Captured in the working fishing village of Blue Rocks an oar’s throw from the studio, the life-line dinghies, dories and row boats are casually moored where they were last needed, some worn out, others hauled up for needed patch and paint or flipped on the rocks to dry.

The architecture of place holds cultural record and memory under the guise of social rules countered by randomness. Through it all the originating purpose remains constant — the honesty of shelter, utility and life.

Hugging the Nova Scotia coast, massive granite boulders group in a herculean attempt to counter the force of nature – seawalls built by anonymous fisher & folk stretching back to an era when backhoes were horses and backs were sore.

A record of stopping along the way, moving around clichés of abandoned expectation to chronicle the ephemera of human endeavour in intimate scenes of spirited enterprise imagined as needs be.

Growing wild along the edge of the woods during the morning dog walk, the freshly snapped buds were soon captured in the available light of the studio solarium.

"Forbes’ process is often a visual exploration of the irrational – repurposed line and form revealing multiplied layers by which an object with one value is redeployed as an one with an alternative value."
– Carla Rowe, No.3 Magazine, NYC

The 1905 Gothic-style Frost House clings to the cliff of Whale Cove on the Digby Neck of Nova Scotia. Known as Steve’s house, since 1982 it had been the summer residence of New York artist Steve Kuzma. A record of skulls, shells, quilts and time-capsule canvases it reeked of neglect — just the way he liked it.

Arrangements were made for a case of fresh buds to be flown 13,500 km from Bangkok to the studio to be photographed over two days in the available light of the solarium.

Vehicles are both precious and disposable like Bic lighters run out of gas.

Crushed by tectonic plates into metamorphic form, at passing glance they may seem similar, but at closer view reveal their sculpted individuality in crystal amalgams.