A brand new physique of labor by Andrew Salgado (beforehand) unfurls from a central premise: we’re the books we learn. The artist, who works between London and New Brunswick, Canada, is literarily insatiable and considers each unread tome a possibility of “infinite possibility.”
At BEERS London, Salgado’s Self-Portrait as a Stack of Books presents a collection of work that open like chapters and collectively, construct a bigger narrative. “My Year Of Rest And Relaxation” instantly references Ottessa Moshfegh’s bleary novel of the identical identify and depicts a younger protagonist inert and indifferent. There’s additionally “Véra (Please Come Over, You’re Always Welcome),” which portrays a resolute Véra Nabokov writing what is likely to be certainly one of her since destroyed letters.
Salgado is regularly inquisitive about quotation and the ways in which reminiscences and experiences layer atop and mould each other. Most of the authors he’s drawn to—Virgina Woolf, Jorge Luis Borges, and Margaret Atwood amongst them— “are influenced by art. By music and painting. They write about it all the time. The word is ekphrasis,” he provides. “Nabokov lists over 150 paintings in his collected works. So why shouldn’t the inverse also be true?”
Intuitive marks of oil paint and pastel characterize Salgado’s works and appear to construct up over time. Irregular stripes and circles add higher depth and dimension to patches of colour delineating a gown or facial characteristic, leaving every scene with a sure indeterminacy. Permitting for interpretation and an array of private references is important to the artist’s considering: “It’s ready for the taking. And whatever you take from it—from the books, or the paintings, or the ideas within—it’s all right. It’s all correct. There are no wrong answers,” he says.
Self-Portrait as a Stack of Books is on view via June 28. Discover extra on Salgado’s web site and Instagram.
