Andrew Salgado

by Thursday, October 9, 2014

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The large scale, gestural paintings of Andrew Salgado works explore concepts relating to the destruction and reconstruction of identity – a process that he views as re-considering the conventions of figurative painting through a pursuit toward abstraction. To create paintings that engage beyond what is immediately visible, he often consciously questions the nature of identity (and painting) itself as something deconstructed, created, and tangible.

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A significant perspective of his work is concerned with the ‘monstrosity’ of the masculine form, incorporating Classical archetypes like the Laocoön or Dionysian, to subtle references to Guston, Bacon or even artists who exhibit a wild deviation from rules like Daniel Richter or Bjarne Melgaard. ”I am interested in how my paintings operate independently from their literal figurative foundation, and how they might deconstruct through colour choices, reduction of forms, and triumph of materiality.”

 

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ANDREW SALGADO (b. 1982, Regina, Canada) has created a buzz for himself with bold, generally large scale figurative paintings that have situated him as one to watch in both the UK and North America; even being listed by Saatchi as “one of 12 to invest in today” (Sept 2013) and lauded by esteemed critic Edward Lucie Smith as a “dazzlingly skillful advocate” for painting. Salgado has exhibited in the United Kingdom, Germany, Scandinavia, Australia, Venezuela, Thailand, Korea, South Africa, Canada, and the USA. 2014 solo exhibitions include Enjoy the Silence, Christopher Møller Art, Cape Town (January), Variations on a Theme, One Art Space, New York City, NY (May) and Storytelling, Beers Contemporary opening 4 October, 2014 .

 

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In the fall of 2013 he exhibited in his first museum-based exhibition titled The Acquaintance, at the Art Gallery of Regina, Canada. Salgado’s paintings have hung alongside works by Tracy Emin and Gary Hume in London’s Courtauld Institute of the Arts included in the Merida Biennale of Contemporary Art (2010), the NordArt Carlshutte Biennale (2012); and has been featured Maclean’s (Canada), The Globe and Mail (Canada), The Independent, The Evening Standard, Saatchi Online, Shortlist, Yatzer, The Ottawa Citizen, The Metro (UK) and more. He frequently donates to charitable associations worldwide, including the Terence Higgins Trust, MacMillan Cancer Support, and garnered the highest-bid ever auctioned at Canada’s esteemed Friends For Life 18th Annual Charity Auction (2011). In 2011 he was featured in the Channel 4 (UK) documentary What Makes a Masterpiece, alongside artists Anish Kapoor, Howard Hodgkins, and Bridget Riley (2011). In 2013 he was commissioned to create a brand new series of large-scale works to adorn the windows of the luxurious UK-retailer, Harvey Nichols. He has lived and worked in London, UK since 2008.

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Andrew Salgado

by Thursday, October 20, 2011

ANDREW SALGADO (b. 1982, Canada) has exhibited in London, Nottingham, Berlin, Oslo, New York, Vancouver, Toronto, Ottawa, Merida (Venezuela), and Niamey (Niger). Forthcoming solo exhibitions include ‘Anxious’, Tache Gallery, New York (2011); ‘The Woodsmen’, Beers.Lambert Contemporary Art, London, UK, (2012); ‘The Acquaintance’, Art Gallery of Regina, Regina, Canada (2012). Previous solo exhibitions include ‘Paint Your Black Heart Red’, Galerei Atopia, Oslo, Norway (2010); and Interurban Gallery, Vancouver, Canada (2008).
Forthcoming group exhibitions include ‘Transgression’, Beers.Lambert Contemporary Art, London, UK (2011); ‘Janus Youth’, Griffin Rayne Gallery, London (2011); ‘Golden’, Le Petit Mort Gallery, Ottawa, Canada (2011); ‘Art For Life’ [featured artist], Vancouver, Canada (2011). Noteworthy group exhibitions include the 2010 Merida Venezuela Biennale; the inaugural exhibition at Gift 10 VYNER, London (2009); GLAAD Art Awards, New York (2009); the Courtauld Institute Academy Hang IX along Gary Hume and Tracy Emin (2010-11); ‘I Am Solitary’, Beers.Lambert Contemporary Art, London and Nottingham, (2011 and 2010).

Andrew was awarded Courvoisier’s Future 500 (2010), shortlisted for Art of Giving at London’s Saatchi Gallery (2010), and will be featured in the forthcoming Channel 4 documentary ‘The Science of Art’ alongside Anish Kapoor and Bridget Riley (2011). His theory has been published in ‘A Visual Reader’ by the Art Institute of Chicago. He holds an MFA from London’s Chelsea College of Art (2009), and lives and works in London.

