“My art is a conceptual and visual exploration of the intersection of science, technology, and social justice issues defining the age in which we live. Engaged with the political implications of environmental issues, my recent work maps vulnerable marginalized communities suffering the greatest consequences of natural disasters." – Soledad Salamé
Soledad Salamé was born in Santiago, Chile in 1954. She currently lives and works in Baltimore, Maryland.
After earning a BA at Santiago College in Chile (1972), Salamé completed her advanced studies at the Cegra, Centro de Enseñanza Grafica, Conac in Caracas, Venezuela (1979). From 1973 to 1983 Salamé lived in Venezuela. During this time she was exposed to the rainforest, a pivotal experience in her artistic development that continues to be a source of inspiration. The artist moved to Washington, DC in 1983 before establishing a vibrant print, painting, and new media studio in Baltimore, MD. As an interdisciplinary artist, Salamé creates work that originates from extensive investigation into specific environmental and human rights topics. In the pursuit of new ideas, she has conducted intensive field research in the Americas and Antarctica. Her recent work includes an examination of migration resulting from climate change, exacerbated by social political impact.
Soledad Salamé’s work is represented in private and public collections throughout the world, including those of the Deutsche Bank in New York, NY; National Gallery of Art in Washington, DC; National Museum of Women in the Arts in Washington, DC; The Baltimore Museum of Art in Baltimore, MD; the University of Essex, UK; amongst numerous others. Noteworthy exhibitions have be presented by the Contemporary Museum, Baltimore, MD; Museum of Fine Arts, Santiago, Chile; Katonah Museum of Art, Westchester, NY; The Museum of the Americas, Washington, DC; El Museo del Barrio, New York, NY; Milwaukee Museum of Art, WI; Denver Museum of Art, CO; Phoenix Museum of Art, AZ; Miami Art Museum, FL; the National Museum of Women in The Arts, Washington, DC; Transart Foundation for Art and Anthropology, Houston, TX; and the Museum of Goa, India.
Major projects include: We The Migrants: Fleeing/Flooding, 2019; The Women’s March, 2017; Are you listening?, 2016; Alma, Atacama Large Millimeter Array, 2014; Territories, 2013-14; Barcodes: Merging Identity and Technology, 2012; Where Do you Live? 3000 Miles of Maryland Coast, 2009; Aguas Vivas and the Labyrinth of Solitude, 2001.
Salamé’s work is included in myriad publications notably, The Contemporary Museum: 20 years, by Irene Hoffman (2011); The St. James Guide to Hispanic Artists, by Thomas Riggs (2002); Latin American Women Artists of the United States, by Robert Henkes (1999); and Latin American Art in the Twentieth Century, by Edward J. Sullivan (1996). She has additionally been the subject of writing by celebrated art historians such as Jennie Hirsh, Ksenia Nouril, Michael Salcman, Sarah Tanguy, Lydia Bendersky, Laura Roulet, Clayton C. Kirking, Irene Hofmann, Milan Ivelic, Liz Christensen, Geraldine P. Biller, Belgica Rodriguez, Mitchell Snow, and Edward J. Sullivan.