Gabriela Salazar

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	<title>Gabriela Salazar</title>
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	<description>Gabriela Salazar</description>
	<pubDate>Tue, 19 Aug 2025 17:49:04 +0000</pubDate>
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		<title>A Measure of Comfort (Cake and Cord)</title>
				
		<link>https://gabrielasalazar.com/A-Measure-of-Comfort-Cake-and-Cord</link>

		<pubDate>Tue, 19 Aug 2025 17:49:04 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

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	A Measure of Comfort (Cake and Cord)&#38;nbsp;
2025
Wood (reclaimed), biochar, steel, water.
Photography by 
Em McCann Zauder and 
Peter Aaron/OTTO.
	The Olana PartnershipOlana State Historic Site
&#38;nbsp;A Measure of Comfort (Cake and Cord) is a pair of interrelated sculptures installed on the former woodshed and ice house foundations in the Olana landscape. Historically, ice from Olana’s lake was cut and stored in blocks, or “cakes” for refrigeration, while wood from the estate’s planted forests was burned for heat. &#38;nbsp;A Measure of Comfort reflects on these bygone methods of harvesting natural resources—wood and ice—for human comfort, while pointing to the challenge of maintaining control over temperature, and the peril to the environment in doing so, as we face climate change. Today we rely on advanced technologies to heat and cool instead of manual harvesting, and yet more than half of the energy used in homes is for heating and cooling. As climate change intensifies extreme weather events, the pursuit of comfort is increasingly urgent, prompting continued evolution in our technologies, but also a reassessment of our relationship with temperature and comfort. A Measure of Comfort explores this evolving relationship between people, nature, and climate systems.

On the site of the former woodshed, the sculpture consists of Southern yellow pine beams—remnants from a previous project—arranged vertically to form an uneven floor, or landscape. The volume of wood equals approximately one cord (128 cubic feet), referencing traditional firewood units that would be collected or purchased. Charred into the surface is the pattern of a decorative heating grill from the Olana house. Creating biochar in the process connects the work to the agricultural uses of the land that the woodshed foundation is a part of, and suggests one of the many ways forward towards a less carbon-intensive future.

Contiguous with the history of managing the woods and planting trees at Olana is a record of ice harvesting on the lake, which used to freeze over regularly. At the ice house site, the sculpture reimagines a typical 19th-century ice “cake” through a series of reflective stainless steel water containers, descending in size. These containers will hold rainwater, naturally filling and evaporating over time. A mirrored stainless steel design, inspired by both the Hudson River watershed and rivulet patterns formed by melting ice, overlays the surface—invoking nature’s cycles and scales.

Together, the components of A Measure of Comfort (Cake and Cord) are an homage to historical and ongoing extractions of natural resources to satisfy human comfort. They call attention to the environmental ramifications of heating and cooling, and—as we see how our needs impact both the landscape and our shared world—urge us to consider how we might redesign systems and reassess our essential needs.

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		<title>Whether Break or Shape</title>
				
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		<pubDate>Sun, 14 Apr 2024 00:43:26 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

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	Whether Shape or Break
2024
Photography by Brian Galderisi.


	The Korn Gallery&#38;nbsp;
Drew University, NJ
&#38;nbsp;


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		<title>Reclamation (and Place, Puerto Rico)</title>
				
		<link>https://gabrielasalazar.com/Reclamation-and-Place-Puerto-Rico</link>

		<pubDate>Sat, 08 Apr 2023 03:19:38 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

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&#60;img width="3500" height="2358" width_o="3500" height_o="2358" data-src="https://freight.cargo.site/t/original/i/6ae8589b5b70d6c0c78c13cba3baedd19f13c8c9e6e6f4cf2439a5539d6b8914/Gabriela-Salazar--Reclamations-DSF8047.jpg" data-mid="174891236" border="0"  src="https://freight.cargo.site/w/1000/i/6ae8589b5b70d6c0c78c13cba3baedd19f13c8c9e6e6f4cf2439a5539d6b8914/Gabriela-Salazar--Reclamations-DSF8047.jpg" /&#62;
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&#60;img width="2625" height="3500" width_o="2625" height_o="3500" data-src="https://freight.cargo.site/t/original/i/df8aed6787d4d3070568b999d57ba4ef087ca177c76d2c6b32ad59aac9be14a2/Gabriela-Salazar--Reclamations-DSF8255.jpg" data-mid="174891242" border="0"  src="https://freight.cargo.site/w/1000/i/df8aed6787d4d3070568b999d57ba4ef087ca177c76d2c6b32ad59aac9be14a2/Gabriela-Salazar--Reclamations-DSF8255.jpg" /&#62;
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Reclamation (and Place, Puerto Rico)2022
Wood, burlap, steel, asphalt, structural foam, coffee clay (used coffee grounds, flour, salt).
Photograpy by Sebastian Bach.
	no existe un mundo poshuracan: 
Puerto Rican Art in the Wake of Hurricane Maria

