Rebecca Salter

H2, 1992

mixed media on canvas

122 x 183 cm


Interested in purchasing this work?

Enquire

Additional Information

Accompanied by a certificate of authenticity.

We offer collectors a range of shipping options including a variety of specialist art couriers.
Please allow four to six weeks for the artwork to arrive after purchase.

Artwork
Description

SHARE THIS:Email to someoneShare on FacebookTweet about this on TwitterPin on Pinterestshare on Tumblr

Salter’s practice aims to bridge the gap between Eastern and Western culture. Her works are a successful fusion of aspects of these two apparently far away artistic traditions. On the one hand, the Zen inspired quiet contemplation to which her works invite is a typically Eastern trait. On the other hand, however, this quality is mediated by a Western, ego-referred sensitivity, manifest in the proportions of the elements on the canvases –  which usually take the artist’s height and frequency of breadth as points of reference –  as well as in the reminiscences of Western artistic experiences, like those of Romantic painters, of the American artist Mark Tobey, and of the Beats poets, who used to randomly cut and reassemble their poems in new compositions.

Untitled H2 makes no exception. In accordance with the Eastern concept of elaborated simplicity, this apparently sombre work is in reality a product of extensive labour. Salter first created a painting on canvas using a soft palette and occasionally scratched its surface. She then cut it into dozens of squares and finally rearranged the diced fragments onto a new canvas, following a new disposition. Although chiefly interested in the unassuming and the everyday, Salter is not immune to the grand displays of natural forces. Indeed, the inspiration for this series of works came with her first trip to the turbulent landscape of the Lake District, one of the favourite sources of inspiration for British Romantic artists like Turner, Coleridge and Wordsworth.

About
the artist

Rebecca Salter (British, b.1955) is a painter and printmaker based in London. She graduated from Bristol Polytechnic in 1977 and subsequently went on to study at Kyoto City University of the Arts Japan. Salter is a lecturer in Printmaking at Camberwell College of Art and was elected to the Royal Academy of Arts in 2014.

 Salter lived and worked in Japan from 1981 to 1985. Her decision to move was partly informed by her training as a potter and the desire to learn traditional Japanese ceramic and printing methods. In 2001, Salter published a book on the subject of printing, Japanese Woodblock Printing, which was followed in 2006 with the publication of Japanese Popular Prints, which explored another of the artist’s interests: calligraphy.

 Practices of craftsmanship greatly influenced Salter’s later approach to painting; she approaches the canvas as object, not merely a surface. Often, this means that the distinction between the back and front of a painting does not exist: the painting exists as an entire whole. The lines and gestures made by Salter find their origin in the techniques used by master Japanese calligraphers, who viewed the page as a space, with its own sense of depth. The act of line making was not only a method of marking, but also a way to realise this space, where the application of different pressures when drawing would result in a different rapport with the page itself.

 Salter’s works are heavily detailed minimal abstractions, particular emphasis is given to the interplay between marked and unmarked space on the canvas. The presence of white space is a critical trait of Salter’s work and reveals the relationship the artist has with the concerns of the Hasegawa School of painting. Salter often cites Hasegawa’s Pine Trees as a highly important work for her own practice. The layering of neutral tones often suffuses the work with an ethereal quality, the muted colours offering a tranquil, yet spellbinding, response to nature. Frequently, the use of vertical and horizontal planes structures the work: one is invited to draw from the abstractions a sense of landscape and depth.

 Salter has also had a number of architectural commissions, which include both Guy’s Hospital and St George’s Hospital. She has been an artist in residence at Lofoten in Norway and Josef and Anni Albers Foundation, Connecticut. In 2011, Salter had a major retrospective at the Yale Center for British Art: into the light of things 1981-2010.


Salter’s works are heavily detailed minimal abstractions, particular emphasis is given to the interplay between marked and unmarked space on the canvas. The presence of white space is a critical trait of Salter’s work and reveals the relationship the artist has with the concerns of the Hasegawa School of painting. Salter often cites Hasegawa’s Pine Trees as a highly important work for her own practice.

Salter has also had a number of architectural commissions, which include both Guy’s Hospital and St George’s Hospital. She has been an artist in residence at Lofoten in Norway and Josef and Anni Albers Foundation, Connecticut. In 2011, Salter had a major retrospective at the Yale Center for British Art: into the light of things 1981-2010.


Rebecca Salter
on Artuner

Part of the
exhibition

May 3rd, 2017 until
August 4th, 2017
Curated by ARTUNER