Rebecca Salter’s works defy easy classification: they sit on the border between East and West, sculpting and painting, drawing and calligraphy, art and architecture. Born out of her experience of living in Japan for seven years, Salter’s works create a bridge which allows the viewer to part with the traditional tenets of Western painting and art in general, and open one’s mind, instead, to the much more fluid categories of Asian arts.
In particular, Salter was influenced by calligraphy and, although she would not describe herself as a calligrapher, she acknowledges the importance of the calligraphic line in her works. Often described as meditative, her minimalist abstractions do bear a connection with breathing, as does calligraphy. Indeed, she often cites that, when using calligraphic techniques of mark making, although you are drawing, you’re also working with time.
Simingly monotone, Rebecca Salter’s paintings require prolonged observation to reveal underlying bright colours and unexpected patterns. AM01 for instance, underneath the thin but serrated grid pattern which reminds of a threadbare cloth, reveals a layer of pale grey polka dots: but to see it, one must allow the eye to rest on the composition for long enough.