Whitney Museum of American Art, NY
Organized by Marcela Guerrero.
Made specifically for the exhibition, "no existe un mundo poshuracán," this work takes the tools of my process for reclaiming used coffee grounds for an air dry clay—a process that includes drying, mixing, and forming—and reimagines them into a material landscape.

Historically, coffee is one of the Puerto Rican archipelago’s most significant crops, and was once cultivated by my grandparents. (My paternal grandparents, Joaquín and Toñita had a coffee farm near Ciales from the '50s - '70s; my paternal grandfather, Clery, was a horticulture professor in Mayagüez.)

The work suggests that reclaiming Puerto Rico’s agricultural independence in the name of past generations as well as those to come is a basic demand at the center of any rebuilding project for Puerto Rico. This autonomy is necessary to create food security, ecological sustainability, and climate resilience in Puerto Rico.

Reclamation—reclamación in Spanish—takes on layers of meaning that it lacks in English, to include a sense of demand or complaint. The work links this demand to both local and diasporic contexts, referencing elements of both Puerto Rican and New York infrastructure through its resemblances to the stilts of houses in the impoverished community of El Fanguito in San Juan, to mangrove roots, to the skyline, and to the hard but ever-shifting groundscape of New York City, where I was born.
— 2022

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	</item>
		
		
	<item>
		<title>Low Relief for High Water</title>
				
		<link>https://gabrielasalazar.com/Low-Relief-for-High-Water</link>

		<pubDate>Tue, 11 Apr 2023 03:36:33 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

		<guid isPermaLink="true">https://gabrielasalazar.com/Low-Relief-for-High-Water</guid>

		<description>


&#60;img width="1240" height="827" width_o="1240" height_o="827" data-src="https://freight.cargo.site/t/original/i/71481675ba80004594d543ddbc00df6e645dadb707970f8e6b373b09c49f8226/03_Low-Relief-for-High-Water.jpg" data-mid="174891723" border="0"  src="https://freight.cargo.site/w/1000/i/71481675ba80004594d543ddbc00df6e645dadb707970f8e6b373b09c49f8226/03_Low-Relief-for-High-Water.jpg" /&#62;
&#60;img width="3600" height="2545" width_o="3600" height_o="2545" data-src="https://freight.cargo.site/t/original/i/072154196c784214bbaa58c21bede1e44abc4202e65b839ea5eeb310342c652b/10_Low-Relief-for-High-Water.JPG" data-mid="174891484" border="0"  src="https://freight.cargo.site/w/1000/i/072154196c784214bbaa58c21bede1e44abc4202e65b839ea5eeb310342c652b/10_Low-Relief-for-High-Water.JPG" /&#62;
&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/b28fc8bed2c1de5d8345418b4f0f6a61689cff4ed98103631189dc65f2abc5cd/_MG_3809.JPG" data-mid="174892288" border="0"  src="https://freight.cargo.site/w/1000/i/b28fc8bed2c1de5d8345418b4f0f6a61689cff4ed98103631189dc65f2abc5cd/_MG_3809.JPG" /&#62;
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&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/7a8a0794bc0d6fbb728db17a2f0190f419f9c64a9e269a854332aa0419a78c73/_MG_4090.JPG" data-mid="174892292" border="0"  src="https://freight.cargo.site/w/1000/i/7a8a0794bc0d6fbb728db17a2f0190f419f9c64a9e269a854332aa0419a78c73/_MG_4090.JPG" /&#62;
&#60;img width="3600" height="2403" width_o="3600" height_o="2403" data-src="https://freight.cargo.site/t/original/i/6acc2b70b12d4bdd8373df96afe0f522fe34413e2c95c2a96409f23d6873bfc3/10_Low-Relief-for-High-Water-copy.JPG" data-mid="174892302" border="0"  src="https://freight.cargo.site/w/1000/i/6acc2b70b12d4bdd8373df96afe0f522fe34413e2c95c2a96409f23d6873bfc3/10_Low-Relief-for-High-Water-copy.JPG" /&#62;
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&#60;img width="1200" height="801" width_o="1200" height_o="801" data-src="https://freight.cargo.site/t/original/i/c76b381d4aefc331604d262362d112c25a22851350236bb625c1cc367e4ba943/2021-10-10-CM_Salazar_Relief_SG72965.jpg" data-mid="174892379" border="0"  src="https://freight.cargo.site/w/1000/i/c76b381d4aefc331604d262362d112c25a22851350236bb625c1cc367e4ba943/2021-10-10-CM_Salazar_Relief_SG72965.jpg" /&#62;

