The earliest involvements with art began as a child while growing up in the northern community of Ft. McMurray, Alberta. A lack of community workshops or training facilities resulted in many self-creative activities such as making toys, creating games, taking care of pets and playing with friends helped develop a sense of accomplishment in self-expression. Depictions of many childhood events were captured using pencils and crayons as a medium; this was a beginning for forming the basics to express visual and emotional perceptions into an art form.

School provided more sophisticated tools and materials in the form of drafting and basic art, which helped transform rough and unpatterned works into structured and geometrical sequences that balanced and stabilized the raw creative energies. Many forms of graphic posters and sketches were created in high school, highlighting concentric and exacting patterns graphically illustrating social activities. This helped seed the development of a "personalized signature and style" that is apparent in all the artworks today. An ongoing interest in astronomy inspired many oil, pastel and acrylic paintings during the late 1960's and early 1970's. These interpretations of the mysteries of unexplored deep space strengthened mental perceptions of three-dimensional imaging from any focal direction.

Practical construction experience as an oil-field electrician for 16 years, managing projects, interpreting blueprints and constructing a variety of oil and gas related facilities helped develop fine tuned skills by using hand tools and materials at hand. Mental and physical work ethics were entrenched by rigorous job schedules, extensive traveling and interactions with people from all backgrounds of life. This high frequency type of life-style instilled a sense of freshness and openness to approaching each new venture.

In 1982, the need to attempt sculpture arose after failing to express a sense of wholeness and movement in some still life paintings. Constructing homemade chisels and aided by library books for guidance, four low relief pinewood panels were completed with considerable success. Soon larger and figurative works in wood followed, depicting native cultural objects and implements. A mentor gave tools and materials and criticism to begin in soapstone carving in late 1982. A respect for the indigenous peoples artworks and crafts instilled the sense of simpleness and quality into each new work. Using similar tools and methods that have been practiced for centuries in sculptural works, aided in learning finishing processes that distinguish individual works by pure forms and identity. The inner desire to express movement and wholeness to the works soon developed into a style that highlights flowing lines, naturalness and characteristics that perpetually link all the works. As time and career commitments limited the size and quantity of the first works, concentration focused on quality and form. These factors show up in each new work completed today.