Soledad Salamé ALMA / Are You Listening II, 2014
Silkscreen and relief printing on 600g Fabriano paper
16 x 25 1/2 in. (40.6 x 64.8 cm)
AP edition of 7
Sala-1102-C
Soledad Salamé ALMA / Space Cabinet II, 2014
Silkscreen and relief printing on 600g Fabriano paper
16 x 25 1/2 in. (40.6 x 64.8 cm)
AP edition of 7
Sala-1101-C
Soledad Salamé ALMA / Space Cabinet, 2014
Silkscreen and relief printing on 600g Fabriano paper
16 x 25 1/2 in. (40.6 x 64.8 cm)
AP edition of 7
Sala-1100-C
Soledad Salamé In the Ocean III, 2026
Silkscreen on handmade paper, jeans pulp
Paper: 14 x 10.5 in. (35.6 x 26.7 cm)
Frame: 19.75 x 15.75 in. (50.2 x 40 cm)
Edition 1 of 1
Sala-1345-C
Soledad Salamé She is Looking at Me 2026
Silkscreen and hand coloring on 600g Fabriano paper
Paper: 30.25 x 21.75 inches
Frame: 35.4 x 27.5 inches
Edition 1 of 5
Sala-1352-C
Soledad Salamé Gulf Distortion III, 2011
Silkscreen on mylar
Print: 22.5 x 32.5 in. (57.2 x 82.6 cm)
Frame: 28 x 37 in. (71.1 x 94 cm)
AP Edition 3 of 5
Sala-1130-C
"In Gulf Distortion, Soledad Salamé responds to the environmental and political aftermath of the 2010 Deepwater Horizon oil spill along the Gulf Coast. Developed from photographs taken in Louisiana—particularly in the Venice and Grand Isle regions—the series transforms documentary imagery into fractured, layered compositions that oscillate between representation and abstraction.
Working through printmaking processes that incorporate silkscreen, hand intervention, and digital degradation, Salamé deliberately disrupts photographic clarity. She employed technologies such as fax transmissions to further distort the images, introducing interference pixelation, and visual “noise” that echoes the instability of the affected environment.
The resulting works shift between fragile coastal landscapes and the encroaching infrastructures of extraction—oil storage facilities, industrial machinery, and traces of environmental devastation. The series charts a transformation in which natural beauty is progressively overtaken by the visual and material presence of industry and disaster.
Rather than presenting a singular narrative of catastrophe, Gulf Distortion constructs an unstable field of perception. The Gulf emerges as both subject and metaphor: a site where human intervention, environmental collapse, media circulation, and political neglect converge. Through strategies of distortion, Salamé resists the fixity of documentary truth, instead offering a vision of a landscape in flux—shaped as much by ecological trauma as by the systems that mediate and record it."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 44.
Soledad Salamé Gulf Distortion IV, 2011
Silkscreen on mylar
Print: 22.5 x 32.5 in. (57.2 x 82.6 cm)
Frame: 28 x 37 in. (71.1 x 94 cm)
AP Edition 3 of 5
Sala-1131-C
"In Gulf Distortion, Soledad Salamé responds to the environmental and political aftermath of the 2010 Deepwater Horizon oil spill along the Gulf Coast. Developed from photographs taken in Louisiana—particularly in the Venice and Grand Isle regions—the series transforms documentary imagery into fractured, layered compositions that oscillate between representation and abstraction.
Working through printmaking processes that incorporate silkscreen, hand intervention, and digital degradation, Salamé deliberately disrupts photographic clarity. She employed technologies such as fax transmissions to further distort the images, introducing interference pixelation, and visual “noise” that echoes the instability of the affected environment.
The resulting works shift between fragile coastal landscapes and the encroaching infrastructures of extraction—oil storage facilities, industrial machinery, and traces of environmental devastation. The series charts a transformation in which natural beauty is progressively overtaken by the visual and material presence of industry and disaster.
Rather than presenting a singular narrative of catastrophe, Gulf Distortion constructs an unstable field of perception. The Gulf emerges as both subject and metaphor: a site where human intervention, environmental collapse, media circulation, and political neglect converge. Through strategies of distortion, Salamé resists the fixity of documentary truth, instead offering a vision of a landscape in flux—shaped as much by ecological trauma as by the systems that mediate and record it."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 44.
Soledad Salamé Gulf Distortion VIII, 2011
Silkscreen on mylar
Print: 22.5 x 32.5 in. (57.2 x 82.6 cm)
Frame: 28 x 37 in. (71.1 x 94 cm)
AP Edition 3 of 5
Sala-1135-C
"In Gulf Distortion, Soledad Salamé responds to the environmental and political aftermath of the 2010 Deepwater Horizon oil spill along the Gulf Coast. Developed from photographs taken in Louisiana—particularly in the Venice and Grand Isle regions—the series transforms documentary imagery into fractured, layered compositions that oscillate between representation and abstraction.
Working through printmaking processes that incorporate silkscreen, hand intervention, and digital degradation, Salamé deliberately disrupts photographic clarity. She employed technologies such as fax transmissions to further distort the images, introducing interference pixelation, and visual “noise” that echoes the instability of the affected environment.
