Sonia Lawson R.A
1960s
From the mid 60s to the mid 70s I felt myself to be an artist of conscience and accountability; a witness.
Figure at Dawn Homage to Moliere and Watteau
“Lawson is concerned with the actual quality of brushwork. There is something deliberately public and oratorial about her paintings, though they are also, and paradoxically, domestic.”
Separation at Dawn
1970s
Works of that period are from a limited palette, concentrating on the gravity of the subject matter, eschewing beguiling colour as inappropriate to the case.
1980s
View Works from 1960s View Works from 1960s View Works from 1970s View Works from 1970s View Works from 1980s View Works from 1980s
My interest is to solve the difficulty of using recognisable imagery, yet having the freedom of abstraction, evading the  strictures of narrative, yet still using, say, a boat, a tree, a figure if I want to, and if I use them it is important to simultaneously try and break the bounds of familiarity
1990s
2000 to present 
View Works from 1990s View Works from 1990s
My recent scoring of the surface, making runes with the brush handle in the paint and cutting into the thick layers with a blade are beginning to take on a primitive, basic clarity, while the paint is a sophisticated, crafted surface worked on over a long time. The combination is a positive piece of building. Now all subject matter can hold its own subjective reality and I am currently working within the broad scope which this allows.
Shore Notes from a Secret Diary View Works from 2000 + View Works from 2000 +
“I don’t believe Francis Bacon has done anything more disturbing”   - Carol Weight, Lawson’s tutor at the Royal College of Art, discussing Sonia Lawson’s painting ‘Figure at Dawn’
Figure at Dawn c.1966 - 67, oil on canvas, 183 x 153 cm
Separation at Dawn 1970, oil on canvas, 153 x 122 cm
Homage to Molière and Watteau 1981, oil on canvas, 198 x 153 cm
Currently I want the paint to have its own indulgence; oil, pigments, colour, honed and wrought - not just gestural notations, but something made and ‘built’: growing and filling out like a fed thing.
Shore 1994, oil on canvas, 89 x 169 cm
Notes from a Secret Diary 2005, oil on canvas,  91 x 71 cm
Sonia Lawson R.A
1960s
From the mid 60s to the mid 70s I felt myself to be an artist of conscience and accountability; a witness.
Figure at Dawn Homage to Moliere and Watteau
“Lawson is concerned with the actual quality of brushwork. There is something deliberately public and oratorial about her paintings, though they are also, and paradoxically, domestic.”
Separation at Dawn
1970s
Works of that period are from a limited palette, concentrating on the gravity of the subject matter, eschewing beguiling colour as inappropriate to the case.
1980s
View Works from 1960s View Works from 1960s View Works from 1970s View Works from 1970s View Works from 1980s View Works from 1980s
My interest is to solve the difficulty of using recognisable imagery, yet having the freedom of abstraction, evading the  strictures of narrative, yet still using, say, a boat, a tree, a figure if I want to, and if I use them it is important to simultaneously try and break the bounds of familiarity
1990s
2000 to present 
View Works from 1990s View Works from 1990s
My recent scoring of the surface, making runes with the brush handle in the paint and cutting into the thick layers with a blade are beginning to take on a primitive, basic clarity, while the paint is a sophisticated, crafted surface worked on over a long time. The combination is a positive piece of building. Now all subject matter can hold its own subjective reality and I am currently working within the broad scope which this allows.
Shore Notes from a Secret Diary View Works from 2000 + View Works from 2000 +
“I don’t believe Francis Bacon has done anything more disturbing”   - Carol Weight, Lawson’s tutor at the Royal College of Art, discussing Sonia Lawson’s painting ‘Figure at Dawn’
Figure at Dawn c.1966 - 67, oil on canvas, 183 x 153 cm
Separation at Dawn 1970, oil on canvas, 153 x 122 cm
Homage to Molière and Watteau 1981, oil on canvas, 198 x 153 cm
Shore 1994, oil on canvas, 89 x 169 cm
Notes from a Secret Diary 2005, oil on canvas,  91 x 71 cm