Working by artificial light is as interesting as working by natural light. I wouldn't be interested in trying to make artificial light look like natural light, but it is really interesting to use the glare of incandescent or flourescent light as part of the picture, and explore that unnatural world.
Certain places, like classrooms and laundromats and hospitals, have such an unflattering surplus of light that they look like Edward Hopper paintings already. Most things, and people, look prettier when the light is dimmer and comes from the side. In the old 18th century days everyone must have looked wonderful at dinner with all of that candlelight. I think it's something to lament that most places are overlit right now, but that's the style.
A dish of smelts. I painted them much larger than they are in actuality. In real life they are small, some of them no longer than a matchstick. Not long ago I was reading how-to-paint-and-here-are-my-secrets book by a famous living artist,and he wrote, "If you ever paint something larger than it really is, you'd better have a damn good reason." I think there are lots of good reasons to paint something bigger than it is, but I think in the eyes of some representational artists it takes things into the realm of abstraction and becomes taboo or something.