Blow's work was at the forefront of the British abstract art movement of the 1950s. She was one of the most original woman painters in Britain, challenging the "'macho' cult" surrounding abstract art. Her works emphasise surface textures, creating a tactile quality, and tend to use simple, large geometric shapes. Blow would regularly use collage effects in her paintings and in her early work, would sometimes dye her canvas with tea to produce natural colours. Blow's later works would demonstrate a greater use of colour and simple, geometric forms. One well-known piece by Blow, illustrating her improvisatory approach to the use of materials, "Space And Matter", 1959, is a painting of oil on board plus other experimental materials, creating the impression of wood and tar as well as flame and sea spray. In the 1970s, Blow collaborated with architect Eric Defty on a series of paintings. This collaboration saw Blow begin to incorporate geometric shapes among her organic forms in her later paintings and turn increasingly to square canvases as an architectural component of her work.