Barbara Sala has often told the tale of how she came to painting by way of piano lessons. Music led to images popping in her head while she played and these images, in turn, to the need to capture them on canvas.  She has also freely spoken of the fact that she initially made use of this new found interest in the context of a therapy, creating image that expressed her thoughts and feelings of the moment.  In so doing, she began an introspective journey which continues to this day.

In the ongoing “conversation” that the artist has been carrying on with herself for the past 30 years, one rule is worth mentioning: her choice never to filter the images that spontaneously come to mind while she is creating a scene.  This choice explains in part the presence in her works of a variety of elements, such as animals and invented beings, which surprise and often delight viewers. But, more importantly, it also hints at the presence of unusual associations and, possibly at times, revelations of unexpected truths.

Early works of Barbara Sala clearly show that she was a naive artist from day one. Painting such as The Terrible Parents, 1984 and Messenger of Light, 1985, although very different in theme and spirit, have all the earmarks of works to follow.  Even though the artist attended some art classes in the course of her career, she has always remained true to her original form of expression.