I work mostly at night, and I paint mostly with acrylic, because you can use additives such as interference, iridescent and fluorescent colours . . . quite handy because a lot of my work is about the dark. I add physical texture too: sand, glass, glitter, mica, amber, pearls . . . lots of things that sparkle. I gravitate towards colours that are dense and vivid, and that accentuate gold leaf, which I use a lot of. Gold leaf sticks to anything damp or oily, so using acrylic reduces the risk of it sticking where it is not wanted, too.
My gilding is with 23 or 24 carat gold leaf, silver and coloured silver leaf, copper, white gold and palladium, . . . . More recently I have been working with coloured metal foil, too. In my painting, I am interested in what happens when the light begins to change, when it is not flat or day light; when it is not ideal; when it starts to get dark. Gold and other metals work well in these environments, especially if there are heavy textures underneath.
Found objects from journeys I have made are included, as my work is often about journeys. People are sometimes appalled because, like a vagrant, I am constantly examining what has been discarded by others (although I don't think I look like a vagrant) . . . I also include personal keepsakes from those loved and lost; in my painting, my mother’s odd abandoned earrings become stars and moons; pearls and amber from a broken necklace lay half buried on a storm lashed shore.