Patterns, both visual and not, are something our brain puts a high priority on recognizing. Spotting deviations from patterns or expected behaviours is an important aspect of plenty of jobs and professions, such as nurses, doctors, air traffic controllers, and many technical monitoring-type jobs etc.

When I teach patterns to my students I describe them as “orderly repetitions of elements”. If they weren't orderly or repetitions then they couldn't be the “expected behaviours” I mentioned.

The chain link fencing that I've been working with for a while now is a great visual element in part because strong pattern is fundamental to what it is. That's partly why I enjoy finding ways of deconstructing it or making it behave in unexpected ways, such as in my 'Insubstantiated' drapery panel, or the 'Ecdysis' portion of 'Skin/Ecdysis'.

Playing with that will also be the basis for my upcoming exhibition Chains Unlinked at the Art Gallery of Mississauga this summer (opens July 2).

Lately though I've been thinking about the construction of patterns and what they could be made from.

The image at the top of this page is a new piece or working file of a photo-based pattern (self-portrait with chain link) constructed in a way that it forms a lattice structure not unlike chain link itself. I love how the pattern takes priority over the content of its elements at a certain point (when the scale is right).

And just because I can't leave it alone, it gave me pleasure to warp the pattern so it behaved a little like the drapery panel.

I'm a little late posting this week's blog as I've only recently returned from teaching a course called Tradigital 2, part of the Digital Image Design certificate at Fleming College/Haliburton School of the Arts (what long names!).

The course is designed to help students develop a fluid relationship between work that is made digitally and in the real world, moving and borrowing back and forth between traditional materials and techniques and digital methods.

I love both the real and digital worlds of making, so the course (along with its precursor Tradigital 1 which I also taught) seems a perfect match for me. 

In addition to introducing students to some specific techniques and tools, I really focus on ways of thinking and working, in whatever medium. 

First of all, to create lots of elements from which to choose. 

Secondly, to think in layers, building them up and creating interesting, effective relationships between the layers, between the obscurings and the reveals. 

Then to work iteratively. Making work is a continuum really and along the way you want to capture certain things. Don't be shy to capture plenty of them if you've struck a rich vein of discovery.

And finally, not to get stuck thinking and working only in front of a computer. There are differences between the virtual and real worlds (despite incredible developments in the former) and how we think when we interact with each. 

Physically, mentally and creatively we are creatures made for change and variety. Working back and forth between our digital and physical studios keeps us healthy, fresh and balanced. 

These three dimensional green strokes are the last thing I've added to this painting-in-progress. 

I'm taking this one slowly as it needs a certain amount of spareness and therefore restraint. Holding back in some ways will allow what's there to sizzle more. 

In painting as in life, it's good to know when to lay it on and when to step back.

Visited the art supply store recently and bought a little paint – from a cheap and cheerful line I often recommend to students. Instant colour therapy!

We've had such a cold, snowy winter, and I think my subconscious must have been longing for spring as I surveyed the store display.

When I brought the paint home and set it out on the table, I was reminded of my old Colour Diary series from 2009. It struck me that this row of tubes was like an instant, mini version.

The Colour Diary was an almost-daily practice I started in order to isolate the mixing, painting and combining of colours from the making of any sort of image or really from trying to “make a painting” at all. 

In total I painted about 80 of these Diary “entries”. Six are pictured here (above right), and if you click on one it will link you to a larger image and an album of the 50+ I've documented so far.

It was a fantastic thing to do and helped me become much braver with colour, more experienced as well as to overcome a few colour prejudices. Maybe this will be the year I add to my Diary... I keep meaning to!