Oil is my primary means of expression, but I also work with graphics, guache, and water colors. My creative work is based on my presence in the process. A line, a silhouette or a color may be the point of departure. And what I find so exciting is the very process of building the image: finding a response in the picture, settle on the right balance and palette. To me, colors are extremely important. It is often a matter of trying to capture something that ends up as semi-abstract landscapes and figures or wholly abstract pictures. Pictures that often make you think about life and the encounter with others.

Excerpts from Selected Reviews:

In Sandvall we find an almost spatially intangible treatment of light. The intricate construction of Sandvall’s pictures naturally includes people – people who interact and converse with each other. But to me, the truly central thing is her depiction of the reflections of light, its gleam and its flashes. Landscapes devoid of human beings, in which the pictorial space has been left vague, unresolved and diffuse. And whose idiom evokes steep escarpments. Where the forms have been reduced to large, razed squares, rectangles and cross streaks in various collage-like combinations…
Sandvall’s strongest suit is her treatment of color. Live, faintly shimmering, impure surfaces of color are built up, layer upon layer. Transparent layers on top of more lavishly applied ones. Light ones on top of dark, cool on top of hot. And the other way around. The surfaces have sometimes been worked, for instance scratched with the brush handle for greater effect. Sometimes the in-between spaces are left untreated. The overall impression then becomes lighter, more graceful. It speaks of a seasoned water-color painter!
Stig Knutsson www.silvergenen.se, 2 March, 2009

The pictures are basically landscapes or human figures but here reduced to simple shapes. But art is more than just solving the problems of color and form or it would be nothing more than a crossword. It has to be taken to a point where life arises under the brush. And if there is life, then there is communication between the work and the viewer. How does this come about? It is a secret – often to the artist himself or herself – but it is the essence of art. When it comes to Lisbeth Sandvall’s paintings at Bolin & Bastard, they seem to have reached that point. They have been thoroughly worked to high quality.
Östersundsposten, 16 December, 2008

These paintings derive their inspiration from situations and events in daily life even though they are not strictly representative. The landscapes do not consist of earth and sky but rather of colors which interact on the canvas to form a whole that my eyes perceive as a landscape, a mood in a space.
In the same way, the figures do not portray individual human beings but are rather the symbols of human beings. Their encounters take place in groups of three or four thus giving rise to tension.
Smålandsposten, 7 December, 2005

Her paintings tend toward the abstract and contain that which may only be suspected and are filled with strong colors. They seem to have a life of their own.
Södermanlands Nyheter, 12 November, 2005

…Sandvall often interprets human encounters. These are probably her strongest canvases, and I am especially captivated by her small pictures. She describes the reality she sees in an integral and concise way, like the brilliant colorist she truly is.
Jönköpings Posten, 8 February, 2003

There is no doubt that Lisbeth Sandvall has left representative art behind. Instead, she leaves it to the viewer to decode the picture with the aid of his or her senses. She clearly knows how to captivate the viewer at a deeper level through her art. The colors are balanced and offer free play to the imagination which is helped along by the fanciful titles of her works.
Nya Ludvika Tidning, 11 April, 2000

A couple of new names pop up. Lisbeth Sandvall from Växjö is a pleasant surprise – a colorist whose oil paintings display wonderful colors and great imagination, Of these, Vågspel is especially impressive. (Review by Sydosten, a juried exhibition at Kalmar Art Museum).
Smålandsposten, 4 September, 1993