	Low Relief for High Water
2021
Water-soluble paper, methyl cellulose, sandbags.
Photography by Sari Goodfriend and Nicole Salazar.
	
The Climate MuseumPresented in Washington Square Park, NYC
LOW RELIEF FOR HIGH WATER

is made of water-soluble paper
and methyl-cellulose,
a water-based non-toxic adhesive.
is cast from the windows of my childhood home, 
an apartment in which I currently live, again,
on Manhattan Island, New York.
is vulnerable to water.

Over the course of a day,
I will take the work apart,
and give it to you.
In taking a piece of the work
—to care for, use, neglect, destroy—
you partake of the vulnerability
of our shared home, planet Earth,
and participate in our collective desire 
to mobilize community for climate action. 
GABRIELA SALAZAR, 2020 - 2021
LOW RELIEF FOR HIGH WATER was commissioned by the Climate Museum for the 50th anniversary of Earth Day, April 2020, and was postponed because of the global Covid-19 pandemic to October, 2021. 


</description>
		
	</item>
		
		
	<item>
		<title>Holding Patterns</title>
				
		<link>https://gabrielasalazar.com/Holding-Patterns</link>

		<pubDate>Tue, 11 Apr 2023 20:20:53 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

		<guid isPermaLink="true">https://gabrielasalazar.com/Holding-Patterns</guid>

		<description>


&#60;img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/2bfa9d93f37dafcffc0df5d701dae074d9304ad74132eba59468b8cbcca7ddfb/Holding-Patterns---Gabriela-Salazar-3-Large.jpeg" data-mid="174993808" border="0"  src="https://freight.cargo.site/w/1000/i/2bfa9d93f37dafcffc0df5d701dae074d9304ad74132eba59468b8cbcca7ddfb/Holding-Patterns---Gabriela-Salazar-3-Large.jpeg" /&#62;
&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/e2dbf41307c877ce94ba7309e70bf8f5f8b488c9be31f5151fee2887bdcac69a/Holding-Patterns---Gabriela-Salazar-1.jpg" data-mid="174993479" border="0"  src="https://freight.cargo.site/w/1000/i/e2dbf41307c877ce94ba7309e70bf8f5f8b488c9be31f5151fee2887bdcac69a/Holding-Patterns---Gabriela-Salazar-1.jpg" /&#62;
&#60;img width="2400" height="1800" width_o="2400" height_o="1800" data-src="https://freight.cargo.site/t/original/i/42807e5cb77437fdf6349eac4788ecadbe63b2deaa17e0d0ece2d06519b02f4c/RVAC-Salazar-31.jpg" data-mid="174993720" border="0"  src="https://freight.cargo.site/w/1000/i/42807e5cb77437fdf6349eac4788ecadbe63b2deaa17e0d0ece2d06519b02f4c/RVAC-Salazar-31.jpg" /&#62;
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&#60;img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/72e3f686452a411cdefdcdd800fb9d969ff185cb3af408d5931d13a9aad84fca/Holding-Patterns---Gabriela-Salazar-2-Large.jpeg" data-mid="174993801" border="0"  src="https://freight.cargo.site/w/1000/i/72e3f686452a411cdefdcdd800fb9d969ff185cb3af408d5931d13a9aad84fca/Holding-Patterns---Gabriela-Salazar-2-Large.jpeg" /&#62;
&#60;img width="1800" height="2400" width_o="1800" height_o="2400" data-src="https://freight.cargo.site/t/original/i/00971a61113082c08e0a5059f3e2aa747d659c22f19646c4f226c4845b2bc847/RVAC-Salazar-27.jpg" data-mid="174993725" border="0"  src="https://freight.cargo.site/w/1000/i/00971a61113082c08e0a5059f3e2aa747d659c22f19646c4f226c4845b2bc847/RVAC-Salazar-27.jpg" /&#62;
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	Holding Patterns
2021Holding Pattern, Walls (for Mara)

Existing studio walls, graphite powder.

