Based on South Pender Island, Jenn creates abstract oil and cold wax paintings. Her artistic journey began nearly two decades ago when, while practicing law, she discovered painting through evening courses at the Ottawa School of Art. Her growing passion eventually led her to transition to full-time artistry.
After experimenting with various mediums, Jenn found her artistic voice through cold wax and oil techniques. As a member of the Cold Wax Academy, she continues to refine her craft through advanced lessons and critiques.
Jenn has been juried at the Signature Level by the Federation of Canadian Artists (FCA) and awarded Associate Status (AFCA). Her work has appeared in numerous exhibitions, including the FCA Gallery in Vancouver, the Art Gallery of Greater Victoria (AGGV) Small Work Shows, and The Artcraft Gallery on Salt Spring Island.
Her paintings have also been selected for online exhibitions by the New York Visionary Art Collective and Toronto's Kefi Gallery. Her work has been unanimously juried into the Santa Fe Gallery Association's 2024 and 2025 Artist Catalog.

ARTIST’S STATEMENT

I am an abstract artist working in cold wax and oil on cradled panels, drawing inspiration from the shifting tides, serene forests, and weathered cliffs of my home on Pender Island. My work explores the dialogue between the visible world and memories embedded in landscape.

Nature contains its own architecture—the vertical reach of tree trunks, the horizontal stratification of sedimentary cliffs, the angular geometry of fractured stone. These structural elements coexist with organic forms, creating a visual language that is both grounded and fluid. My paintings seek to honor this duality, where architectural geometry emerges from the natural world itself.

My process involves both building and excavation—applying and removing layers using palette knives, rollers, and solvents. Through scraping and dissolving, I reveal hidden depths, evoking timelessness and historical echoes within our surroundings. Strong vertical or horizontal passages anchor the compositions, while gestural marks flow around them like water moving past stone.

Texture is central to my practice. Coastal hikes immerse me in nature's tactile diversity—from smooth water-polished stones to rough bark and delicate moss. These experiences translate into textural elements that invite engagement beyond the purely visual.
I work intuitively, each compositional change guiding my next decision like puzzle pieces finding their place. My paintings develop organically over months, balancing structured geometric forms with spontaneous mark-making—particularly loops and swirls that emerge as my visual language of freedom and wild spaces.

Through my work, viewers can experience their own connection to landscape—not as direct representation, but as an emotional response speaking to our shared understanding of place, structure, and memory.