Many artists attempt to capture light in their work. They try to emulate it via high key colours of opaque media or with glossy glazes over dark rich hues. Either way they want to trap light so it will serve their purpose. Broadhurst doesn't try to capture light, instead she invites it onto the surface of her mixed media works and allows it to play freely to create its own effects.

Corrugated card and  textured gold paper are cut into squares, rolled into narrow tubes or curled into flanges to create flat or three dimensional collages that challenge the viewer to look on, into and beyond the surface of the work. Broadhurst's art has a certain ordered complexity, a correctness to it all without neglecting flights of fancy or visual illusion.

There is a reference to Vorticism implied in the design of the series Points of Reference. Here textured gold paper is cut into rectilinear and triangular shapes; some are layered, others scored with words or scribbles. They are separated by straight black lines to create a sense of crystalline facets. When light falls onto the surface it sings like a hopeful miner's song. On the opposite wall the patterns appear to be repeated in the series Sweet with Colour only this time in combinations of orange and blue or yellow and green that hum a softer tune.

The series Point of View reminds us of Vasarely's optical effects. The series involves three separate but related collages; two smaller equal sized works flank a central larger exhibit. Each is composed of corrugated card cut into 60mm squares placed in alternating horizontal and vertical alignment. The card appears to have been sprayed with warm hues and splashed with black calligraphic marks prior to being cut and pasted onto the surface. As we approach the exhibits or view them from different angles they tease the eye and seem to move. They invite us to look for and find what we want. First we see a pattern in the placement of the colours, then it's gone. The whole is gold and silver, now it's copper and bronze. We can examine the perfection of the grid or play with the light as dances on the surface. The kinetic effect is continual and intriguing if not hypnotic.

The same grid pattern of Point of View is repeated in two large canvases Untitled. Here the corrugated card is replaced with 60mm squares of four brushstokes in black and graduated hues. The alignment of vertical/horizontal is maintained and if the light doesn't dance, the colour and  pattern certainly plays with the eye as we move about the gallery.

Broadhurst's work is intelligently conceived and meticulously constructed so as to give the most satisfaction to the viewer. It is art that is calculated to invite light to activate the surface and intrigue the eye so as to provide a fascinating visual experience.