay?"

"i don't feel okay," i say. "are you bleeding?"

we wait here twelve whole months—

but the waves never stop rolling in:

smashed pottery and medical supplies and cameras,

bits of kitchens and classrooms and home streets,

pieces of children and mothers and men.

thoughts and prayers/debates and debacles.

it’s Us Or Them!

Or — never And.

never We.

We are drowning,

Us and Them,

but hiel the conquering messiah;

long live the empire.

"i’ll survive," Hope finally responds,

taking off her clothes, then mine.

we are shivering,

for it is October again.

slowly,

Hope step-step-steps into the water.

she is thin, but strong.

i do not let go of her hand.

Hope bends my knees, taking care

to fill my ears,

then my mouth.

i tip my face up, toward hers.

Hope holds me down.

it is getting too dark to see;

i am growing too cold to feel.

i gasp, then relax.

“i thought i’d lost you.”

Dimensions
10"x8"
Year
2024
Media
Acrylic, tumbled glass and Arabic pottery
Substrate
Wrapped canvas
Profile
3/4"
Finish
Satin & gloss UV varnish

(Tap image preview to view full artwork)

Sold out

Upside-Down House

$0.00

Participate in the campaign here.

Each $5 ballot purchased between now and May 6, 2023 gives you a chance to win!

My longtime friend, Will Chitty, grew up in North Bay, Ontario, then moved to British Columbia where he made his home in the mountains with his beautiful wife, Melanie, and a slew of animals. Life could not have been more right.

But Mel knew something was wrong, and painful; and on February 10 it was discovered that there was a tumour on her spine. Not just any tumour -- a rare bone cancer in her C1, the very top vertebrae.

Will's parents flew to BC to look after the homestead, and Will brought Melanie to the hospital for weeks of intense radiation and chemotherapy. The pair must remain there until after surgery to remove the tumour and fuse the vertebrae of Mel's neck to support her head.

Melanie is self-employed, and Will has taken a leave of absence from his job. Will's sister has started a gofundme campaign in order to meet their needs until they beat this thing.

I'd really love to support Will and Mel while their world is turned upside-down. Thank you so much, Autumn, for joining me.

And thank YOU.