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The consideration of any painting is an in-depth process, one of aesthetic appreciation that seeks a profound commonality between artist and audience. In abstract painting especially, there are often a great many elements of the work to be registered by the viewer. Achim Borchardt-Hume, Head of Exhibitions at the Tate Modern, has noted that, in her own pieces, Rebecca Salter seeks to offer “a space for reflection on [these] unspoken assumptions that circumscribe the ways in which abstract paintings are experienced.”
In keeping with the country’s polytheistic viewpoints, traditional Japanese depictions of landscape are not structured around a single, fixed point of centrality or governed by laws of a central perspective. Instead, there exists distinct elements in a fluid space. Inspired by her time in Japan, Salter’s ‘AG12’ is a prime example of such a stance, for within her diaphanous, monochromatic work, each element inevitably relates to something else, creating a sort of emergent pattern despite the lack of a discernable image. By asking us to let go of our preconceived notions of centrality in painting, Salter invites us instead to privilege coherence over proportionality.