I love painting these hearts for anniversary, wedding, thank-you and baby gifts, but this is the largest I've created so far, measuring 10" x 10". Previously, I painted 8x10's but they were always separated into a grid of 4 or 9 hearts, so this was quite special as it was painted for a special little human. Of all of the older work that I have painted in acrylics, the hearts seem to be the only things that I still absolutely love to paint. There is so much freedom in the process and the colour choices I get to make, which makes it such a pleasure. Plus, the wonkier the heart, the more I like it. 

The last time I visited my daughter in England 2 years ago, I picked up an Emma Bridgewater mug in Winsor when we went to see the castle and was so happy to find this Matthew Rice 1/2 pint mug with illustrations of London. This time, on the final day of my visit, I stumbled upon another mug at Fortnum & Mason's, which was fabulous! The shop was so wonderful and the mug really commemorated my trip as we had enjoyed the most incredible hot chocolate at Laduree in Picadilly and then visited Fortnum's. The most amazing thing about this find was that, earlier on this trip, we had visited the Wes Anderson exhibit at the Design Museum and then enjoyed the afternoon tea in their lovely cafe. The mug really reflects Wes Anderson design to me in the colours and the imagery reminds me of our delicious afternoon tea. Plus, and this is the biggest bonus for me, it was, once again, designed by Matthew Rice. I love his illustrations. So, now the London mug has become my cream Earl Grey or hibiscus tea mug and the new Fortnum's mug is my new matcha latte mug. It's perfect for me!

This is the eighth painting I've created for the Airdrie Amazing Women awards and it's a project I look forward to every year. I'm so grateful to have this opportunity. This painting captures a serene moment of calm, care, and connection which perfectly reflects the spirit of At Dawn Wellness. Soft, soothing tones and gentle patterns bring to life a peaceful environment, where relaxation and trust are at the forefront. The subtle smiles of both figures evoke a sense of deep comfort and emotional release, while the surrounding botanical elements suggest renewal, growth, and harmony with nature. The intention in this artwork was to embody the restorative experience of wellness, where body and mind are nurtured in a tranquil, supportive space.

Awhile ago, I ordered a ColourJot colour wheel stencil from The Paint Spot in Edmonton and I love it. It was perfect to try out with my new Art of Soil handmade paints. There are a variety of stencil shapes - ovals, circles, etc. - and Kim Fjordbotten, who owns the art supply shop and designed the stencils, has an online workshop on how to use them. 

I decided to create a mixture of my favourite colours to use while I'm out and about in my community which consists of Case for Making (CfM), Art of Soil (AoS), Letter Sparrow (LS), Natural Earth Paint (NEP), Winsor & Newton (W&N) and Daniel Smith (DS) colours:

Top: CfM Algae & Monarch, LS Saffron, W&N New Gamboge, DS Indian Yellow, AoS 106-False Cinnebar, DS Quin Sienna, CfM Black Currant

Middle: LS Carmine, DS Opera Pink, CfM Hibiscus & Lupine, AoS 49-Sundowner & 73-Tephra, DS Rose of Ultramarine, AoS 54-Resilience & 81-Soil

Bottom: AoS 50-Coastal Waters, NEP Emerald Green, W&N Sap Green, AoS 95-Erosion, CfM Tide Pool & Mermaid, LS Turquoise, AoS 52-Deep Blue Sea, W&N Indigo

I'm grateful for Art Toolkit palettes that can be adjusted because of the magnets and so excited to try this out.

For each body of work that I have painted, I have created a book online through Blurb.ca and I'm so happy that the "Women of the West" project finally has its mini portfolio. In these, I like to include my artist's statement about the series, any articles or interviews about the project, the stories (if there are some to share), and my gratitude for information and any grants or residencies that were part of the project. I am so very pleased to have finally completed the last stage of this project.

There were many female artists working in Alberta in the early 1900s whose photographs and stories I was unable to locate, and I hope this project will continue to expand over time. Creating and sharing portraits of these women, along with their stories, has been a deeply inspiring experience for me as a female artist in this province.
 
I am especially grateful for the support of The Alberta Society of Artists, The Banff Centre, Galt Museum & Archives, Whyte Museum of the Canadian Rockies, South Peace Regional Archives, University of Alberta, Alberta Foundation of the Arts, University of Calgary, Provincial Archives of Alberta, City of Edmonton Archives, Shallon Cunningham|Salt Food Photography, Ose Irete|CBC Radio, Airdrie CityView, AIR 106.1, Where Women Create magazine and numerous others who reached out to share stories and photographs of these incredible women.

​Vivian Carroll Lamont (1918–2006) was a Calgary-born artist known for her expressive and innovative works across painting, printmaking, and ceramics. After studying at the Provincial Institute of Technology and Art, she married fellow artist Luke Lindoe in 1940, and the couple collaborated creatively throughout their marriage. Vivian's work, influenced by modernist movements and her deep connection to nature, often explored the female form, animals, and the rhythms of life. In the 1950s, she gained recognition through group exhibitions and became known for her vibrant, abstract compositions. After her marriage ended in 1961, she pursued new artistic directions, including silk-screening and printmaking. Living in Salmon Arm, B.C., she continued to explore nature's themes in her work. Vivian's legacy remains influential, with her serigraphs celebrated in recent exhibitions.

​Violet Owen (1930–2024) was a prominent Edmonton artist whose career spanned over six decades, contributing significantly to the city's art scene. A graduate of the Ontario College of Art and Design (1953), Owen specialized in painting, drawing, and sculpture, with a focus on exploring the female form. Influenced by modernist movements like post-impressionism and German expressionism, her work is known for its dynamic energy and bold depictions of form, mood, and the human body. Owen's art evolved over the years, marked by her fearless approach and deep engagement with the subject of female sexuality. She worked closely with model Mimi Mah for 15 years, capturing the nuances of the human figure in various media. Her contributions to Alberta's art collection remain a lasting testament to her unique vision.

​Velma Foster (1938–2025) was a Saskatchewan artist known for her printmaking, acrylics, and mixed media works. Born in Maidstone, she studied at the Alberta College of Art in Calgary, where she trained under notable instructors like Illingworth Kerr and Ron Spickett. Foster was an influential figure in the Calgary art community, working as an instructor and contributing to the city's artistic development. After returning to Saskatchewan in 1977, she set up her studio in a restored church and became a skilled printmaker. Her work was exhibited across Canada, and her contributions to the arts were recognized with numerous awards. Foster also founded the Bresaylor Heritage Museum in 1984, where she continues to curate and create art. She was recently celebrated for her pioneering role in Calgary's 1960s art scene in a reunion exhibition with longtime friend Katie Ohe.