{"id":1565965,"date":"2025-07-23T00:01:41","date_gmt":"2025-07-22T23:01:41","guid":{"rendered":"https:\/\/www.jacksonsart.com\/blog\/?p=1565965"},"modified":"2026-03-31T16:11:54","modified_gmt":"2026-03-31T15:11:54","slug":"sandra-cavanagh-transposing-thought-and-feeling","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2025\/07\/23\/sandra-cavanagh-transposing-thought-and-feeling\/","title":{"rendered":"Sandra Cavanagh: Transposing Thought and Feeling"},"content":{"rendered":"

Sandra Cavanagh won the Oil Award in Jackson\u2019s Art Prize this year with her work Death of Hector II<\/em>. In this interview, she discusses finding form in current events, feeling bereft when not working, and the fast dab of an unexpected decision.<\/p>\n

Above image:<\/strong> Sandra’s painting studio<\/small><\/p>\n

\n
\"Sandra
Death of Hector II<\/em>, 2023
Sandra Cavanagh
Oil on canvas, 183 x 183 cm | 72 x 72 in<\/figcaption><\/figure>\n

Josephine: Could you tell us about your artistic background?<\/strong><\/p>\n

Sandra: I grew up in Argentina, within a deeply patriarchal and conservative culture, where democracy was imperilled by coups d\u2019\u00e9tat, terrorism, and military rule. I witnessed the uncertainties of life in a police state where unchecked uniformed authority inevitably causes a breakdown of trust in the institutions of government. Early on, I cultivated an interest in a courageous, opinionated art, and to date, social injustice, violence, and gender inequality continue to drive the narratives developed in my work. Most recently, I\u2019ve focused on the use of myth to comment on sociopolitical issues. The work evokes ancient and current power structures and the stresses these cause. <\/p>\n

I\u2019m interested in the enduring nature of cross-generational stories in popular media and their use to contextualise public and private elements of our lives through the ages. I read Social Sciences at the University of Belgrano in Buenos Aires, and later completed a Foundation Degree Course in Fine Art and a Bachelor’s Degree at the Kent Institute of Art and Design (K.I.A.D.), University of Kent, UK. I\u2019ve maintained a consistent practice ever since, now living and working in New York. <\/p>\n

\"Sandra
Sandra in the studio<\/figcaption><\/figure>\n

Josephine: What does a typical working day in the studio look like for you? Do you have any important routines or rituals?<\/strong><\/p>\n

Sandra: I\u2019ve configured a live work situation for myself. I divide my time between three studios. A third of my home in Brooklyn is a workspace divided into two studios \u2013 one drawing studio and one larger painting studio. The third studio is in Litchfield, Connecticut. This way I\u2019m not constrained by travel or commuting needs; my days are mostly spent at work. I have no routines and no rituals unless you count making tea or coffee, which I consume in fairly large quantities. <\/p>\n

During the first weeks of my Foundation in Fine Art, we were introduced to The Cup Theory. Do something with a cup, they said. It was the first understanding I had of creative thinking and problem solving, and has remained at the core of the first steps of every project I embark on. Perhaps that too, may count as a ritual, in thinking at least. <\/p>\n

\"Sandra
The Cockfight<\/em>, 2024
Sandra Cavanagh
Oil on canvas, 152 x 183 cm | 60 x 72 in<\/figcaption><\/figure>\n

Josephine: Which materials or tools could you not live without?<\/strong><\/p>\n

Sandra: Where to begin with this question? It\u2019s a difficult answer to synthesise. I work in a variety of media, each with a purpose and a different set of problems and solutions integral to the process of making the art. Getting the thing to work is part of it. <\/p>\n

Paint has a sensuality all of its own, and of course, satisfies the issues and challenges of colour. I draw a lot too, spontaneously in subways and lobbies, and in calculation when constructing a narrative or laying down a drawing for print. Each process and set of materials brings its own gratification, sometimes calls for other processes and materials, and so on. <\/p>\n

