This way of making colour swatches feels purposeful and the completed sketchbook page is captivatingly beautiful.

It's through this process that I've learned to appreciate first hand the beauty of working in a limited palette.

Ever since the completion of that project, I’ve wanted to revisit my encyclopaedic source material, saved for many years, and approach the subject matter in a different way and with a different artistic tool kit.

The time feels right to revisit these books of knowledge and use them for a 100 day project.

Making art is often, at least for me, a solitary pursuit. I retreat into my studio with my thoughts, and rely on my own intuition and actions to create something from the materials at hand. But nothing compares to meeting people, including other artists, and talking about art and the joys and the challenges of the art making process. This too is an important part of the journey.

My 100 Day Sketchbook Project began back on January 31st with the aim of developing a sketchbook practice that would inform my art practice going forward. Now here we are on May 10th, 100 days later, and what I know for sure is that I learned a few things along the way.

The first half of the project was intuitive and I really liked making 15 minute sketches during those first 50 days. As anticipated there wasn’t much time for thinking or judging my work so I just let my hands lead the way. It was really fun working this way. But now it’s time to move to the second phase of this project. It’s time to assess what I have, and to rework each sketch with fresh eyes and with new intentions. It’s time to really look at what I have and to decide what resonates with me.

I’ve never been the type of artist to have a sketchbook practice.

Don’t get me wrong, I’ve had many sketchbooks in my practice over the years. The promise of creative possibilities was always there between the blank pages of every sketchbook I ever bought...crisp and clean and white. So lovely in its newness.