‘Verso’ series is a group of paintings on raw Belgian linen with acrylic, archival ink + Japanese graphite. Integral to Houston’s work is the landscape of people, place, community and belonging. Emerging in the marks, pigment and the raw material, the ‘Verso’ collection of paintings captures places in and around the Bonavista peninsula. Inviting the viewer to look closely and draw on their own memories to establish ‘place’. Captured first in small studies, sketches and drawings, the canvas is edited and painted firstly in the reverse. Once the reverse layers are established, the linen is removed and restretched in the direct orientation. A second painting is done on the front canvas enhancing the layers and pigments that were initially created by pressing the paint through the warp and weft of the Belgian linen. The outcome is an ethereal, dream like haze of very familiar landmarks.

COMPASS Working from the tradition of landscape painting and using contemporary materiality as a starting point, I am recording places found along the Bonavista Peninsula presenting them as grand panoramas. Adjusting perspective, relying on the material (Belgian linen) and the familiarity of the landscape itself, the inland ponds are linked by a datum line and the relationship to each other and the cardinal points referenced to connect the individual paintings and envelop the viewer. An invitation to the viewer to see the colours of the sky, the water the land and to recognize and be reminded of stories of the sustaining nature of the landscape as it relates to belonging and community.

SEAMED PAINTINGS Conceptually Houston stitches white gessoed canvas (SKY) and the warm tones of the Belgian Linen (GROUND); the stitches pulled tight became the visual texture of the black spruce and tamarack along the horizon she imagines far in the distance. Positioning of the horizon line initiates the composition; the canvas is stretched and set for painting, clear gesso is applied to stabilize both materials. The ‘painted colour’ of the canvas meets the linen and begins the positive/negative composition. Unpainted areas create a tension between representational specificity and the space of unpainted canvas inviting the viewer remember and see.

An overlay of a Cartesian grid maps out composition. X + Y are varied lengths and width that divide and subdivide the picture plane. A ‘picture within picture’ results in snapshots of stories. Colour blocks become abstractions - stories unfold as space is filled by memories. The viewer is invited to piece together memories to complete the image. Three dimensional explorations currently underway explore the expression of place moving the picture plane towards the ‘Z’.

Black spruce and tamarack along the Bonavista peninsula. Sepia ink on Arches paper.

Oil on Arches paper with Japanese graphite. Acrylic on paper with Japanese graphite. Materiality is key to Houston's practice. Sea foam, wave crests, clouds + skies are the thoughtfully unpainted French Arches paper. Writing over and through the layers of paint signifies Houston's hand in each work. Tracing the movement. Marking place.

Inspired the seas that surround Newfoundland + the view from my studio in Bonavista. Oil + Japanese graphite on cradled birch panels; Oil + Japanese graphite on Arches paper; Acrylic + Japanese graphite on Arches paper. Available framed and unframed.

From the Boreal series, Treeline emerged. Sepia ink on Arches paper.

Located on Church Street in Bonavista, 8 original paintings are on loan to Valerie Ryan The owner/creator of The Lovely Grand Bakeshop.