Holding Pattern, Column (for Gene)

Salt-fired ceramic.Holding Pattern, Trapdoor (for Sylvia)

Linen, cotton thread.
Holding Pattern, Handrail (for Al)

Paper pulp, cardboard, wood, zinc handrail brackets.


	River Valley Arts Collective at 
The Al Held Foundation, NY
&#38;nbsp;
Through a series of interventions and sculptural objects, the artist transforms the exhibition site into an autobiographical drawing of itself. The exhibition is organized in collaboration with the Al Held Foundation in Boiceville, NY.

The site of intervention is a former hayloft modified by the abstract sculptor Sylvia Stone (1928–2011) who worked in the smaller of the two studios within Held’s Boiceville complex. To suit her practice, Stone added an oversized trap door in the floor to streamline the transport of large plexiglass and acrylic sheets used in her large-scale geometric works. The loft eventually became Held’s drawing studio in the latter part of his career when a connecting interior staircase was added and was subsequently used by the abstract painter Mara Held and is now reactivated by Salazar. 

Through sculpture, drawing, writing, and site interventions, Salazar’s projects investigate the relationship between human-made spaces and structures and the unpredictable or invisible forces — the shifting of land, the pressures of gravity, the passing and layering of time and use — that act upon them. Ultimately, her work charts the psychic and physical effects of change. Salazar often uses found materials and sites, engaging in wordplay, psychogeography, and phenomenology to bring out new associations between the found, the altered, and the made. 

The main component of Salazar’s presentation is a one-to-one drawing of the negative space created by the behind-the-scenes wall studs and cleats of the studio’s two facing walls. Applying graphite powder directly onto the walls’ external surface, Salazar produces an off-kilter grid through the act of transference of the interior structure. Conceived as a collaborative drawing that considers the studio’s past occupants, the work incorporates the underlying structure as it compounds history of the walls’ use by making visible the subtleties that layers of white paint aim to hide: remaining traces of wall spackle, surface grain, fingerprints, protrusions and dents. By revealing this past use of the wall surface, the work draws attention to its literal make and measure and serves as a kind of map of the history of the room and how it came to be.

Further drawing on the architecture of the site — the trap door, support column, and hand rail — the artist considers the psychic space and the physical mechanics of holding through sculptural interventions. Pointedly, the textile, paper pulp, and salt-fired ceramic works perform a mimesis — an imitation of the room’s structural forms and architecture — as they embody a constellation of ideas Salazar formed around the notion of holding and to hold; conceptually tying together the use of the studio-as-surface/container/repository, the geographical proximity of the Ashokhan Reservoir, an on-site ceramic silo, the act of filling and draining, the dramatic relocation of Boiceville, the water system that supplies New York City, the artist’s own upbringing and motherhood, sustenance, support, commitment, resentment, containment, transference, osmosis, preparedness, life and death.
— Olga Dekalo, 2021

</description>
		
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	<item>
		<title>No Shoulder</title>
				
		<link>https://gabrielasalazar.com/No-Shoulder</link>

		<pubDate>Tue, 26 Nov 2024 16:09:26 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

		<guid isPermaLink="true">https://gabrielasalazar.com/No-Shoulder</guid>

		<description>


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	No Shoulder
2024


 While you were away, the road flooded.
2024 
Graphite on paper 


Tendons and synapses, open to air.
2024 
Graphite on paper 


Holding water, a head and shoulders.
2024 
Graphite on paper 


Cracks and shapes, a familiar route.
2024 
Oil charcoal on paper 


Counting rings, chicks in the house.
2024 
Graphite on paper 


Two mothers, filing nails.
 2024 
Graphite on paper 


The sinkhole, Dinosaur Playground.
2024 
Graphite on paper 

Roots rending, an old foundation.
2024 
Oil charcoal on paper 


A tender catastrophe, only in sleep.
2024 
Graphite on paperCompendium (1), 2024
Steel, aluminum, found steel plumb bob
Photography by&#38;nbsp;Inna Svyatsky.

