From my earliest age, I've been focused on pictures. In Grade four I drew Mickey Mouse on Gestetner paper that the teacher ran off for my classmates to colour. I drew birds from books by Roger Tory Peterson and enjoyed the details. Early art classes were at the Edmonton Art Gallery. In Grade nine I won an Honourable Mention at the Calgary Stampede School Art exhibit; a lion from the Calgary Zoo with the background replaced with a jungle scene. With no art classes available in Grade ten, I studied using a correspondence course from the provincial government. Therefore I was the only student in Grade 11 with the prerequisite. I also began the photography club in High School.

In 1969, instead of going to Woodstock, I studied at the Members Library at the Museum of Modern Art, NYC. and washed dishes at Child's across from Madison Square Garden. I discovered Dali's book "50 Secrets of Magic Craftsmanship" and brought the palette map back as a Xerox.

During the first year of Alberta College of Art, I painted "Yin Yang". This duality was a way of understanding and explaining the two sides of Dali; hidden faces and positive/negative spaces. That led to "what do we see?" which formed the ideas for the "Stereoil Process". At ACAD I created double exposures from the first colour Polaroid camera; "Fir Tree" and "Snow Fence". "Fir Tree" expresses the moiré that would be understood as Holographic Fringe patterns, Dali's search for patterns to create 3D, and "Stereoil". "Snow Fence" related to lenticular 3D. These things were not known at the time; looking back I can give them names.