As far as technique goes, my work falls under two categories- Stamp-cells and Assemblages.
Stamp-cells are stencilled images in reverse. Everyday things like ice-cube trays, car mats, mushroom punnets, I cover these in paint and stamp them onto holiday brochures, mail-order catalogues, magazine pages, anything that already has something printed on it and therefore some colours, images and word snippets that I can leave un-stamped. In addition I use the more conventional technique of stencilling, also with found objects, usually after I've done the stamp-celling. Then finally I glue them onto wood.
An Assemblage is a collage taken a step further with objects stuck to the surface.
Robert Rauchenberg used this technique- he called his works 'Combines', going even more into 3D territory, using car tyres and stuffed eagles and the like. A couple of my assemblages are in the process of being framed in deep-sided box frames, with glass. It suits them and stops dust collecting.
All the work I produce falls under the general title of Garage Art, which involves using things normally found in a garage; gloss paint, emulsion, wood varnish, car spray-paint, household varnishes, all manner of recycled materials, and every type of glue available, to cover surfaces that either came from a building site or a skip, or were on their way to a recycling depot, and had more to say than the initial 'buy this, it will profoundly improve your life and possibly even make you immortal' that all packaging is made to say.
Oils, acrylics and raw pigments also feature in most of the Assemblages. Phosphorescent, pearlescent and photochromic pigments have a lot of potential for experimentation, as well as pigment from printer cartridges- lovely, powdery, primary and free, when I come across them.
Over the years many a circuit board fragment has found its way into an assemblage. I've recently been finding out more about how to build electronic circuits..
The end results of these experiments are very often a surprise to me, it's a matter of following where the paint wants to go, a see-saw of freedom and control. 'The painting has a life of its own', as Jackson Pollock once said.
If I had to describe why I paint, I'd say because I want to melt people's minds. I think this will be a good thing, and I think all art should engage with as wide an audience as possible, and vice-versa, that more people should engage with art and find out what floats their boat, visually speaking.
-----------------------------------------------------------------------------------------------------------------------------------------------------------------