 
	Efraín López, New York City
&#38;nbsp;
Working across sculpture, installation, and drawing, Gabriela Salazar has developed a rich cross-media practice, which often addresses the tenuous balance between our natural and built environments. The daughter of Puerto Rican architects, Salazar continuously explores themes of building and rebuilding, whether in response to natural disasters or the passage of time, by isolating moments that speak ambiguously to both repair and disrepair. Her earlier work has featured receptive collaborations with nature as well as architecture. For a 2021 site-specific drawing, Holding Pattern, Walls (for Mara), produced at the Al Held Foundation, the artist rubbed powdered graphite directly onto the studio walls in a geometric composition which revealed the cracks and patches left behind by former studio residents along with the ad hoc arrangement of wood planks on its reverse. In her Leaves series (2023-ongoing), Salazar uses water-soluble paper to cast various household objects and matter–the resulting ghostly forms infused with traces of color leached from autumn leaves, kitchen scraps, coffee grounds, and other incidental media.


In this new body of work, Salazar has produced drawings in graphite and charcoal, all of which are based on photographs she shot earlier this year. The source material, culled from the collection of iimages on her iPhone and sometimes paired in diptychs, expose Salazar’s careful attention to her surroundings. Across the series, an attunement to interconnectedness rhymes rows of wrapped cables with the knotty roots of trees, or the spidery cracks in a sidewalk with the network of wrinkles across a multi-generational set of hands. An image of a collapsed billboard in San Juan, for instance, is directly juxtaposed with an intimate picture of the artist’s sleeping daughter. These opposing motifs—exterior/interior, neglect/care—are harmoniously connected through formal means as the linear thrust of the scaffold crosses the sheet’s edge and merges into the young subject’s collar. While explaining her process, Salazar has described it as a conversation with the source photograph, requiring problem-solving and experimentation to arrive at each drawn reproduction. In order to recreate the wood grain of a tree stump that had been abruptly chopped down near her home, she used the technique of debossing for its concentric rings. Observed closely, the recessed marks resemble script as if embedded with an inscrutable message.


Considering the snapshot quality of her subjects, whether a road that has suddenly flooded or a sinkhole that appeared overnight, Salazar’s time-intensive and laborious process might seem counterintuitive. Recalling previous projects, which centered on a daily drawing practice, here she has invested hours of close observation and illusionistic skill in order to translate each fleeting moment into a sensitively-rendered drawing. By distilling the visual effects of overwhelming and uncontrollable forces–weather, gravity, age–into the foundational elements of line, form, and value, Salazar’s grayscale reconstructions become a way of slowing time. Taken together, through its repeated motifs of knots and fissures, the work reenacts not only interconnection, but entanglement, encouraging us to look just as intently—if not for meaning, then for a direct confrontation with the precarity of everyday experience.


— Ana Torok, 2024

</description>
		
	</item>
		
		
	<item>
		<title>In Securities</title>
				
		<link>https://gabrielasalazar.com/In-Securities</link>

		<pubDate>Tue, 18 Apr 2023 20:16:25 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

		<guid isPermaLink="true">https://gabrielasalazar.com/In-Securities</guid>

		<description>


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&#60;img width="5816" height="4361" width_o="5816" height_o="4361" data-src="https://freight.cargo.site/t/original/i/20856b9e6e7b19a69223c71925b1ecca5cbe93a05229309b4cf79eb5b399e5cf/Feel-Rubble--Individual-09.jpg" data-mid="175823118" border="0"  src="https://freight.cargo.site/w/1000/i/20856b9e6e7b19a69223c71925b1ecca5cbe93a05229309b4cf79eb5b399e5cf/Feel-Rubble--Individual-09.jpg" /&#62;
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&#60;img width="5671" height="4252" width_o="5671" height_o="4252" data-src="https://freight.cargo.site/t/original/i/c3d1b03583a0221007591ae551f0db948118c4f1f17369ecf4db4cdc51afff49/Feel-Rubble-DSF2971.jpg" data-mid="175823890" border="0"  src="https://freight.cargo.site/w/1000/i/c3d1b03583a0221007591ae551f0db948118c4f1f17369ecf4db4cdc51afff49/Feel-Rubble-DSF2971.jpg" /&#62;
&#60;img width="5823" height="4367" width_o="5823" height_o="4367" data-src="https://freight.cargo.site/t/original/i/23d59dd06f734cef13c67ff7e4f557c5d719dec328425a6ab5ec9b6c40273826/Feel-Rubble-DSF2933.jpg" data-mid="175823892" border="0"  src="https://freight.cargo.site/w/1000/i/23d59dd06f734cef13c67ff7e4f557c5d719dec328425a6ab5ec9b6c40273826/Feel-Rubble-DSF2933.jpg" /&#62;
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&#60;img width="5631" height="3754" width_o="5631" height_o="3754" data-src="https://freight.cargo.site/t/original/i/09e83bd3a81123f67d2533786feb6cad113ea9d30b66b752a2b223f877b536e6/Feel-Rubble-DSF5289.jpg" data-mid="175824399" border="0"  src="https://freight.cargo.site/w/1000/i/09e83bd3a81123f67d2533786feb6cad113ea9d30b66b752a2b223f877b536e6/Feel-Rubble-DSF5289.jpg" /&#62;

