The large scale, gestural paintings of Andrew Salgado 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. Salgado questions the nature of identity and even the act of painting itself as something monstrous, allegorical, or symbolic. Incorporating Classical archetypes alongside a wildly inventive approach to his chosen media, Salgado’s work defies categorization. Recent works include collage, mixed-media, and even hand-dyed and hand-stitched linen and canvas. ”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 to become something altogether otherworldly.
ANDREW SALGADO (b. 1982, Regina, Canada) lives and works in London, England. He graduated with an MA in Fine Art from Chelsea College of Art and Design in 2009, and a BFA from University of BC, Vancouver, in 2005. Forthcoming solo exhibitions include: ‘How to Build a Boat’, Angell Gallery, Toronto (October 2018). Selected previous solo exhibitions include: 'Dirty Linen & The Nihilist's Alphabet, Christopher Moller Gallery, Cape Town (2018), ‘A Room with a View of the Ocean’, Lauba Art House, Zagreb (2017); ‘TEN’, Gallery of the Canadian High Commission, London (2017); and ‘The Fool Makes a Joke at Midnight’, Thierry Goldberg, New York (2016). Salgado was the subject of the 2015 documentary ‘Storytelling’, and was featured in the 2014 publication ‘100 Painters of Tomorrow’ (Thames & Hudson). He has been featured widely in the press, including GQ, The Evening Standard, The Independent, Artsy, and Metro. Salgado’s solo showings with BEERS London include ‘Storytelling’, London (2014); and ‘The Snake’, London (2016). He curated the group show ‘The Fantasy of Representation’ at BEERS London in 2015, and was part of the group exhibitions ’75 Works on Paper’ (2017); ‘O Canada!’ (2017); and ’35 Works on Paper’ (2016).
(Courtesy of BEERS London)