I started exploring abstract work in the early nineties during undergraduate studies, where I was introduced to various art movements of Western art history including the tenets of modernism. Modernist practices, which set aside artistic traditions of the past in favor of experimentation, piqued my interest at the time. Although the age of modern painting began in the 19th century I was particularly drawn to work produced in the latter half of the 20th century, particularly Color Field painting, Geometric Abstraction and the work of the New York School. My affinity with modern and contemporary art practices consumed me even through graduate studies and continues to this day. Importantly, Indigenous art history (pre-Modern art) is another component crucial to my research of non-objective art, which includes recognizing parallels and similarities between Indigenous abstraction and the modern art aesthetic.