2014

The Painting

a la luz de la sombra

A la luz de la sombra, 2013 

(in the light of the shade) 

Oil on canvas, Satin wood frame, 40” x 60” 

 

The Museum Label

 

Salcedo is, as he describes himself a ‘landscape painter’. His paintings are a romanticised view of the land; they come from a type of documentary/landscape photograph he himself takes with his cellphone; and then he prints in 4x6 photographic paper to use as reference to achive his photorealistic style. 

In the Light of the Shades, first of its series, the artist depicts a terrain in the south of the Dominican Republic. It captures a quotidian moment in the life of a peasant and his grandson; both figures are heading to the plantation that sustain their lives. The boy and the man are subjects meant to start a discourse on the marginalised communities that live in the mountains of San Juan de la Maguana. With this painting salcedo starts exploring issues of society’s ‘Other’ bringing the periphery to the center.  

Salcedo said: “Authorities have ignored these communities deprived of education, and the painting wants to brig attention to their exclusion from rights, opportunities and resources. 

In 2012 the middle class students and civic groups protested for the lack of funding for education, which brought up the GDP for education from 3.0% to 4.7% in 2013; but until today,  most of money has been spend in the construction of buildings instead of training new teachers; which leaves a 13% of illiteracy in the country and more than a million people without the opportunity to a primary education.”

 

 

The photograph 

Example of the 4x6' prints that Edward Salcedo uses to make his paintings. 

Example of the 4x6' prints that Edward Salcedo uses to make his paintings. 

The video

 

Full HD video

The video is mostly text compiled from conversations I had every week, over a month, over Facebook Message, with Edward. 

While the video address contemporary social uses in the Dominican Republic, it expose Edward Salcedo as the artist in the periphery; with his struggles with the fine arts institutions and his economical reality to produce his art. 

The video looks forward to blur the boundaries between the center and the periphery by exposing the artist as been part of both.

The only images are videos taken by Salcedo, of his surroundings; his interest in the landscape and the peasants. He records with his blackberry, giving us a low-fi video, representing the beginning of mobil phone videos.

The video, in relation to other parts of the installation, help create a loop that questions: Can, the subjects as the medium and the content, identify as the marginal?

 

The installation

This installation consist on a video, a painting, a museum label, a photograph, and a wood/metal bench. 

The museum label speaks for the artist in the same way the artist speaks for the peasant and the video speaks for me. 

In the photograph and the painting the subjects are not aware of the camera, which makes them incapable of talking about their condition; giving the artist the opportunity to speak for them. Because their gaze are fixed to the land not society, the artist is the one assigning the ‘marginalised’ label.

The installation wants to question the position of the social marginalised, and the artist’s intentions on a work of art as a mean for social change. Can the marginalised recognise himself as such? and if so, Can he come out of this position? 

This installation is part of the private art collection Eduardo Leon Jimenes