I use brushes and knives and my fingers and nails when painting with oils, always on stretched canvas, or canvas on board. I sometimes spray thinners on the paint for obvious results. I love paper, watercolours and inks, pencils and soluble pigments, brushes, sharp graphite pencils, and very fine quills for detailed work. What couldn\u2019t I live without? <\/p>\n

\"\"
Materials<\/figcaption><\/figure>\n

Josephine: Do you work from a reference? What is your process?<\/strong><\/p>\n

Sandra: Straightforwardly, it\u2019s the events of our time, the day-to-day awareness of news both near and far, and the need to speak out. Alongside that daily digest, I\u2019m interested in the recurrence of old narratives, told in various forms across geography, culture, and generations. Their function is in fictionalizing historical events, in supporting one group over another, and in providing aids to understanding the difficulties in our own psychology and interpersonal relationships. <\/p>\n

My impulse towards a certain series begins with a piece of literature or the experience of citizenry, usually one in service of the other. I\u2019ll begin to work a concept through sketches, seeking new figurative expression for whatever narrative is at hand, to heighten the pictorial drama. The process may end in a series of graphite or ink drawings, lithographs, or paintings. Usually, an idea will develop into a series comprising various media. <\/p>\n

\"Sandra
Self, June 2025<\/em>, 2025
Sandra Cavanagh
Oil on canvas, 112 x 132 cm | 44 x 52 in
<\/figcaption><\/figure>\n

Josephine: Do you regularly draw or keep a sketchbook? If so, how does this inform your work?<\/strong><\/p>\n

Sandra: I carry a sketchpad everywhere. \u201cCarry a sketchbook and you\u2019ll never be bored\u201d, said one of my art school tutors, and how true this is. In my case, it’s to carry an idea and a sketchpad, and let mind and hand ruminate over concepts from one to the other. My favourite spots are half-empty subway cars, waiting rooms, theatre bars, and museum cafes. I carry a few pencils, these are Copenhagen Blue, Poppy Red, and a Naples Yellow in watercolour pencils and an HB graphite pencil, a sharpener just in case and an eraser. Then there are further drawings developed on my workbench, sometimes on little scraps along the way and then on hot pressed smooth white watercolour paper. I owe my art school for encouraging the practice of drawing to work through ideas and form.<\/p>\n

\"\"
Drawing studio<\/figcaption><\/figure>\n

Josephine: Have you ever had a period of stagnation in creativity? If so, what helped you overcome it?<\/strong><\/p>\n

Sandra: I haven\u2019t experienced such. I feel bereft when not working for any length of time, and even when travelling, I\u2019m never without the studio in my head. And of course I carry that sketchpad and pencils, so I\u2019m always able to have work on the go. That pouch is a veritable take-out\/carry with me studio. I perhaps owe this consistency to the nature of the work I do. Its origins being my own experience and thought thereof means I always have a reason to make something. The process of transposing thought and feeling into a work of art is, therefore, constant and necessary to me. I guess the impulse could dry up, pray not though. <\/p>\n

\"Sandra
Las Moiras<\/em>, 2020
Sandra Cavanagh
Oil on canvas, 152 x 122 cm | 60 x 48 in
<\/figcaption><\/figure>\n

Josephine: Are there any specific artists or mentors who have inspired you?<\/strong><\/p>\n

Sandra: I enjoy virtuosity in art, whether in Titian, Gentileschi, Rembrandt, and so many others, the risky composition of Bronzino\u2019s An Allegory with Venus and Cupid<\/em>, the complex compositions of Tintoretto\u2019s Scuola di San Rocco<\/em> paintings, there\u2019s much to learn from. Then there\u2019s the work of Hokusai, Kuniyoshi, and the Japanese artists who upended European notions of perspective and composition. And those who\u2019ve shown great courage in embracing new forms, the Modernists, the work of the German Degenerates, the drive in Abstract Expressionism. <\/p>\n

