Like the chief protagonists of Abstract Expressionism, Blair paints from above her canvas, thus defying a singular direction, and denying a specific interpretation. Her painterly process is characterised by physicality and spontaneity of gestural force. Blair’s palette has no bounds; contrasting and complimentary colours are applied directly from the tube or dropped, drizzled or splattered across the primed canvas. In recent works negative (white) space has appeared, ironically heightening the presence of colour and the tactility of paint. She manipulates the movement of paint across the surface by rotating her canvas and spillling, pouring, slicing and carving her oils to build and excavate the final image.