	In Securities
2014 - 2022 - ?
Paper security envelopes and wet studio remnants (black enamel spray paint, silver spray paint, frosted glass spray, shoe polish, iridescent spray paint, wall joint compound, wood glue, wood glue, bondo, plasticine, spray starch, clear silicone, clear silicone, wood putty, wood putty, putty with blue dye, silicone epoxy, damar resin, blue milk paint, gold paint, white silicone, rubber cement).
 
	Shown in feel rubble
NYU Gallitin Wetlab on Governors Island
Curator: Patrick Bova of april_april&#38;nbsp;
Photography by Sebastian Bach
</description>
		
	</item>
		
		
	<item>
		<title>Access Grove, Soft Stand</title>
				
		<link>https://gabrielasalazar.com/Access-Grove-Soft-Stand</link>

		<pubDate>Mon, 14 Aug 2023 15:56:25 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

		<guid isPermaLink="true">https://gabrielasalazar.com/Access-Grove-Soft-Stand</guid>

		<description>


&#60;img width="3339" height="2581" width_o="3339" height_o="2581" data-src="https://freight.cargo.site/t/original/i/66164a0cf41d334b39537199837871fc1fca8c3b0600dad084a5ca59b8166ce3/Access-Grove.jpg" data-mid="187911102" border="0"  src="https://freight.cargo.site/w/1000/i/66164a0cf41d334b39537199837871fc1fca8c3b0600dad084a5ca59b8166ce3/Access-Grove.jpg" /&#62;
&#60;img width="5245" height="3497" width_o="5245" height_o="3497" data-src="https://freight.cargo.site/t/original/i/cba595d4f8638b6a7a4f7299d474f3d9cf738e6652cc7ff3dcf067084c7f1f98/Salazar_AccessGroveSoftStand_07_PhotobyScottLynch.jpg" data-mid="187911096" border="0"  src="https://freight.cargo.site/w/1000/i/cba595d4f8638b6a7a4f7299d474f3d9cf738e6652cc7ff3dcf067084c7f1f98/Salazar_AccessGroveSoftStand_07_PhotobyScottLynch.jpg" /&#62;
&#60;img width="5819" height="3879" width_o="5819" height_o="3879" data-src="https://freight.cargo.site/t/original/i/c3612eb6abe93cbb64d22c0e8fb48fe74dc87b41ce3cfd94df5fbb2b003a6b43/Salazar_AccessGroveSoftStand_08_PhotobyScottLynch.jpg" data-mid="187911085" border="0"  src="https://freight.cargo.site/w/1000/i/c3612eb6abe93cbb64d22c0e8fb48fe74dc87b41ce3cfd94df5fbb2b003a6b43/Salazar_AccessGroveSoftStand_08_PhotobyScottLynch.jpg" /&#62;
&#60;img width="6158" height="4121" width_o="6158" height_o="4121" data-src="https://freight.cargo.site/t/original/i/c1ae479f7245465efd54d7807fad4ef29736974dbf632f4d6da65c8d6df4da68/Salazar_AccessGroveSoftStand_02_PhotobyScottLynch.jpg" data-mid="187911087" border="0"  src="https://freight.cargo.site/w/1000/i/c1ae479f7245465efd54d7807fad4ef29736974dbf632f4d6da65c8d6df4da68/Salazar_AccessGroveSoftStand_02_PhotobyScottLynch.jpg" /&#62;
&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/f1128cc7839a4ee73e93d538111b81b97dbec2fd92939223a5807cb6406ad137/Salazar_AccessGroveSoftStand_09_PhotobyScottLynch.jpg" data-mid="187911098" border="0"  src="https://freight.cargo.site/w/1000/i/f1128cc7839a4ee73e93d538111b81b97dbec2fd92939223a5807cb6406ad137/Salazar_AccessGroveSoftStand_09_PhotobyScottLynch.jpg" /&#62;
