It’s a process.

2020

C-19 Degrees of Separation 16 favourites SAL SALchemy

Since 15th March I’ve been making an iPad painting a day for joy, for my project COVID-19 Degrees of Separation. I’m sharing these works daily on Instagram with a story about each painting. The project began out of need – mine(!); aside from its shocking impact on every one of us, C-19 stopped my nomadic way of life, put me with my dear 87 year old dad, but separated me indefinitely from other loved ones by 7000 miles. The project is my way to process the experience, to help my human mind and heart survive. I’m sharing the work, because we are ALL now in a time of enforced change; if what I create can help others with the necessary transformation too, I will be glad. (Above are 16 of my favourites from the first 111 days of the project.)

For what’s happening in the ‘now’, follow me on Instagram?

2019

It began with this (the story starts here on The road to Chile):

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Which led to The Joy Experiments. And finally, to this (on the eve of 2020) reflection on Angels and motorbikes. For me, creatively, it was a year when an accident pushed me to me paint with my left hand… and what eventually emerged was a more hopeful, and at times more joyful, voice. What I’m especially glad about is that I wanted to paint and share the story of the paintings, and that I did, no matter what.

2018

Just this… it was a turning point for me.

My friend is the sun

2017

Read about the painting called ‘Balance’ here:

Balance

Here I am hanging out with the painting on Christmas Eve, in soft light:

Earlier in 2017 I made ‘Wake up call’ (below), read about it here:

sallytownsendblake.com/2017/02/10/wake-up-call-by-sal/

dreamscape waking up 2017 by SAL

2016

In 2016 I kind of lost my voice. But I did make a self-portrait response to the #Brexit vote result. You can read about the painting called ‘After #Brexit’ here:

sallytownsendblake.com/2016/06/29/after-brexit/

after brexit paint sketch SAL june 2016

2015

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:
sallytownsendblake.com/2016/01/15/after-the-milonga-despues-de-la-milonga/. Here are three of the paintings:

 

Five paintings were born in the world of tango in Buenos Aires in September 2015 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/. Here are two of the paintings:

 

27 expressionist drawings came in July 2015 from Blind Spots, the Jackson Pollock exhibition at Tate Liverpool. Seeing his ‘black and white’ works and some work in the next room by Willem de Kooning released something. I must not be afraid to express what I am compelled to say, 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. Here’s a sample of the work:

 

Early in 2015 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, they are here:
sallytownsendblake.com/2015/04/05/dance-on-your-magic-path-with-us/
sallytownsendblake.com/2015/04/16/be-seen/
sallytownsendblake.com/2015/05/04/connect-with-your-soul/
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.

2014

In 2014 I made a series of paintings that I might loosely describe as ‘mindscapes’ from physical still life set ups of toys. They were 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. Here’s a sample of the work.

2013 /2012

The key paintings in 2013 (for me) were my 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 wanted human bodies in my work. Here’s a sample of the work:

 

This was also 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. Here’s a sample of the work:

2011

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.