Galerie EENWERK, NL (2022)
The photowork 'Landschaft' (2019) is central in the exhibition of 7 photoworks in the beautiful gallery space run by Julius Vermeulen.
From 15 January 2022 EENWERK will be showing a small selection of Van der Salm’s landscape photos taken in Switzerland, which shed light on a completely different world. Away from the hectic metropolitan life, he displays a world of stillness and delay.
The 19th-century critic and painter John Ruskin believed that mountains mark both the beginning and the end of the entire natural landscape. Since time began, mountain landscapes have been seen as an inhospitable and awe-inspiring wilderness: as places to be feared, respected and revered. This geological phenomenon accordingly found its way into our art history, as many artists during the Romantic era sought to capture the grand and sublime aura of mountains.
Van der Salm takes it further. He shows sublime, majestic and poetic images based on our collective memory. But above all, he presents the landscape as an expressive entity: a breathing and living landscape. He shows the depth and density of space featuring the apparent experience of smell and sound. The almost tangible silence is the attractiveness of this series of works. Now that our ecological footprint is so emphatically broadcast worldwide, these monumental works take on a highly topical urgency.
The photowork 'Landschaft' (2019) is central in the exhibition of 7 photoworks in the beautiful gallery space run by Julius Vermeulen.
From 15 January 2022 EENWERK will be showing a small selection of Van der Salm’s landscape photos taken in Switzerland, which shed light on a completely different world. Away from the hectic metropolitan life, he displays a world of stillness and delay.
The 19th-century critic and painter John Ruskin believed that mountains mark both the beginning and the end of the entire natural landscape. Since time began, mountain landscapes have been seen as an inhospitable and awe-inspiring wilderness: as places to be feared, respected and revered. This geological phenomenon accordingly found its way into our art history, as many artists during the Romantic era sought to capture the grand and sublime aura of mountains.
Van der Salm takes it further. He shows sublime, majestic and poetic images based on our collective memory. But above all, he presents the landscape as an expressive entity: a breathing and living landscape. He shows the depth and density of space featuring the apparent experience of smell and sound. The almost tangible silence is the attractiveness of this series of works. Now that our ecological footprint is so emphatically broadcast worldwide, these monumental works take on a highly topical urgency.
