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International publication 'It's Freezing in LA!'
Issue 9, May 2022

I was approached by this magazine to submit an illustration to accompany 'Nature Reframed: the importance of disabled perspectives', an article by poet and essayist Elspeth Wilson. Art Editor Nina Carter had particularly liked my wide-angle panoramic views and wanted an image of nature from indoors looking outdoors to go alongside the written piece. They chose one of my Japanese drawings of a view from inside the tea house looking out into the gardens.

Holding magazine

This picture shows my hands holding the open magazine with my drawing across the top of the double page spread.
View from the Tea House Japanese garden ink and watercolour on paper. Detail from a 4m long panoramic drawing on folding Japanese Calligraphy book.


It's Freezing in LA!, an independent magazine about climate change
Picture of portrait format cover, May 2022


Double page spread of the article by Elspeth Wilson

Double page spread of my drawing and second part of the article underneath

Here is a pdf of the article.

For those who are interested, the title of the magazine comes from this direct quote from Donald Trump denying climate change in 2013: “Ice storm rolls from Texas to Tennessee – I'm in Los Angeles and it's freezing. Global warming is a total, and very expensive, hoax!”

It's Freezing in LA! is a critically acclaimed independent magazine printing environmental slow journalism. Published bi-annually, we find the ground between science and activism, inviting writers and illustrators from a variety of fields to give us their view on how climate change will affect – and is affecting – society. We want to help untangle the environmental tensions and choices that humanity must navigate by platforming as many different perspectives as we can find. IFLA! provides original, engaging and surprising content, widening environmental discussion and platforming essential conversations about difficult topics.

Visit It's Freezing in LA! On @itsfreezinginla and their website.

International work

Not Born Yesterday, Not Going Away.

A PART OF TORONTO'S CoMOTION FESTIVAL 2022, April 20th to May 1st, 2022.

The vitrine exhibition I am part of will be on show until September the 11th 2022.

The exhibition consists of eight vitrines (glass display cases), located in the west corridor in Harbourfront Centre’s main Artport building at 235 Queens Quay West in Toronto.

HarbourfrontPhoto by Brian Medina

I was chosen as one of eight artists to be featured in this exhibition. I made work to honour Edgar Degas, inspired by the rusty reds he used in his later work. My work features in one of eight vitrines displayed along a wall at the Harbourfront Center at Toronto. The interior of each vitrine measures 93cm L x 93cm W and 39.5cm deep.

Photo by Luigi Discenza
Photo by Luigi Discenza
Photo by Luigi Discenza

Here is some information about the exhibition and my project.

Bringing together the dynamic and creative expressions of the Deaf and disabled communities, CoMotion is celebrating bold new work through its energetic multidisciplinary programming. Curated by renowned Canadian playwright, actor and disability arts advocate Alex Bulmer, CoMotion features a diverse series of engaging performances, events, visual art exhibitions, workshops and panel discussions.

Not Born Yesterday, Not Going Away celebrates the long history of Deaf and Disability Art, connecting living artists with their chosen ancestors- an opportunity to create across time, to honour those who have shaped our present, and to move forward with a strong sense of collective history.

For more information, go to CoMotion or
Not Born Yesterday, Not Going Away

Degas Red

My project is in response to the colour palette of Edgar Degas (1834–1917).

Sally with DegasPhoto of Sally at the National Gallery looking at a Degas painting called ‘Combing the Hair’.

Combing the Hair c. 1896 hangs in London’s National Gallery. I’ve grown up with this picture. The print we had at home now hangs over my fireplace. It depicts an intimate scene of a young woman having her thick mane of flame red hair combed. The colours are audacious, predominantly oranges and hot rusty reds that shimmer out of the brush stroke edges of the picture.

Degas was already starting to lose his sight by the time he did this painting. But, he adapted, and his paintings became looser with less detail, his pastels rougher, and eventually, he abandoned painting in favour of sculpture.

The barren landscape on the North Cornish coast has big skies and mineral-rich red earth. I worked directly outside, developing a series of paintings and concertina sketchbooks. All Degas’ colour palette from Combing the Hair was there – ochres, rust red and vermillion. I incorporated iron oxide and mud I collected on-site into some of my paintings to create that Degas inspired red.

Fast skyFast Sky with Orange and Red, 2022
Acrylic on watercolour paper 55.88 x 76.2cm

I also collaborated with audio describer Rebecca Singh from Superior Description Services who made recordings for all the vitrines. To hear the recordings of my work other artists works, follow this link or QR code.

QR code

See more of my work for this project on my gallery page and on instagram.

Taking Out The Roasted Veg by Sally Booth
Taking out the Roasted Veg, Christmas 2021 by Sally Booth
Pencil crayon, acrylic and oil pastel on paper.
H 24cm x W 30cm landscape format.

This year I was commissioned by VocalEyes to create this picture for their winter newsletter with a description (below)

This painting shows a large baking tray of colourful hot roasted vegetables. The tray is viewed from above and takes up most of the picture. It is black, rectangular and slightly battered and wonky with rounded corners and a rim. On the tray are strewn a haphazard jumble of root vegetables.

Bright orange wiggly carrots cooked whole with pointy ends, knobbly parsnips in their skins, all yellow and honey gold, red onions chopped lengthways into large chunks to reveal layers of caramelising stripes of magenta and purple. The roasted vegetables contrast brightly against the bottom of the black tray.

The tray is being held either side by a pair of heavy-duty black oven gloves. The thick thumbs of the mitten style gloves clutch the sides of the tray and the long black sleeves are cropped by the bottom of the picture. This composition suggests that it is the viewer who is wearing the gloves and holding the tray.

The background of the picture is painted purple violet. The gloves are outlined crudely with thick orangey red pastel. The rim of the tray has a rusty orange glow. This emphasizes a sense of heat, and contrasts with the purple background. It is as if the baking tray of piping hot vegetables has just that moment been taken out of the oven.

2021 Highlights

This year in between lockdowns I've managed to have a few episodes of work in real life. I got the chance to work at the Arnolfini in Bristol and at The Box in Plymouth, and did my first workshop with Year 2 children at Orleans House Gallery. I also had the pleasure of working with staff at Farleys in Sussex, home of Lee Miller and Roland Penrose.

There was no Open Studio this year, but we did manage to have an outdoor Art Fair in the grounds of the park, and survived the deluge!

One of my artworks was chosen to go on a series of banners on Wandsworth lamp-posts. Mine was by the bus stop opposite Tooting Market.

I managed to get down to Cornwall in November to do some more painting of the empty landscapes. And this winter, I'll be using these to work on a commission to fill a vitrine as part of the CoMotion Festival at the Harbourfront Centre in Toronto in 2022.

VR project with Andrea McSwan

More Than Meets The Eye. A VR animation made by Andrea McSwan based on conversations with me about my sight and drawing on the tube.

Trained in theatre and film design, Scotland based animator and art director, Andrea McSwan, is based in Dundee. Her practice-based PhD study, More Than Meets The Eye, explores how animation, created and viewed in virtual reality, can represent the perceptual-experiences of three professional artists with sight-loss.

Here is the full film with Sally featured in the first 4 minutes.

Throughout the year I have been making drawings of the deserted tube through the Covid period.

Studio Tour

Studio tour from digital:works on Vimeo.

A short video of concertina sketchbook COVID tube drawings in Sally Booth’s studio. Displayed informally on a long shelf, and filmed from left to right, Sally walks and talks us through a selection of deserted stations, platforms and tunnels drawn during various periods of lockdown.

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