Through a conceptual approach, Sally O’Neill deals with accepted codes of society, taboos, moral restraints and gender issues in her creations (e.g. “What do you do?”, 2012, “Wine and worms”, together with Angela Demattè , 2013, ”That Disgusting Thing Called Intimacy” with Tuva Hildebrand, 2015, and "Life In Plastic Is Fantastic" with Patrick Schmatzer, 2017).
Sally constructs with improvisation, using movement and voice. She researches the sense behind semantics and uses recognizable and definable images or experiences, such as pop-culture, taken out of its usual context to deconstruct semantics. Her narratives are often characterized by decomposition and disorder in order to create tricksterism.
Her investigation of the ”in-the-moment” and chance is expressed by the use of improvisation. She believes, that instant decision-making and risk-taking together with the possibility of failing brings uncertainty and allows a ”not-knowing” experience in both performer and audience. She also plays with the authority between performer and audience, as a demonstration of hierarchical, or ”non-hierarchical”, relationships.
In a field that is highly influenced by aesthetics, she would describe herself as a non-aesthetic creator, willing to get rid of any unjustified appearance or effects.
Co-productions (eg. Anna Ádám, Tuva Hildebrand and Patrick Schmatzer etc.), the use of cross artform collaborations (eg. with visual artists, actors, poets etc.) within the choreographic process, together with her liking for not necessarily theatrical spaces to show her work (eg. outdoor presentations), are reoccurring methods in Sally O'Neill's creations.