Month: June 2020

Winter Rain. 2019. A/C. 40x30cm

Francine Scialom Greenblatt
Winter Rain. 2019. Acrylic on Canvas. 40x30cm

In a seemingly other lifetime, I used to sit in traffic with irritation and impatience. My desire was to transform that negative energy in the knowledge that painting redeems the unbeautiful.


I have often struggled with the notion that the most horrific idea or event cannot be equalled or even approximated by artists. The documentary is probably one form that is the most successful. As a painter, I feel helpless addressing awful universal tragedies. It seems that artists can only allude to ideas of race, gender, health and economic inequalities. Only through engaged political activity and commitment can one make a difference.


I can only offer a place of refuge where paintings resonate with ideas and emotions that speak to the viewer with poignancy.

As Above, so Below. 2019/20. A/C. Diptych 160x100cm

Francine Scialom Greenblatt
As Above ,so Below. 2019. Acrylic on Canvas. Diptych. 160x100cm

At a glance, it seems that two land/sky scapes are the mirror image of each other. However, top and bottom of this diptych are different, suggesting that our attempt at touching our higher selves is not always as simple as imagined. 

Floating. 2019. O/C. 76x121cm

Francine Scialom Greenblatt
Floating. 2019. O/C. 76x121cm

A floating Tantric couple appears to levitate over earth and clouds linking the spiritual to the erotic. Subsequently, I removed literal representations of the figure in the work, as I explored the spiritual in Nature

Hover. 2019. O/C. 120x180cm

Francine Scialom Greenblatt
Early work linking the figure to land/sky/sea scape

First large painting to link the figure to land/sea/sky scapes which followed.

As children looking at clouds, we naturally created narratives and endless associations which fuelled the imagination. Skies were magically transformed into fairytale sites of dragons and gargoyles….all endlessly changing in the wind. As an adult, I continued to explore this potential.

This work shows a bird’s eye view of clouds in which can be traced horizontal reclining nudes. 2 black drawn hovering cubes suggest an out of body sensation which one would have tumbling  through space.

Six months ago, who would have imagined that clouds and sky would only be seen from the ground? The lockdown has transformed our relationship to earlier assumptions and arrogance in terms of travel and mobility. 

Last week, Elon Musk linked private enterprise with NASA, and heralded the possibility of commercial space travel. As I watched this historic event on TV, I wondered what the fumes and emissions were doing to the environment. On the one hand, pollution levels improved slightly due to traffic free Corona lockdown, and on the other, we created more damaging gasses elsewhere. Just as technical genius and the creators have stylishly redesigned rocket and gear, I hope that concern for nature has also been factored in.

Not What You Think. 2018/9. A/C. 120x180cm

Francine Scialom Greenblatt
Not What You Think. 2018/9. A/C. 180x120cm

Landscape format is flattened by 2 large feet which are superimposed by an abstract shape in white line in this work. The same drawing is on the trompe l’oeil attached torn piece of paper apparently stuck to work by uneven bit of tape. Initially this work incorporated a figure which was replaced by this stylising and flattening device. 


The gold paint on feet subliminally resonate with loaded Catholic associations.  Klein-like, ultramarine blue abstracted links in the background bring energy and vitality to the picture plane.


The title: ‘Not What You Think’, re enforces the slippery discourse between feet, links, drawing and text…..just as one begins to construct some logic, meaning slips away. 

Behind the Doors. 2017/2019. A/C. 180x120cm.

Francine Scialom Greenblatt
Behind the Doors. 2018/9. Acrylic on Canvas. 180x120cm

A multi layered work that highlights my interest in the separation between that made public and that which remains private. Nude figures are semi concealed by a large foot on top of which are a series of rectangular shapes which reference previous work.

Here, the bright colours of those earlier abstractions are replaced by a cool palette. The canvas is energised by vigorous surface texture, and the black lines question the relationship between drawing and painting.