Artist StatementThe natural world and its processes have always formed the center of my work. The more I immersed myself in the elements I used in my work, the more conscious I became of the ecological issues, which surrounded them. My concern with the global environment, with the little noticed results of daily life in an industrialized world increased exponentially. Visits to the rainforest in Venezuela showed me the results of using mercury in the area’s goldmines and inspired a new theme which incorporated the area’s insects on fields of gold leaf, which served as a comment on the inherent value of the “lowly invertebrate” and as an ironic observation on the conditions which endangered them. The idea of poisoned streams flowed naturally into a concern with aquatic life that I continue to explore. Seeking ways of expressing those concerns visually led me directly to the source which links humanity, plants and animals alike – water. Like no other subject I have approached, water demands new solutions to representing transparency, motion and the dynamic nature of natural phenomenon. Working with lenticular images has given me an entirely new approach to my art and the subjects, which inspire it. In summary, my art is an attempt to refocus human vision on the too often unnoticed and underappreciated elements that make survival possible on what we so appropriately know as the “blue planet”.
b. 1954, Santiago, Chile Salamé received her B.A. degree in Science and Humanities in 1972 in Santiago, Chile and has been the recipient of several scholarships, awards, and grants, including the Pollock Krasner Grant. In 2001, she created a solo environmental installation in the National Museum of Bellas Artes in Santiago, Chile, entitled "In the Labyrinth of Solitude." From 1999 to 2000, she participated in "Latin American Still Life, Reflections of Time and Place" at the Katonah Museum of Art and El Museo del Barrio in NY. In 1995 she participated in "Latin American Women Artists, 1915 - 1995," which travelled to the Milwaukee Museum of Art, Denver Museum of Art, Phoenix Museum of Art, Miami Art Museum, and culminated at the National Museum of Women in The Arts, Washington, DC. In 1990, she was commissioned to create the set designs for the Baltimore Opera's production of "Carmen". Her work is represented in private and public collections, including the National Museum of Women in the Arts in Washington, DC, The Baltimore Museum of Art, and the University of Essex, UK. Published references include Latin Anerican Art in the Twentieth Century by Edward J. Sullivan, the St, James Guide to Hispanic Artists 2002, by Thomas Riggs, and Latin American Women Artists of the United States, 1999 by Robert Henkes. Currently living in Baltimore, Salamé is planning an exhibition that starts in Sept. 2006 at the Museum of Bellas Artes in Santiago that will travel throughout Latin America and the US.