Principally, I have a long-held interest in the trajectory of narrative painting from year dot, so you could rightly say my influences are broad. I\u2019ve turned to iterations of age-old mythology to comment on current socio-political tensions, ancient and contemporary power struggles, and the pressures they generate for those of us living, observing, and suffering such dynamics. I\u2019m drawn to these stories as they continue to find form in popular media, the face of entertainment for sure, but always to the service of human psychological experience. I may call their creators a fundamental source of inspiration. <\/p>\n

I\u2019m interested in self-portraiture too, D\u00fcrer to Freud. I\u2019ve incorporated portraiture and self-portraiture into my own practice. <\/p>\n

\"Sandra
After Eden III, Fratricide<\/em>, 2024
Sandra Cavanagh
Oil on canvas, 152 x 183 cm | 60 x 72 in
<\/figcaption><\/figure>\n

Josephine: What were you thinking about or exploring at the time you made Death of Hector II<\/em>? What inspired it, and how did it come to be?<\/strong><\/p>\n

Sandra: Some of the motivation for this painting was political, and my distress and frustration over the unfolding wars. As I\u2019ve said above, I hold a long interest in art that speaks of the human experience, both public and private. Another was a pictorial challenge to contemporize a story that continues to find form in current events. The slaying of the Trojan hero Hector by Achilles in Homer\u2019s epic poem The Iliad<\/em>, is here set amongst contemporary characters to describe the perennial nature of violence and the seemingly futile loss of life in war. The story of such sacrifice is told generation after generation and persists in the narratives of science fiction, fantasy, and historical literature. It\u2019s reimagined and repackaged in film and in gaming, and continues to serve to the exposure of violent death in politically sanctioned conflict. <\/p>\n

Death of Hector II<\/em> comments on the relationship often drawn between art and mythology. Greek myth, folk, and fairy tales are no strangers to the efforts of artists concerned with the events of their lives and times, whether in protest or celebration, or referencing personal struggles or triumphs, and they find fertile ground in all forms and disciplines, music, the written word, and the visual arts.<\/p>\n

\"\"
Litchfield Studio<\/figcaption><\/figure>\n

Josephine: Why did this piece feel like the right one to submit?<\/strong><\/p>\n

Sandra: The painting is exemplary of my formal concerns and epitomizes a direction my work has purposefully taken in recent years. If I may take a third person\u2019s view here, I consider it successful in marrying pictorial drama with a strong message, it expresses a singularity and maturity appropriate to a submission of the prestige of Jackson’s Art Prize. Form, colour, the variations in knife and brushwork and application of the oil paint, the compositional distribution of figures and the liberty of their proportions come together in a harmony of force. It was well received critically in the exhibition and seemed a fit candidate. <\/p>\n

Josephine: How did it feel to move through the stages in the competition and win the Oil Award?<\/strong><\/p>\n

Sandra: What an honour! Every step brought a little hope and offered the opportunity to enjoy the work of others. I felt privileged to be in the company of such calibre. The Prize is both endorsement and encouragement, a help in one\u2019s daily struggle with affirmation. It also brought me great joy to discover that the work found resonance in others. Lastly, the material aspect of the Prize in my chosen form of Michael Harding oil paints is a huge and terrific addition to my studio. <\/p>\n

\"Sandra
Beautiful Objects on Studio Table 5<\/em>, 2024
Sandra Cavanagh
Oil on canvas, 31 x 41 cm | 12 x 16 in<\/figcaption><\/figure>\n

Josephine: Your work has a theatrical quality in elements like the lighting, compositions, and characters\u2019 expressions. Is this intentional, and can you discuss this idea?<\/strong><\/p>\n

Sandra: The theatricality is most intentional. Years ago, I wondered about drawing William Blake\u2019s Songs of Innocence and Experience<\/em>. Given the sometimes abstract quality of the poetry, I decided my approach could only be via its cast of characters. From there, I decided to render them in unison, entering, exiting, or in performance of their parts, imagining a dramatic enactment of the poems as a whole. The result was four pen and ink complex narrative drawings. I followed with a series based on Hesiod\u2019s Theogony <\/em>, which rendered four drawings placing the myth in the setting of classic Greek drama. Rather than anthropomorphizing said cast of characters, I describe them as actors in costume. These drawings I transposed to a short run of hand coloured lithographs. <\/p>\n

