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hadn't been for them I wouldn't have had any inforJordan I was very fortunate because my partner is very good at it. When I was learning he was able to help me through the rough parts so I wouldn't throw it through the window in frustration. Patience with that kind of thing is not my forte. It probably took me a couple of years to get to the point where I really felt comfortable, where I could just go through my process and not run into problems that I would find hard to solve. That doesn't mean I have anywhere near a full knowledge of the programme, because it's so in-depth. But I have enough knowledge that I can walk around within it and discover things and be safe enough not to get myself into trouble that I can't get out of. Rathje I think you're about a hundred miles ahead of me. I'm totally self-taught with Photoshop, so I haven't learned very much. You learn what you need, then you carry on with what you need to do. Actually I haven't used the computer for almost a year, at least not to manipulate the images. I made the plates, and I'm printing them and changing them and printing them again. When did you become an artist? Rathje I've always been one, even as a kid. One house we lived in had an attic, a storage place. I had my little artist's loft up there, full of drawings and things I'd cut out of papers and magazines. It was my dreaming place and my drawing place. I'll always remember how sad I was when my father boarded it up and took away the stairs because we needed the space. Actually, he was very much an artist at heart, but one who wasn't able to fulfill his dream, which was to be a violinist. But because of World War II he had to stop his violin studies. Then he got married and had a family and emigrated, and he was too busy just trying to survive. Some of those genes are in me, and I've been able to carry on. I've been fortunate in being able to do that. Life is a lot easier for me than it was for my parents. Jordan mation at all. Who are the artists you admire? Rathje I wouldn't say there was just one. There are various people who have excited me at various times. A lot of them are women artists. I'm not a feminist. I don't make a point of going to only women's shows or anything like that. I just happen to have fallen in love with certain women artists' work. And when you find out that a piece of work that you like is by a woman, it's wonderful, because women have been so underrepresented in art history. At the Vancouver Art Gallery a few years ago there was a woman called Aganetha Dyck, a Manitoba artist. Her works were done in wax. I went back two or three times because it was so exciting. The wax was put there by the bees. She would set up these constructions and let the bees go to work and build honeycombs. She had wedding dresses, and a series of purses. The sensibility and the different material made that a really memorable show for me. Among printmakers, Jim Dine was an early influence. But it's not just one person. Jordan When I think about it, there are female artists who stand out. But the biggest influences have probably been male. That's just the way it happened. I liked Robert Rauschenberg. And Marcel Duchamp -- for his irreverence. With the computer Jordan found she could work with up to thirty layers at the same time Jordan's Nightwatchman: a stepping stone or portal into knowledge she felt was there We always had a lot of music in our house, but I was the only one who drew as well. I did a lot of portraits. In fact I still consider everything I do to be portraits -- a deeper kind of portrait, but still a portrait. I was in a little town of two hundred people on the Prairies. There really was no art information, no teaching. It was a Roman Catholic communit, and, oddly enough, it was the nuns who noticed that I really liked to draw and would get me to do things for the church - Stations of the Cross, things like that. They would encourage me that way. Actually, when I think about it, they were very supportive. If it May | June 11