Sandra Blow was widely exhibited abroad throughout this time, establishing the international profile that her cosmopolitan outlook warranted. Participation in peripatetic displays of contemporary British art saw her work promulgated in Italy, Holland, Germany, the United States and later Australasia.
In 1957 Sandra Blow featured in the first John Moores biannual exhibition in Liverpool and was included in the Young Artists Section at the Venice Biennale the following year. She won the International Guggenheim Award in 1960 and won second prize at the third John Moores exhibition at the Walker Art Gallery in 1961.
In 1960, having returned to the capital, Sandra Blow acquired a large studio at Sydney Close in Kensington, where she worked for the next 24 years. In 1961 she started a 14-year stint teaching at the Royal College of Art. Although painters like Jennifer Durrant, Gillian Ayres and Joan Mitchell shared with Blow ambitious scale and expressive dynamism, she stands alone as the earliest and most original woman painter in Britain able to challenge the bar-room "macho" cult associated with free, informal abstract painting.
In moving to St Ives during the mid-1990s, Sandra Blow came full circle, reinvigorating a Cornish art scene bereft of the glories she had sampled 35 years before. She exhibited locally but also fulfilled her obligations as a Royal Academician, participating in every Summer Exhibition at Burlington House, where she enjoyed a retrospective in 1994 at the newly built Sackler Galleries.
CCA Galleries had the great pleasure of working with Sandra Blow for over seven years before her death and in that time have published many stunning silkscreen prints with collaged elements and textures and glazes. Her uncompromising approach pushed printmaking techniques to new boundaries with the introduction of Hessian, film and cloth; the prints are almost sculptural.