Why I draw

Back in 2012, when I was leafing through the book, More Things Like This, an anthology about the intersection of art, writing and humour, I didn’t expect to find a painting of me scattered amongst the works of Art Spiegelman, Andy Warhol, Shel Silverstein, Kurt Vonnegut, and Leanne Shapton.

More Things Like This (2009). Edited by McSweeney's. Foreward by Dave Eggers.

I later found out my likeness was featured in this anthology because Michael Dumontier and Neil Farber of The Royal Art Lodge (the now defunct art collective out of Winnipeg) had contributed their painting, “Poster Maker,” to the book.

Michael had found a kid pic of me drawing in a back issue of Elle Canada (where I was an editor) and reinterpreted my “little girl sincerity and focus” with an alter ego who pens big “Fuck Off” signs for her bedroom door. “It kind of mirrors the comedy of a dry journalist reporting on a funny situation,” Neil told me in an email when I followed up to get the story of how I ended up in this book. You can read the whole interview here.

I’m telling you this story here because I’ve come full circle. After a decade of chasing magazine writing assignments, I’m back to drawing, with all its visceral and subversive delights. Words aren’t doing it for me during this cultural moment. Or rather, I'd say digital distractedness and the rise of fake news have conspired to turn me off language, and my only solace has been to reignite my ancient interest in mark-making and colour.

After I started posting my drawings and paintings on Instagram two years ago,  offers to buy my art started to stream in. Can I just say, I really appreciate that many of you are feeling a connection to my work. Thank you.

When the world tells you what it wants from you, sometimes it’s best to listen.

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