Growing up in a holiday destination, small, seaside town it is not surprising that much of Day's work has referenced the sea, the beach and the littoral. In the Citadel and another series of paintings called Fortress that she worked on she found that the canvases echo the marks, lines and shapes that she made in the wet, grey sand of her home town beach: thus the canvas becomes the beach that acted as the canvas of her child-hood.
Acting as her playground the beach provided space for mark-making, inscribing names and strange messages to the gods, hop-scotch, drawing out goal posts or marking out our own particular spaces.
Along with scratched childhood messages to the gods, her childhood castles in the sand were built to keep out the marauding tidal waters; today, she believes, these tidal images represent something more sinister referencing an incoming wave of bigotry and intolerance. And whilst these are not overtly political works she finds within them a questioning on the notion of place, identity and belonging.
Her Shades of Green paintings are 'doodles' that are very much about the structure of the land and how man, the gardener and the farmer are architects of all they sow.
