Know the masculine,
but hold to the feminine.
Be the valley of the world.
— Tao Te Ching, Chapter 28
In the winter landscapes of Ontario’s Muskoka and Kawartha Highlands, YIN — YANG examines granite outcrops of the Canadian Shield and their temporary covering by snow.
The stone — ancient and unyielding — presents as yang. Yet it yields to yin: the dominant field of white absence. Snow covers and conceals, defining each form by what it withholds.
The photographs are built through rigorous reduction — the removal of horizon, context, and any indication of scale. Occlusion and receptivity become the true subject. The stone is present, yet held within an encompassing void.
Drawing from the Taoist principle of yin and yang, the work registers the tension between the eternal and the ephemeral, the solid and the yielding, presence and emptiness.
YIN — YANG rewards sustained attention. In the silence, the relation between what endures and what passes quietly reveals itself.
