New York


Annina Nosei Gallery

Salomé’s painting is much more expressionistic than Zucker’s, but he, like Zucker, depicts frenetic situations lyrically, and in a style devoid of personal emotionalism. In his new canvases Salomé’s figures are more detailed than in previous work, but no more individual. Naked male figures, in groups of five or six, twist, bend, and posture in what could be either joy or pain. An occasional figure will appear walking, looking over his shoulder and wearing pants; and a leaping, clothed figure, shown from the back, appears in more than one painting. Space is distorted; the figures are piled on top of each other on the canvases as if they were meant to be alone, with the larger figures sometimes appearing behind the smaller ones. Though their positions might seem sexual, there is no real evidence of sexual activity; if any of the figures are touching each other, they are merely crowded into

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