The resulting works shift between fragile coastal landscapes and the encroaching infrastructures of extraction—oil storage facilities, industrial machinery, and traces of environmental devastation. The series charts a transformation in which natural beauty is progressively overtaken by the visual and material presence of industry and disaster.
Rather than presenting a singular narrative of catastrophe, Gulf Distortion constructs an unstable field of perception. The Gulf emerges as both subject and metaphor: a site where human intervention, environmental collapse, media circulation, and political neglect converge. Through strategies of distortion, Salamé resists the fixity of documentary truth, instead offering a vision of a landscape in flux—shaped as much by ecological trauma as by the systems that mediate and record it."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 44.
Soledad Salamé Gulf Distortion IX, 2011
Silkscreen on mylar
Print: 22.5 x 32.5 in. (57.2 x 82.6 cm)
Frame: 28 x 37 in. (71.1 x 94 cm)
AP Edition 3 of 5
Sala-1136-C
"In Gulf Distortion, Soledad Salamé responds to the environmental and political aftermath of the 2010 Deepwater Horizon oil spill along the Gulf Coast. Developed from photographs taken in Louisiana—particularly in the Venice and Grand Isle regions—the series transforms documentary imagery into fractured, layered compositions that oscillate between representation and abstraction.
Working through printmaking processes that incorporate silkscreen, hand intervention, and digital degradation, Salamé deliberately disrupts photographic clarity. She employed technologies such as fax transmissions to further distort the images, introducing interference pixelation, and visual “noise” that echoes the instability of the affected environment.
The resulting works shift between fragile coastal landscapes and the encroaching infrastructures of extraction—oil storage facilities, industrial machinery, and traces of environmental devastation. The series charts a transformation in which natural beauty is progressively overtaken by the visual and material presence of industry and disaster.
Rather than presenting a singular narrative of catastrophe, Gulf Distortion constructs an unstable field of perception. The Gulf emerges as both subject and metaphor: a site where human intervention, environmental collapse, media circulation, and political neglect converge. Through strategies of distortion, Salamé resists the fixity of documentary truth, instead offering a vision of a landscape in flux—shaped as much by ecological trauma as by the systems that mediate and record it."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 44.
Soledad Salamé Gulf Distortion X, 2011
Silkscreen on mylar
Print: 22.5 x 32.5 in. (57.2 x 82.6 cm)
Frame: 28 x 37 in. (71.1 x 94 cm)
AP Edition 3 of 5
Sala-1137-C
"In Gulf Distortion, Soledad Salamé responds to the environmental and political aftermath of the 2010 Deepwater Horizon oil spill along the Gulf Coast. Developed from photographs taken in Louisiana—particularly in the Venice and Grand Isle regions—the series transforms documentary imagery into fractured, layered compositions that oscillate between representation and abstraction.
Working through printmaking processes that incorporate silkscreen, hand intervention, and digital degradation, Salamé deliberately disrupts photographic clarity. She employed technologies such as fax transmissions to further distort the images, introducing interference pixelation, and visual “noise” that echoes the instability of the affected environment.
The resulting works shift between fragile coastal landscapes and the encroaching infrastructures of extraction—oil storage facilities, industrial machinery, and traces of environmental devastation. The series charts a transformation in which natural beauty is progressively overtaken by the visual and material presence of industry and disaster.
Rather than presenting a singular narrative of catastrophe, Gulf Distortion constructs an unstable field of perception. The Gulf emerges as both subject and metaphor: a site where human intervention, environmental collapse, media circulation, and political neglect converge. Through strategies of distortion, Salamé resists the fixity of documentary truth, instead offering a vision of a landscape in flux—shaped as much by ecological trauma as by the systems that mediate and record it."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 44.
Soledad Salamé Gulf Distortion XII, 2011
Silkscreen on mylar
Print: 22.5 x 32.5 in. (57.2 x 82.6 cm)
Frame: 28 x 37 in. (71.1 x 94 cm)
AP Edition 3 of 5
Sala-1138-C
"In Gulf Distortion, Soledad Salamé responds to the environmental and political aftermath of the 2010 Deepwater Horizon oil spill along the Gulf Coast. Developed from photographs taken in Louisiana—particularly in the Venice and Grand Isle regions—the series transforms documentary imagery into fractured, layered compositions that oscillate between representation and abstraction.
Working through printmaking processes that incorporate silkscreen, hand intervention, and digital degradation, Salamé deliberately disrupts photographic clarity. She employed technologies such as fax transmissions to further distort the images, introducing interference pixelation, and visual “noise” that echoes the instability of the affected environment.
The resulting works shift between fragile coastal landscapes and the encroaching infrastructures of extraction—oil storage facilities, industrial machinery, and traces of environmental devastation. The series charts a transformation in which natural beauty is progressively overtaken by the visual and material presence of industry and disaster.
Rather than presenting a singular narrative of catastrophe, Gulf Distortion constructs an unstable field of perception. The Gulf emerges as both subject and metaphor: a site where human intervention, environmental collapse, media circulation, and political neglect converge. Through strategies of distortion, Salamé resists the fixity of documentary truth, instead offering a vision of a landscape in flux—shaped as much by ecological trauma as by the systems that mediate and record it."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 44.
