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Ad Vitam

“HERE IS ELSEWHERE.”

In “Ad Vitam,” Louis Salkind goes further into abstract figuration, made of signs and the shapeless and he asserts his artistic identity. He focuses his reflection on the philosophical concept of the fold, which folds the inside on the outside, makes the singular plural, and winds time, pushing it to its very limits until it becomes polymorphous. You just need to look at his figures, held hostage by their dreams, to understand that it is indeed by twisting that one reveals. Moreover, if is by refolding the picture on itself, by bending it, that the artist brings a view of daily banality in its exceptional dimension.
AD VITAM is a deeply modern body of work, its desire for synthesis, orchestrated by pure lines and dynamic curves which stretch far beyond the canvas, to the off-camera that lurks, wrapping the subjects in a cloth of plural realities.
Thus, large pastel flat tints come eating the certainty of the contexts in which they are ensnared between the material reality of the world which contains them and the real fiction of the dream that inhabits them. These figures are at the crossroads of the real, the symbolic, and the imaginary.
In each of his visions, the painter questions the ambivalence of the world, the futility of the full, the cry repressed by some silences, the happiness that switches us off as much as it delights us, the life urge which brushes past that of death.
But if the artist bends as he wishes the world that surrounds him, he does the same with the history of art. He feeds his work with countless references which he bends in every way, playing with the collective unconscious, the several collective unconscious.
“Ad vitam” is the Latin translation of “to live,” and it is indeed toward life that the artist taking us

« If there exists a reality which surpasses dreams, it is this: to live »
Victor Hugo