&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/0e69c080f480a3ca4878d348edc7b69a68fdd50c0d41a2ed3c8aa22cc43a9e7e/Salazar_AccessGroveSoftStand_04_PhotobyScottLynch.jpg" data-mid="187911090" border="0"  src="https://freight.cargo.site/w/1000/i/0e69c080f480a3ca4878d348edc7b69a68fdd50c0d41a2ed3c8aa22cc43a9e7e/Salazar_AccessGroveSoftStand_04_PhotobyScottLynch.jpg" /&#62;
&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/a68502059a1a5e0098a54f16a32729f962468620e020b33ff28b2123e65651fd/Salazar_AccessGroveSoftStand_05_PhotobyScottLynch.jpg" data-mid="187911092" border="0"  src="https://freight.cargo.site/w/1000/i/a68502059a1a5e0098a54f16a32729f962468620e020b33ff28b2123e65651fd/Salazar_AccessGroveSoftStand_05_PhotobyScottLynch.jpg" /&#62;
&#60;img width="6251" height="4167" width_o="6251" height_o="4167" data-src="https://freight.cargo.site/t/original/i/b916e13bfe204f2902c88bddc4eb13a88b6b079717201e210ebacd741f1b55ca/Salazar_AccessGroveSoftStand_03_PhotobyScottLynch.jpg" data-mid="187911088" border="0"  src="https://freight.cargo.site/w/1000/i/b916e13bfe204f2902c88bddc4eb13a88b6b079717201e210ebacd741f1b55ca/Salazar_AccessGroveSoftStand_03_PhotobyScottLynch.jpg" /&#62;
&#60;img width="930" height="1240" width_o="930" height_o="1240" data-src="https://freight.cargo.site/t/original/i/27647baaec7e3f26845d5a5cf4ce470dfc3eedb0ae019053281037a4c76000ba/08_AccessGroveSoftStand.jpeg" data-mid="187911097" border="0"  src="https://freight.cargo.site/w/930/i/27647baaec7e3f26845d5a5cf4ce470dfc3eedb0ae019053281037a4c76000ba/08_AccessGroveSoftStand.jpeg" /&#62;
&#60;img width="5356" height="3571" width_o="5356" height_o="3571" data-src="https://freight.cargo.site/t/original/i/c0c42fa22dd31da8b6b78be0d2086370df1be39907f19ebb8b6cd44cb13e89d8/Salazar_AccessGroveSoftStand_06_PhotobyScottLynch.jpg" data-mid="187911094" border="0"  src="https://freight.cargo.site/w/1000/i/c0c42fa22dd31da8b6b78be0d2086370df1be39907f19ebb8b6cd44cb13e89d8/Salazar_AccessGroveSoftStand_06_PhotobyScottLynch.jpg" /&#62;

	Access Grove, Soft Stand2019
Red velvet, polyfill, soil, seeds, found steel stanchions, and brass snap hooks.

Photography by Scott Lynch and Gabriela Salazar.
	Shown in The Socrates Annual 2019

Socrates Sculpture Park, Queens, NY&#38;nbsp;
Organized by Jess Wilcox.For Access Grove, Soft Stand, Gabriela Salazar weaves, drapes, and wraps velvet rope, the ubiquitous crowd controller and VIP separator, in Socrates’ central grove of trees. The red rope simultaneously blocks, guides, and perhaps confounds visitors, whose bodies are shaped by urbanism and architecture, while passing through this public space. Salazar’s contorting and winding of the rope combined with the wild plants sprouting from the porous textile undermine the authority of this dividing line.

