As far as technique goes, my work falls under two categories- Stamp-cells and Assemblages.
Stamp-cells are stencilled images in reverse. I take everyday things like ice-cube trays and mushroom punnets, cover them 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 and word snippets that I can leave un-stamped. In addition I use the more conventional technique of stencilling, usually after I've done the stamp-celling. Then finally I glue them onto wood. I've yet to frame any, as I think they're better without, so on the back of each one there's two 2 x 2cm wooden strips and the Stamp-Cell hangs from two nails or screws inserted into the wall and appears to be floating. Mostly the edges are left as they are, sometimes they're painted.
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', because he went 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. You know Joseph Cornell? Similar buzz.
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 me, I will profoundly improve your life and possibly even make you immortal' that all packaging is made to say.
Oils and acrylics also feature in most of the Assemblages. Raw pigments are a thing I've lately been getting around to using - phosphorescent, pearlescent and photochromic, as well as pigment from printer cartridges- lovely, powdery, primary and free, when I come across them.
The end results 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. As Jackson Pollack said, 'The painting has a life of its own.'
If I had to describe why I paint, I would say I paint 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.