02_Kadie Salmon
Fred Mann and New Art Projects are delighted to launch the second of our series of artist publications, conceived as a critical reaction to the restrictions of lockdown. This beautiful book is a monograph of the work of Kadie Salmon, and fully illustrated. We are very grateful to the authors of the supporting essays: Emma Wilson of Cambridge University and Maria Walsh of Chelsea College of Arts. This book continues in our aim of matching the best in critical dialog with the artists we support. We would also like to thank Christian Kusters and Barbara Nassisi of CHK design for their beautiful and sensitive design.
Fred Mann and New Art Projects are delighted to launch the second of our series of artist publications, conceived as a critical reaction to the restrictions of lockdown. This beautiful book is a monograph of the work of Kadie Salmon, and fully illustrated. We are very grateful to the authors of the supporting essays: Emma Wilson of Cambridge University and Maria Walsh of Chelsea College of Arts. This book continues in our aim of matching the best in critical dialog with the artists we support. We would also like to thank Christian Kusters and Barbara Nassisi of CHK design for their beautiful and sensitive design.
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
(2015), at Lademoen Kunstnerverksteder (LKV), Trondheim, Norway (2016),
in London at the Florence Trust (2016–2017), at Can Serrat, Barcelona,
Spain (2018), and in the London Creative Network, Space Studios
(2019–2020). Her next residency is at Artexte, Montreal (2021). These
residencies, the related displacements, have offered new settings, and real
and sometimes dreamlike landscapes for her projects. The collaborations
they facilitate are also important to Salmon’s ethos. One important meeting
came at Can Serrat where she began working with Canadian-South African
poet Klara du Plessis, whose work, like Salmon’s, is alive to the sensory
world, and, for example, to small changes in light and time. Du Plessis
wrote a series of poems in response to Hunting Razorbills and Salmon
recites one of her poems in moving image work Moon Bathing. Salmon is
also part of an art collective, Captain Lightfoot, she set up with two other
Scottish artists, Emma Pratt and Anneli Holmstrom in 2012, curating
group shows in different cities, including the work of other artists. Meeting
in person, and on location, has been readily supplemented by document
sharing and virtual meetings.
The history of art is also important to her. Salmon has said she is
inspired by the feeling of voyeurism that comes from witnessing intimate
encounters in the opulent landscapes of eighteenth-century French art.
She speaks of her love of visiting The Wallace Collection in London.
This gallery houses Jean-Honoré Fragonard’s The Souvenir and The Swing
with their young girls in rose pink, and Le Petit Parc where figures sit idly
on steps in a pleasure garden. Nearby are François Boucher’s paintings of
nymphs and shepherdesses, and Antoine Watteau’s ethereal fêtes galantes,
their figures almost spectral in the landscape. The Rococo hedonism of
Sanssouci, the summer palace in Potsdam, conceived for pleasure, is also
6
Change language