I was born in Medicine Hat, Alberta, and moved to Calgary for my university education. After completing a B.Sc. in biochemistry, I began graduate work focused on specialized plant metabolism. My M.Sc. degree explored defense chemicals in tobacco, and my Ph.D. program explored how opium poppy makes morphine and other opiates. My research required on-site field work in France as part of a collaboration with a subsidiary of the drug company Sanofi. During my post-doctoral studies, I also worked on projects involving plant-derived amphetamine analogs from Ma Huang (Ephedra sinica) and khat (Catha edulis). This work entailed travel to Newe-Ya’ar Research Centre in Israel, which further impressed upon me the cultural relevance of these fascinating plants. I began photographing, sketching, and painting these subject matters – and reading voraciously on their history.
Together with my long-time accomplice and friend Prof. Peter Facchini and business partner Dr. Joseph Tucker, I have co-founded several biotechnology companies commercializing technology based on engineered microorganisms, such as yeast, to produce plant medicines. Our companies focus on fermentation-based production of opiates, cannabinoids, and psychedelics. Around this time, I began receiving commissions to produce watercolour renderings of various plants for publication in peer-reviewed science journals.
Over the years, I have encountered special crop farmers, paleobotanists, cosmetic formula chemists, law enforcement officers and detectives investigating illicit cultivation. I have been asked to provide expert witness testimony in patent-busting trials, and analyze suspect plant extracts for regional law enforcement agencies. I have conducted peer-review of manuscripts citing archeological evidence of opiate (and wine) use dating back millennia. All of these experiences have propelled my awe and curiosity regarding humankind’s relationship with plants, particularly those used for medicine, poison, recreation, ceremony and beautification.
As my own personal stories with these plants unfold, I often wonder what other stories are hidden in history: when did we first realize the magic and danger of opium? Were silk road traders aware of frankincense or jasmine? Was cocaine truly used by American first peoples to treat altitude sickness during their treks through the Andes? What were ‘witches’ really brewing in their hallucinogenic potions? I have found traditional oils useful in expressing these stories, especially with ‘old-feeling,’ dream-like, monochromatic coloring. I envision our collective memories as murky, occasionally mythical stories that grow upon retelling and – like old photographs – lacking in colour.
I’ve drawn and painted all of my life for enjoyment and fun. However, perhaps inevitably, my obsessions with medicinal plants and history have permeated my art. As I pursued my scientific research, I also found myself taking painting courses, amassing collections of professional-grade materials, enrolling in design programs and joining groups of experienced artists willing to share their secrets – all to better express myself artistically. Significantly, I discovered that the technical skill required to create art directly mirrored the technical prowess required to conduct cutting-edge science. In essence, both art and science have enabled me to explore and share my learnings with others.