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Anna Salamon

In my work, forms reminiscent of human or inhuman bodies are displayed onto the surface with an awareness of figure-ground logic of modernist abstraction.

Through over-painting, essentially expressionistic ‘automatic’ process is transformed
into a self-questioning, two-fold activity: intimate painterly gesture is always a means of destruction as much as it is a tool for creation. These two directions – de-conditioning (to use Henri Michaux’s term) and embodiment (in the sense of actualisation of a gesture) constitute two essential impulses in my work, both equally impossible. Regression can never be complete and creation is never original. Thus the process and the image are reciprocally dependent. They motivate each other through a dialectic negotiation by which the impossibility of creation can be repeated over and over again.

 ‘Becoming’ of forms, indeterminacy, and repetition are my methods of interrogating the old question about relation of body and thought, or form and matter, and specifically in painting – the support and the image.  

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