</description>
		
	</item>
		
		
	<item>
		<title>My Lands are Islands</title>
				
		<link>https://gabrielasalazar.com/My-Lands-are-Islands</link>

		<pubDate>Tue, 22 Aug 2023 16:52:50 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

		<guid isPermaLink="true">https://gabrielasalazar.com/My-Lands-are-Islands</guid>

		<description>


&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/456b538ef919c2201d910e85149780269e0536f4a71d6691f7f1296add360313/SalazarNURTUREart-1.jpg" data-mid="188613985" border="0"  src="https://freight.cargo.site/w/1000/i/456b538ef919c2201d910e85149780269e0536f4a71d6691f7f1296add360313/SalazarNURTUREart-1.jpg" /&#62;
&#60;img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/05a5acd2670e8574e315d9bff4873c685cd966c7ed0710cdc019e529459ff5d7/SalazarNURTUREart-3.jpg" data-mid="188614618" border="0"  src="https://freight.cargo.site/w/1000/i/05a5acd2670e8574e315d9bff4873c685cd966c7ed0710cdc019e529459ff5d7/SalazarNURTUREart-3.jpg" /&#62;
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&#60;img width="3000" height="2002" width_o="3000" height_o="2002" data-src="https://freight.cargo.site/t/original/i/346192d663f1648b6ec9168275eebf31d04d5eb4f3577b1e876a7e6fbddd3aa5/SalazarNURTUREart-101-2.jpg" data-mid="188614799" border="0"  src="https://freight.cargo.site/w/1000/i/346192d663f1648b6ec9168275eebf31d04d5eb4f3577b1e876a7e6fbddd3aa5/SalazarNURTUREart-101-2.jpg" /&#62;

	My Lands are Islands
2015
White glazed brick, coffee, flour, salt.

	
In this project Salazar continues her work of using the form of a simple machine (the wedge / shim) to perform its usefulness through allegorical “work.” Here, the wedges are made of a rudimentary clay of coffee grounds, an ingredient that comes out of her family’s history as a part of Puerto Rico’s coffee trade. 
These small serial works are then exhibited on pedestals made of a white glazed brick reminiscent of the material used in condominium construction in NYC during the 1950’s and 60’s. These “pedestals,” while referring to urban architecture, also play with the forms of minimalist sculpture, in essence opening up an intersection between the ur object and the heterogeneity of the social / cultural city.

My Lands are Islands is not only a meditation on histories but also itself a conflation of temporalities. The coffee-clay is unstable at Salazar’s chosen scale and hence the wedge sculptures will collapse and deteriorate over the run of the exhibition. The wedges perform this collapse at a peculiarly stubborn rate; too slow to watch but frustrating to any sense of the permanent or archival. This cycle of binding and breaking apart is an interesting foil to the temporalities of both the ever-changing city and the timelessness central to Minimalism’s grand narrative. 

Salazar’s project is then a conflation of historical narratives dealing with issues of colonialism, modernism, minimalism, urbanism and feminism drawn from her own making and her personal history.
Organized by Marco Antonini.
e-book with text by Colby Chamberlain.
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	<item>
		<title>In Advance of a Storm</title>
				
		<link>https://gabrielasalazar.com/In-Advance-of-a-Storm</link>

		<pubDate>Tue, 22 Aug 2023 16:52:58 +0000</pubDate>

		<dc:creator>Gabriela Salazar</dc:creator>

		<guid isPermaLink="true">https://gabrielasalazar.com/In-Advance-of-a-Storm</guid>

		<description>
	
	
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	In Advance of a Storm 
(for Luis and Antonia) (for A and L) (for parents) (for two)2014
Found concrete “pedestals”, wood, found ladder, fresh tulips, dried wild flowers, mdf, paint, paper pulp, steel, glass) 10’ x 14’ x 10’.Constructed on Fishers Island, NY, as part of Lighthouse Works Public Art program.

Photography by Gabriela Salazar.
	In Advance of a Storm (for Luis and Antonia) (for A and L) (for parents) (for two), was located on two found platforms on Fishers Island, NY; one at each site of entry and egress—the ferry dock and the airport—to the island. Each structure is based on a cube, reconfigured to create a room. These rooms, and their contents, realize descriptions made by the artists’ parents in playing the Cube Game, a pop-psychology visualization. In this game, you are asked to respond to a set of prompts and describe the relationships and feelings associated with each. Your descriptions reveal insights to the inner mind and spirit. In Advance of a Storm is an attempt by the artist to make physical and "real" the ineffable influence of her parents and their profession (architecture) on her own work and way of interacting with the world.
Self-published book with original interviews and three texts by Amy Brener, Lucas Blalock, and Billie Tsien and Tod Williams available upon request.
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