It’s a process.
Please visit my blog posts to see and read the stories of my new work; the latest story about the painting called ‘Wake up call’ (above) is here:
In 2016 I lost my voice; I made only two paintings. One was a gut self-portrait response to the #Brexit vote result (painted in just a few days) and the other a slow burning work called ‘Woman with pink stars’ that took months to feel complete. You can read about the painting called ‘After #Brexit’ here:
These five paintings came from a deliberate observation of emotions felt ‘after the milonga‘. That is to say, not so much ‘after dancing tango’ as after the whole experience of attending the tango dance event itself ( I spend many hours a week at the milonga in Buenos Aires; such is la vida milonguera). The paintings transit the final months of 2015. Please read their story on my blog here:
2015 After the milonga / Después de la milonga
This group of paintings were born in the world of tango in Buenos Aires and are the first I made after my experiment with the expressionist drawings below. Please read the story of ‘the darker side‘ paintings on my blog (in English y en castellano), here: sallytownsendblake.com/2015/10/16/the-darker-side/. SAL.
2015 the darker side / el lado más oscuro
I made these expressionist drawings after visiting Blind Spots, the Jackson Pollock exhibition at Tate Liverpool. Seeing his ‘black and white’ works and some paintings in the next room by Willem de Kooning released something in me. I must not be afraid to express what I am compelled to say in paint, what comes up when I am not thinking, what the paint drives me to make. I made these one a night before sleep (at times exhausted from the day), they are just simple crayon sketches but they have led me on. Part of the process. SAL.
2015 27 expressionist drawings
I wrote three blog posts to accompany these SALchemy paintings in a time of building up to seeking a deeper sense of authenticity (living and expressing my truth) in my own life, if you would like to read them they are here:
The paintings were a first attempt at letting the work come from a deeper place within me rather than from something I was actually looking at. SAL.
2015 SALchemy paintings
I made these paintings that I might loosely describe as ‘mindscapes’ from physical still life set ups of toys. The series was begun at the Slade Summer School in London where I spent two weeks. I understood the concept of building ‘bodies of work’ on a theme, and I pushed to find ways to express my feelings and emotions using the toys. SAL.
2014 the 4th year
The key paintings in 2013 (for me) were the nudes. They were made from life and I wanted to use strong colour to connect myself with the figures I was painting. When I painted them I felt I was really painting myself and my emotions. The nudes led me to feel that I want human bodies in my work. I also painted my husband, Carlos. Human faces are important for me too, I learn I want to be able to convey the human life story, but how? SAL.
2013 the third year
This was a time of early exploration with acrylic paint, and I painted my immediate environment. My family. Shropshire. Buenos Aires. I had an obession with the ‘NO HI HA SOMNIS IMPOSSIBLES’ tower (1907, Eduardo Rodríguez Ortegaon, Avenida Rivadavia). I learned about working with the paint (fingers, cards, brushes, some collage) and a limited palette. SAL.
2012 the second year
The beginning. I tried to paint the energy I felt in a situation or person. Simple acrylic paint sketches of whatever or whoever came into my path. My mum was dying, I painted her in the Severn Hospice, I felt compelled to do it. Painting was the last gift she gave to me, and the first painting I ever made (the portrait in red and green) was of her when she was struggling with her illness. I love you mum, and every painting I make is for you. SAL.