Later, I gave similar treatment to Michael Ondaatje’s The Collected Works of Billy the Kid<\/em> in two larger pen and ink drawings set in a film studio. So it went, solidifying my interest in complex narrative compositions and the use of the theatrical and of parts played. <\/p>\n

\"Sandra
The Dressing Room II<\/em>, 2025
Sandra Cavanagh
Oil on canvas, 122 x 183 cm | 48 x 72 in
<\/figcaption><\/figure>\n

Josephine: How did you come up with the colour palette for Death of Hector II<\/em>, and what influenced your choices?<\/strong><\/p>\n

Sandra: There is something inherently organic to the palette of a painting, it grows and usually changes as one colour or pose demands complement, contrast, or heightening. I can\u2019t say I make or stick to first choices. If I start with a certain blue, its hue and temperature will likely change. The painting will become layered, and I think enriched by the process of finding the right relationships. The history of this meandering and looping shows on the surface and adds to its sensuality. Many times, a pictorial situation is resolved by the fast dab of an unexpected decision, a final stroke in dissonance or highlight or diffusing. <\/p>\n

Colours afford aspects of the painting different relevance, a small amount of red in the midst of a quiet palette, for example, will draw the eye to a detail or character, as it does with the figure of Cassandra hiding behind the gurney in Death of Hector II<\/em>. A certain mystery may be created through colour, an opportunity to discover less explicit elements or subjects of the narrative, like the fighting dogs in this painting. <\/p>\n

\"\"
After Eden II, Fratricide<\/em>, 2024
Sandra Cavanagh
Oil on canvas, 183 x 152 cm | 72 x 60 in<\/figcaption><\/figure>\n

Josephine: Are there any new techniques or ideas you’re excited to explore using the materials from your Michael Harding prize?<\/strong><\/p>\n

Sandra: I\u2019m honestly riveted to be using my new Michael Harding paints. I love their consistency, some more, some less transparent, they\u2019re fabulous to handle, they carry colour beautifully. This isn\u2019t a grateful plug for the product, though my gratitude is huge, but an honest review. I\u2019ve been able to use these paints before, so I knew what I was getting and leapt at the chance. <\/p>\n

\"Sandra
After Eden VI<\/em>, 2024
Sandra Cavanagh
Oil on canvas, 244 x 183 cm | 96 x 72 in
<\/figcaption><\/figure>\n

Josephine: What\u2019s coming up next for you?<\/strong><\/p>\n

Sandra: I have a solo show planned for the fall at The Annex Gallery, Indiana University of Pennsylvania. I\u2019m producing a new series of drawings and lithographs titled Fairy Tales Revisited<\/em>, offering a contemporary feminist and personal take on these literally marvellous stories. I work with master lithographer Carolyn Muskat at Muskat Studios, Massachusetts, with whom I have a long and fruitful relationship. Turning my attention to the quotidian, I\u2019m also halfway through producing a new series of large narrative paintings which I\u2019ve titled The Dressing Room<\/em> and accompanying pen and ink drawings on paper. These are a musing on the choices we make in our dress, the efforts to reveal or hide within, the chances they afford flamboyance and freedom from stereotypes. I\u2019m always in the studio and always seeking new opportunities. <\/p>\n

Follow Sandra on Instagram<\/a><\/p>\n

Visit Sandra\u2019s website<\/a><\/p>\n

\"\"<\/a><\/p>\n

\n

Further Reading<\/h2>\n

Meet Eleanor Johnson, Winner of Jackson’s Art Prize 2025<\/a><\/p>\n

Jackson’s Art Prize 2025 Exhibition at Affordable Art Fair<\/a><\/p>\n

How We Collaborate With Artists<\/a><\/p>\n

Expert Advice on Making Your Way as an Artist<\/a><\/p>\n

Shop Oil Painting on jacksonsart.com<\/a><\/strong><\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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