EXHIBITIONS

2012
[SOLO] The Acquaintance (Dec 2012–Jan 2013) – Art Gallery of Regina. Regina, Canada.
[SOLO] Title TBA (Date Forthcoming) – Elliott Louis Gallery. Vancouver, Canada. |
[SOLO] The Woodsmen (Date Forthcoming) – Beers.Lambert Contemporary Art, London, UK.

2011
[SOLO] Anxious (Oct–Nov) – Taché Gallery. New York, New York.
[SOLO] New Paintings (Date Forthcoming) – MellerMerceux Gallery, Oxford and Whitney, UK.
Title TBA (Forthcoming) – Location TBA. Rome, Italy.
Art for Life (Feature Artist) (Nov) – Vancouver, Canada.
Korean International Art Fair (September) – HADA Contemporary, London & Seoul Korea.
Untitled Group Show (July – September) – First Canada Place Gallery, Toronto, Canada.
Juried Painting Publication / Exhibition (October) – Redchurch St Gallery, London, UK.
Golden (July) – La Petit Mort Gallery. Ottawa, Canada.
Transgression (June-July) – Beers.Lambert Contemporary Art; London, UK.
The Cheaper Show (June) – Vancouver, Canada.
Janus Youth (June) – Griffin Rayne Gallery & Gallery on Redchurch St. London, UK.
Come What May (May) – Parlour Gallery. London, UK.
I Am Solitary: London (March) – Beers.Lambert for Gift 10 Vyner. London, UK.
Peripheral Vision (Jan) – Sydney College of Arts Biennial. Sydney, Australia.

2010
[SOLO] Paint Your Black Heart Red (Jan) – Public video exhibition, Atopia Galerei, Oslo, Norway.
The Art of Giving at The Saatchi Gallery (Oct) – Saatchi Gallery, London UK. (Shortlisted)
Art For Life (Oct) – Vancouver, Canada.
Venezuela Biennale for Contemporary Art (Oct) – Merida, Venezuela.
I Am Solitary I Am An Army (Sept) – Beers.Lambert for Surface Gallery, Nottingham UK.
How Is This Glass? (Sept) – Heller Gallery. New York City, New York.
Emergence (Aug-Sept) – Elliott Louis Gallery. Vancouver, Canada.
UNTAPPED Art Fair Toronto (March) – Emerging Artist Award Recipient. Toronto, Canada.
Cortauld’s East Wing IX Academy Hang (Jan-Jun 2011) – Somerset House, London.
Gstaad Film Festival (March 12 & 13) – Gstaad, Switzerland.

STATEMENT

“My practice explores the correlation between the concept of masculinity and the properties of the medium; generally based in paint, at times my practice also incorporates video, text, sculpture, performance, and paper-based work. The objective of this pursuit is to challenge a perspective of identity through heightened, purposefully self-aware representation, in which these representations refer to their own physicality and question their legitimacy and even the very nature of my practice. The approach taken toward my practice is largely the result of a cathartic incident in 2008, in which a hate-crime assault led to a fascination with the notion that substance might overcome the limitations of its physicality – and that my perspective might transcend solipsism and approach the political. The propulsion for my work is the notion that identity may be (de/re)constructed as a politically charged confrontation of Self.

I am interested in how my paintings might operate independently from their literal figurative foundation and engage with an exploration of color, reduction of forms, and triumph of substance as imbued with meaning and metaphor, overt, and suggestive. My practice is a process encumbered by the reduction of literalness in preference of a sensual and topographical painted surface. Through this process of discovery, I hope to create work that engages with a continuously forming language of painting and representation. By drawing attention to the tangibility of the work, I introduce extra-diegetic readings, pulling the viewer from the sutures of the represented subject and inviting readings beyond the confines of the painted picture.

With each successive work, I hope to draw attention to the painterly versus the formal, predominating the medium as integral to the understanding and formation of my work, and referencing painting as both ‘act’ and ‘medium’. Through my treatment of form and content, I ask the viewer to consider the technical aspects of my paintings, but also the metaphorical role that media assumes in my work, and finally the relationship of my paintings to a greater narrative and mythology, in which each subject is related to ideas of psyche and convalescence. As a result, my work often uses personal history to approach universal themes, and a politics that I view as deeply personal, yet resoundingly human.”