This work "Mitla Pass, Sinai Desert was done way back in 1992. Came across a pile of old sketches and its interesting to compare works to see the progress (or lack of). Obviously we all have works that should have been burned years ago, but if you're brave enough to post early works you're happy with it will be interesting to see. BTW if you're ever in the Sinai Desert or any of the great deserts, there are two things you must see: Sunsets and Sunrise. Both are spectacularly peaceful and thought-provoking.
Hi Doug,
Here's a couple works that are still on my website. I keep them there to remind me of where I came from. These paintings were done in 2009 and 2010.
I was a brand new painter, and I didn't want to paint this way, fussy and overly concerned with representing what was there, rather than painting a good painting. I had yet to break free into the more emotional, semi-abstract manner I've grown into.
Keith, I am going to post an old and new painting too. First one done about 10 years ago at Ward's Island, and I still like this work. My earlier work is strongly influenced by group of 7, tom thompson and shows loose brushwork, blocks of color and clear demarcations between areas. 
This next work done this year is of a similar location but different street on Ward's Island this year and shows some of the influence of the American artists on me. some more softness in areas and greyer tones. These two styles- Canadian impressionism- and the American style are both interesting to me for different reasons and I am trying to retain the parts I like from both. Not entirely sure where that is going but I am letting the process happen somewhat organically. The edges softer, espescially in the distance with more punches of color in the foreground in this piece. 
I like the soft edges in the distance, but I miss the punchy colour in the foreground of your previous work. I think your later work is more realistic to the scene. However, it misses, for me, the hot, rebellious nature of the Island community that the former painting captures.
Perhaps it comes down to purpose. Each of us as artists needs to determine why we paint? Are we trying to reproduce the scene in font of us? Are we trying to capture the feeling of the scene, which includes its three dimensionality, temperature, sounds, smells, the feel of the air, etc.? Or are we trying to make some sort of emotional statement about the scene? (There are hundreds of other purposes artists might have for painting anything.)
By figuring our purpose, we can better judge our success.
Cheers,
Keith
