Heidi's work has been featured in numerous publications (She was featured in Juxtapoz Magazine). She is known for the 'mechanical' overtones that can be observed in her work.Heidi's body of work offers great insight into how technology can cause us to sacrifice our humanity. In a sense, she paints a landscape full of characters and creatures that are in constant conflict with their natural state of being and the technological advances that intrude upon their environment.Her recent work contains a degree of mystery and enchantment. These elements combine in a form of symbolic fusion- a visual documentation of Heidi's spiritual wandering and cultural experiences.

Heidi is best known for having designed the internationally recognized image of "Dralion" for the Cirque du Soleil. She has exhibited her paintings throughout North America, and her work is collected internationally.

GRAB: A major theme in your work is how we dehumanize ourselves through the use of technology. Why do you take such a strong stance on this topic? We live in a society that relies on computers, cell phones, and other forms of communication technology... are you concerned that we are loosing 'true' communication due to this? Is that reflected in your work?

HT: My stance on technology reflects concerns with the detrimental effects of technology on society and the environment. Technology as a whole is not bad, civilization was built on innovative advancements, and of course it helps improve the quality of our lives. But technological development is outpacing human evolution on many levels.First and foremost is technology's impact on the environment, which is unquestionably an issue these days. We also have certain features which are particular to our animal, namely our social requirements. These are being largely supplanted by technology and that can lead to a greater sense of isolation and depression. In past surveys taken across cultures, it appeared that the more developed nations suffered mostly from depression, whereas the simpler or more "primitive" cultures seemed to rank happiest of all. (The tribes people of New Guinea are apparently among the happiest communities).It is true that communication is facilitated by technology , but communities shrink as well, and our primal being was designed for a more social integration, not connection through the intermediary of machines.The cost of convenience is sterility, and it is important to sustain a healthy balance between the two. On the physical level, technology brings tremendous gains, but there is also the scare of Frankenstinian applications of technology, the development of which could very well go beyond human wisdom and understanding.

GRAB: Heidi, can you give us more details about your artistic vision and how it has expanded through the years? Where do you see your work taking you in the future?

HT: My artistic vision, apart from its independent origin, is shaped by an openness to what I see or hear around me. Its hard to see what you're doing without the benefit of hindsight, so until time allows you to distance yourself from your work, you can't see as clearly what "mistakes" you're making in art. Unless that perspective is challenged in a constructive way, which you have to allow, its easy to stay the course. Personally, I often get bored with my own work, and find it hard to continue happily when I feel it is getting too formulaic, so I struggle for some sort of evolution within the confines of my artistic voice.The greatest satisfaction for me is that moment of revelation when you happen upon a novel idea, when you hit a target you couldn't see in the first place, and which doesn't technically even exist to begin with. Thats the reward of creativity, the Eureka moment.

GRAB: Heidi, you have been featured in Juxtapoz Magazine. Many artists consider that to be a major accomplishment. How did you feel about it? Care to share any details of that experience?

HT: I was thrilled to finally have a piece done on my work in the magazine. They have so much they can cover, from so many talented artists, that it can take a very long time before your turn comes up. I had waited a couple of years actually, and in the end the timing of the article coincided perfectly with an exhibition which was being held in California at the time. Someone at Touchstone Studios then saw the article, and requested that one of the images he saw be included in an upcoming episode of "Dirt".

GRAB: When did you first discover that art would be an important part of your adult life?

HT: After a bad working experience as a waitress in the Yukon. From then on I decided I wanted to work for myself, and I slowly realized art (initially illustration) was the thing which would allow me to do this.

GRAB: Heidi, on average, how long does it take you to create a piece?

HT: Anywhere from a few days for a five by seven inch piece, to one or two months for a five by seven foot piece.

GRAB: Heidi, do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

HT: I listen to anything that fits my mindset for the moment, from talk radio to movie soundtracks, or a very eclectic array of musical genres. I am almost always in the mood for working, but there are so many other things I'd like to do as well, that at times it becomes a struggle to focus on just painting.

GRAB: Heidi, what was the toughest point in your career as an artist? Have you ever hit rock-bottom?

HT: The toughest point was probably around 2001, when things appeared to be going askew, but in retrospect were just realigning themselves. Everything seemed to go wrong, I'd move to a new studio space and discover I had to leave 6 months after settling in, then money would be tight and things would break down, illustration clients would either default on payments or it was a nightmare chasing after money owed. All the while I'd hear from someone I had done work for from time to time, and for a couple of years he kept asking what I was doing with my art. I said I was busy doing illustration, and he kept reminding me that time flies, and that I was neglecting something very important by not focusing on it 100%.I decided to move away from illustration, in part because of all the mysterious problems I was having logistically, and it was the best thing I could have done. Everything happens for a reason -including breaking my painting arm way out in the northwest corner of India.

GRAB: Finally, is there anything else you would like to say about your art or the 'art world'?

HT: My art is a meditation, a confrontation, and an exorcism all in one, a method by which I come to understand myself, everything and everyone around me. I am deeply concerned with growth, evolution, and the purpose and impact of our existence. I think harmony is the new rebellion, although I do throw myself into situations which challenge me past the point of reasonable equilibrium at times. I think this is how I confront deeper and darker issues, which force me to tease out and resolve fundamental questions, through painting.