“Spirit of the Forest” is a commissioned triptych, measuring 72 x 132 inches (183 x 336 cm), that serves as a tribute to the temperate rainforest on the west coast of British Columbia. This artwork specifically highlights a glimpse into the Great Bear Rainforest, famous for hosting the extremely rare and elusive white “Spirit Bear.”
At the heart of the painting is the central mother tree, an ancient Western Red Cedar, revered as the “tree of life.” This majestic tree is anchored with massive roots alongside moss-covered nurse logs, providing shelter to small shade-tolerant western hemlock and Sitka spruce saplings. The tree's markings reveal traces of the Gitga’at people, who have been harvesting tree bark and living off the bounty of the stream, where it meets the ocean, for thousands of years. In early autumn, salmon make their upstream journey to spawn, drawing numerous eagles and black bears to the area. The Spirit Bear, a rare genetic variation of the black bear, is also part of this remarkable ecosystem.
During three excursions to this specific river with our Gitga’at guides, I had the chance to sketch and paint along its banks, often under the rain's persistent drizzle. Our patience paid off when a Spirit Bear finally appeared, descending the small waterfalls and fishing for salmon right before our eyes, allowing me to capture quick sketches. In a few fleeting moments, the sun broke through the fog and mist-laden air, sparking the compositional idea to depict the life cycle, from the towering trees and moss-draped snags to the variety of mushrooms and lichens that play a crucial role in the ecosystem’s symbiosis.
The painting’s composition evolved from plein-air field studies and photography, guided by small value studies. Custom museum backing boards were precisely cut and served as supports for each of the three sheets of A’rches 140ln cold press cotton rag paper used in the artwork. Typically, I painted two boards side by side, following the flow of lines to narrate each tree’s story and the intricate details of plants such as salal, huckleberry, ferns, and various moss types, including step moss. A small camera in the studio, connected to a monitor, allowed me to observe the entire effect taking shape, ensuring accurate proportions. Completing the painting took several months, interspersed with travel assignments, during which I eagerly anticipated returning to this enchanting light and mindful focus that the highly demanding medium of transparent watercolour demands. Watercolour's fluidity, softness, yet ability to create crisp edges is suited to this intricate subject matter.
Each panel was eventually framed behind museum-grade, non-reflective acrylic glass, with custom-built spacers to seamlessly integrate the piece with its frame and the architecture of its new home. I am profoundly grateful to the new owner of this painting, who provided me with the opportunity to elevate rainforest watercolour to a significant scale befitting the majestic and vulnerable Great Bear Rainforest.
